Ring in 2016 With 10 Movie Musicals

Happy New Year everybody! Just for the occasion, we've got ten great movie musicals to help you ring in 2016 with a song. One of my favorite genres of film, it's not for everyone, but for those who can appreciate them, musicals can give you more joy than so many other kinds of movies put together. Including classics like The Band Wagon, The Sound of Music, Beauty and the Beast, Love Me Tonight, Spinal Tap and many more, just head over to the Movies For Every Month page to read the description for January, and click on the January movie page to see the full list of ten musicals along with their complete trailers. Happy Movie Watching and Happy New Year!

Go Back to the 1980's in 'Everybody Wants Some' Trailer

Richard Linklater is back with his first film since Boyhood, and I really have no idea what this movie is about, except that maybe it's meant to be a similar kind of thing to Dazed and Confused, but set in the '80's. It's probably another look back on Linklater's own life in that sense, since these guys are college age, and the '70's were his teen years. It's coming out in April.

New Trailer for Disney's 'Zootopia'

The fact that this is the first film from Rich Moore, the Wreck-it Ralph guy, has me a little more optimistic about this new Disney movie. I wasn't a big fan of Big Hero 6, and though I liked Frozen, I found it to be insanely overrated, and I really think Ralph was the best of the new crop of Disney movies since they found their footing with CG. So hopefully this one, which wants to be a throwback to stuff like Robin Hood, is cleverer and funnier than their last couple. It's coming out March 4th.

Austin Film Critics Anoint 'Mad Max'

The Austin critics liked Mad Max for the top prize, along with Fassbender, Larson, Stallone and Vikander in the acting races. Everything looks pretty standard in terms of critics preferences this year. We are nearing the end of the seemingly endless critics awards, by the way. The National Society of Film Critics, the last of the big four alongside NY, LA and NBR, is set to finally weigh in on Saturday, while the last few regional groups come in next week. But next week will be focused on the deluge of industry awards, as the guild nominations all come in, which will tell us for sure what's really taking hold or not, with the Academy, which announces on Jan 21st.

AUSTIN CRITICS

Best Film:“Mad Max: Fury Road” 

Best Director: George Miller, “Mad Max: Fury Road”

Best Actor: Michael Fassbender, Steve Jobs

Best Actress: Brie Larson, “Room”

Best Supporting Actor: Sylvester Stallone, “Creed”

Best Supporting Actress: Alicia Vikander, “Ex Machina”

Best Original Screenplay: Pete Docter, Meg LeFauve, Josh Cooley, “Inside Out”

Best Adapted Screenplay: Emma Donoghue, “Room”

Best Cinematography: Edward Lachman, “Carol”

Best Score: Ennio Morricone, “The Hateful Eight”

Best Foreign-Language Film: “Son of Saul” 

Best Documentary: “The Look of Silence” 

Best Animated Film: “Inside Out” 

Best First Film: “Ex Machina” 

First Look at Benedict Cumberbatch as 'Dr. Strange'

Entertainment Weekly has an early look at Benedict Cumberbatch as Marvel's Dr. Strange, the sorcerer hero whose movie is coming out next Thanksgiving. He looks pretty good in the flamboyant cape and everything- not familiar with the character but he does look like he fits the part perfectly.

BOX OFFICE 12/25-12/27: 'Star Wars' Crosses 1 Billion Mark in Record Speed

The Christmas weekend was all about The Force Awakens again, as Episode VII crossed 1 billion globally in just 12 days, making it the fastest movie to reach that milestone ever. Domestically is no less impressive, as the movie earned 153 million here in the states over the weekend, the second biggest weekend of all time, again beating Jurassic World's second week of 106 million. It has now earned 545 million, landing in the No. 5 spot of all time, in just 10 days. At this rate it seems fairly certain to beat Avatar's 750 million total, especially given the holiday box office pattern of high earning weekdays until the end of the year.

There were other new releases over Christmas that did well this weekend too, with second place going to Daddy's Home, the Will Ferrell/Mark Wahlberg comedy that earned 38 million, and the Jennifer Lawrence/David O. Russell dramedy Joy opening in third with 17 million. The holdovers in the top five included Sisters, which pulled in another 13 million, bringing its total to 37 million, and Alvin and the Chipmunks: The Road Trip, taking in another 12 million. Will Smith's Concussion fell flat, opening to just 11 million.

Top 5:

1. Star Wars: The Force Awakens- 153.5 million
2. Daddy's Home- 38.8 million
3. Joy- 17.5 million
4. Sisters- 13.9 million
5. Alvin and the Chipmunks: The Road Trip- 12.7 million

Other new films released on less screens did spectacularly well this weekend too, all helping to make it the biggest Christmas weekend ever at the box office. Quentin Tarantino's The Hateful Eight opened on just 100 screens for its special 70mm run, and got into the top ten with 4.5 million and a fantastic PTA of 45k. Leo Dicaprio's The Revenant opened in 4 theaters for a 471k total and a stellar 117k PTA, the second best of the year, and The Big Short expanded to 1500 screens and earned 10.2 million. Tune in next week for New Year's weekend as most of these films will continue to do well over the holiday break.

Florida Critics Choose 'Mad Max,' Daisy Ridley in Breakthrough

Rack up another one for Mad Max and George Miller here, while Brie Larson wins her 16th critics award, and Paul Dano gets one for Best Actor. He's won several across the board, because there's no real consensus for Best Actor this year, but I wonder what's going to happen with him at the Oscars. I have a feeling he could be overlooked entirely, due to category confusion and the fact that Love and Mercy isn't a contender in major categories besides him. Also, Daisy Ridley is suddenly showing up in these breakthrough awards now- maybe she can use this success to forge a career outside Star Wars.

FLORIDA FILM CRITICS

BEST PICTURE: Mad Max: Fury Road
(Runner-up: Spotlight)

BEST DIRECTOR: George Miller, Mad Max: Fury Road
(Runner-up: Todd Haynes, Carol) 

BEST ACTRESS: Brie Larson, Room
(Runner-up: Charlotte Rampling, 45 Years)

BEST ACTOR: Paul Dano, Love & Mercy
(Runner-up: Leonardo DiCaprio, The Revenant)

BEST ENSEMBLE: Spotlight
(Runner-up: Tangerine)

BEST ORIGINAL SCREENPLAY: Spotlight
(Runner-up: Mistress America)

BEST ADAPTED SCREENPLAY: The Big Short 
(Runner-up: Carol)

BEST SUPPORTING ACTOR: Oscar Isaac, Ex Machina
(Runner-up: Michael Shannon, 99 Homes)

BEST SUPPORTING ACTRESS: Kristen Stewart, Clouds of Sils Maria
(Runner-up: Jennifer Jason Leigh, The Hateful Eight)

BEST CINEMATOGRAPHY: Mad Max: Fury Road
(Runner-up: Carol)

BEST VISUAL EFFECTS: Mad Max: Fury Road
(Runner-up: Star Wars: The Force Awakens)

BEST ART DIRECTION/PRODUCTION DESIGN: Carol
(Runner-up: Mad Max: Fury Road)

BEST SCORE: Love & Mercy
(Runner-up: Carol)

BEST DOCUMENTARY: Amy
(Runner-up: Heart of a Dog)

BEST FOREIGN LANGUAGE FILM: The Assassin 
(Runner-up: Mommy)

BEST ANIMATED FEATURE: Inside Out
(Runner-up: Anomalisa)

BREAKOUT AWARD: Daisy Ridley, Star Wars: The Force Awakens
(Runner-up: Alicia Vikander, Ex Machina & The Danish Girl)

REVIEW: "Brooklyn" (2015) Saoirse Ronan, Emory Cohen. Dir. John Crowley

At a time when immigrants are being disparaged and the leaders of one of our two major political parties are doing everything possible to insult and turn away those who strive to come here, it's worth remembering that the entire history of America is shaped by immigrants, all of whom came here to work and seek better live for themselves. Brooklyn is a look back on a time when it was the highest ambition to travel to America, to build a new life in a place that was open to anyone and seemed to offer every opportunity, no matter what your background.

This film is partly a celebration of immigration and the American dream, but only subtly, as it is entirely the story of Eilis, a young Irish woman whose sister Rose procures a place for her at a boarding house in New York City, and a job at a department store in 1952. Rose wants Eilis to have the life she never could, and Eilis seizes the chance, sensing there is nothing for her in her small Irish town that feels as sleepy as it is familiar. Saoirse Ronan plays Eilis, and the child actress from Atonement and Hanna has grown into a sensitive, luminous presence, capable of holding every frame of the screen in this film, which she carries from beginning to end, as there's scarcely a scene she's not in.

We follow Eilis on her journey across the Atlantic, from her troubles with sea travel to her stay at Julie Walter's boarding house for young women, as she makes do with the help she receives from the good priest who secured her position (Jim Broadbent) and the women who help each other along the way, from her fellow boarders to her boss at Bottaccis, as she struggles with homesickness and slowly starts to blossom as she makes her way in the world and forms a new life for herself. Ronan conveys the transformation of Eilis in subtle, transcendent fashion, and director John Crowley employs an old-fashioned, classical style of filmmaking as we soak in the rich details of New York in the 1950's, down to the umbrellas, bathing "costumes," lessons in how to eat spaghetti, church dances and Brooklyn Dodgers fans. In many ways, this sumptuous film is like looking at a postcard from another era, or hearing the stories of grandparents recollecting their youth and how they started their lives here- lives that would go on to build what this country became.

Eilis falls in love of course, with Tony (Emory Cohen), a sweet and kind Italian who can't wait to take their kids to baseball games and is excited about his future plumbing business that he wants to start with his brothers. He's also supportive of Eilis's goals of becoming a bookkeeper and waits for her outside her college accounting classes at night school. This guy seems like a keeper for sure, but when tragedy strikes back home, Eilis must return to Ireland for a while, to a place she misses in theory but perhaps no longer fits in, and is presented with a whole new set of choices that she must internalize in her struggle to figure out who she is and what she wants.

Brooklyn is many things and deceptively simple about all of them- it's a nostalgic glance back at the past, a celebration of the rich history of the immigrants who shaped America, and the exploration of young girl's journey of self-discovery as she makes up her mind, not just between two suitors but of what she wants her life to be about. This is no story of false sentimentality, but of genuine emotional struggle and coming of age, of the kind that is often most difficult to dramatize effectively. Saoirse Ronan envelopes it all and gives us a performance and a film that feels absolutely timeless in its messages and heartfelt feelings. It's a rare gem that cannot be missed.

* * * *

Both Phoenix Groups Go For 'Spotlight,' Dublin Critics Circle Likes 'Inside Out'

PHOENIX FILM CRITICS SOCIETY

Phoenix has two critics groups, and like Boston and New York, one is their new online group, but these guys are the "real" ones, if you like. And funny, just as I mentioned it earlier, they finally give Vikander the award for The Danish Girl, the film she'll likely be nominated for. Otherwise these are becoming routine choices, except for Ridley Scott in director. No real consensus there obviously, but the DGA will tell the story in that category.

BEST PICTURE: "Spotlight"

BEST DIRECTOR: Ridley Scott, "The Martian"

BEST ACTOR IN A LEADING ROLE: Leonardo Dicaprio, "The Revenant"

BEST ACTRESS IN A LEADING ROLE: Brie Larson, "Room"

BEST ACTOR IN A SUPPORTING ROLE: Mark Rylance, "Bridge of Spies"

BEST ACTRESS IN A SUPPORTING ROLE: Alicia Vikander, "The Danish Girl"

BEST ENSEMBLE ACTING: "Spotlight"

BEST ORIGINAL SCREENPLAY: "Inside Out"

BEST SCREENPLAY ADAPTED FROM OTHER MATERIAL: "The Big Short"

THE OVERLOOKED FILM OF THE YEAR: "Me and Earl and the Dying Girl"

BEST ANIMATED FILM: "Inside Out"

BEST FOREIGN LANGUAGE FILM: "Son of Saul"

BEST DOCUMENTARY: "He Named Me Malala"

BEST ORIGINAL SCORE: "Bridge of Spies"

BEST ORIGINAL SONG: "See You Again" from "Furious 7"

BEST CINEMATOGRAPHY: "The Revenant"

BEST FILM EDITING: "Mad Max: Fury Road"

BEST PRODUCTION DESIGN: "Mad Max: Fury Road"

BEST COSTUME DESIGN: "Mad Max: Fury Road" 

BEST VISUAL EFFECTS: "Mad Max: Fury Road"

BREAKTHROUGH PERFORMANCE: Alicia Vikander. "Ex Machina"

BEST PERFORMANCE BY A YOUTH: Jacob Tremblay, "Room"

PHOENIX CRITICS CIRCLE

The online group weighs in now, some slight variation- Miller in director, Stallone instead of Rylance, and Fassbender instead of Dicaprio. We can see who the alternate choices could be here in races where an overwhelming frontrunner hasn't emerged. 

Best Picture: Spotlight

Best Director: George Miller (Mad Max: Fury Road)

Best Actor: Michael Fassbender (Steve Jobs)

Best Actress: Brie Larson (Room)

Best Supporting Actor: Sylvester Stallone (Creed)

Best Supporting Actress: Alicia Vikander (Ex Machina)

Best Screenplay: Tom McCarthy and Josh Singer (Spotlight)

Best Score: Tom Holkenborg (Mad Max: Fury Road)

Best Animated Film: Inside Out

Best Documentary: Amy

Best International Film: Youth

Best Comedy Film: The Big Short

Best Horror Film: It Follows

Best Musical: Straight Outta Compton

Best Mystery or Thriller Film: Sicario

Best Science Fiction Film: Ex Machina

DUBLIN CRITICS CIRCLE

Okay, so I know these guys are delayed by a year for when films get to Ireland, but the lack of support for Brooklyn here is a bit concerning. If anybody likes it it should be these guys, right? But they only gave it a shared Best Irish Feature award, and not even hometown girl Saoirse for Best Actress? Huh- I hope the guilds will announce more support for this one, but it looks a little dire all of a sudden, after a strong start.

Best Film: Inside Out

Best Irish Feature: Queen of Ireland / Brooklyn

Best Documentary: Queen of Ireland

Best Actress: Julianne Moore, Still Alice

Best Actor: Michael Fassbender, Steve Jobs

Best Director: Alejandro Inarritu, Birdman

Breakthrough International: Daisy Ridley, Star Wars: The Force Awakens / Kitana Kiki Rodriguez and Mya Taylor, Tangerine

Utah and Kansas City Critics like 'Mad Max;' Black Film Critics Circle Awards 'Creed'

BLACK FILM CRITICS CIRCLE

The Black Film Critics Circle embraced one of my favorite movies of the year, Creed, wholeheartedly, giving it every acting honor except Best Actress, which even they now cannot deny to Brie Larson. They also like George Miller in director instead of Ryan Coogler, which interesting.

Best Picture: Creed

Best Directing: George Miller, Mad Max: Fury Road

Best Actor: Michael B. Jordan, Creed

Best Actress: Brie Larson, Room

Best Supporting Actor: Sylvester Stallone, Creed

Best Supporting Actress: Tessa Thompson, Creed

Best Screenwriting (Original Screenplay): Straight Outta Compton

Best Screenwriting (Adapted Screenplay): The Martian

Best Cinematography: Mad Max: Fury Road

Best Foreign Language Film: Son of Saul

Best Documentary Feature: What Happened, Miss Simone?

Best Animated Feature: Inside Out

Best Ensemble Performance: Straight Outta Compton

UTAH

Meanwhile, these guys prefer Mad Max down the line, but they also like Stallone, and look at that Rose Byrne win for Spy in supporting- now that's creative. I also like seeing an acknowledgment of The Hunting Ground in documentary- one of the most important films of the year.

Best Picture: MAD MAX: FURY ROAD
(Runner-up: THE MARTIAN)

Best Director: George Miller, MAD MAX: FURY ROAD
(Runner-up: Ridley Scott, THE MARTIAN)

 Best Actress: Brie Larson, ROOM
(Runner-up: Saoirse Ronan, BROOKLYN)

 Best Actor: Leonardo DiCaprio, THE REVENANT
(Runner-up: Matt Damon, THE MARTIAN)

 Best Supporting Actress: Rose Byrne, SPY
(Runner-up: Alicia Vikander, EX MACHINA)

 Best Supporting Actor: Sylvester Stallone, CREED
(Runner-up: Oscar Isaac, EX MACHINA)

 Best Original Screenplay: Pete Docter, Meg LeFauve & Josh Cooley, INSIDE OUT
(Runner-up: SPOTLIGHT)

 Best Adapted Screenplay: Drew Goddard, THE MARTIAN
(Runner-up: Nick Hornby, BROOKLYN)

Best Cinematography: John Seale, MAD MAX: FURY ROAD
(Runner-up: Emmanuel Lubezki, THE REVENANT)

 Best Documentary: THE HUNTING GROUND
(Runner-up: AMY)

 Best Foreign Language Film: TIMBUKTU
(Runner-up: SON OF SAUL)

Best Animated Feature:INSIDE OUT
(Runner-up: SHAUN THE SHEEP MOVIE)

KANSAS CITY

The KC guys went for Mad Max too, and awesomely, Charlize Theron in Actress, which I really hope happens at the Oscars, at least for a nod. And there's no way that Alicia Vikander is getting into supporting actress for Ex Machina, so the critics continual refusal to acknowledge The Danish Girl's existence is kind of amusing.

Best Picture: Mad Max: Fury Road
Best Director: George Miller, Mad Max: Fury Road
Best Actress: Charlize Theron, Mad Max: Fury Road
Best Actor: Leonardo DiCaprio, The Revenant
Best Suppt Actress: Alicia Vikander, Ex Machina
Best Suppt Actor: Michael Shannon, 99 Homes
Best Original Screenplay: Spotlight
Best Adapted Screenplay: The Big Short
Best Documentary: Amy
Best Foreign Language Film: Phoenix
Best Animated Feature: Inside Out
Best Scifi, Fantasy, Horror: Ex Machina

St. Louis, Nevada and Vancouver Critics Go For 'Spotlight,' Brie Larson

ST. LOUIS

Spotlight is solidifying its status with critics as the year's Best Picture, while Brie Larson is now dominating everywhere for Best Actress. The supporting categories remain the ones where there's no consensus, although Stallone is racking up the highest number of wins at the moment there. Here's hoping he actually pulls off the Oscar nomination in the end.

Best Film: Spotlight
Best Director: Tom McCarthy – Spotlight
Best Actor: Leonardo DiCaprio – The Revenant
Best Actress: Brie Larson – Room
Best Supporting Actor: Sylvester Stallone –Creed
Best Supporting Actress: Alicia Vikander – Ex Machina
Best Original Screenplay: Spotlight – Josh Singer and Tom McCarthy
Best Adapted Screenplay: The Martian – Drew Goddard (Screenplay); Andy Weir (Novel)
Best Editing: Mad Max: Fury Road – Margaret Sixel
Best Cinematography: The Revenant – Emmanuel Lubezki
Best Art Direction: Mad Max: Fury Road – Colin Gibson (Production Designer)
Best Visual Effects: Mad Max: Fury Road

Best Score: The Hateful Eight – Ennio Morricone
Best Soundtrack: Love & Mercy
Best Song: “Writing’s on the Wall” – Spectre
Best Animated Film: Inside Out
Best Comedy Film: Trainwreck
Best Documentary Film: Amy

Best Foreign Language Film: Goodnight Mommy
Best Scene: The Revenant – Hugh is mauled by a grizzly.
Worst Film: Fantastic Four

NEVADA

An almost identical list to St. Louis, except for Tom Hardy as Supporting Actor and Innaritu for Best Director. this could potentially be a split Picture/Director year, but the problem with that always comes down to finding at least three statues for the Best Picture winner to walk away with- come up with something Spotlight can win besides Picture and Screenplay and then we'll talk about handing director to someone else.

Best Film - Spotlight 
Best Actor - Leonardo DiCaprio - The Revenant 
Best Actress - Brie Larson - Room 
Best Supporting Actor - Tom Hardy - The Revenant 
Best Supporting Actress - Alicia Vikander - Ex Machina 
Best Youth Performance - Jacob Tremblay - Room 
Best Director - Alejandro Iñárritu - The Revenant 
Best Original Screenplay - Tom McCarthy and Josh Singer - Spotlight
Best Adapted Screenplay - tie - Drew Goddard for The Martian and Emma Donoghue for Room 
Best Ensemble Cast - Spotlight 
Best Documentary - Amy 
Best Animated Movie - Inside Out 
Best Production Design - Francois Séguin - Brooklyn 
Best Cinematography - Emmanuel Lubezki - The Revenant 
Best Visual Effects - Ex Machina 

VANCOUVER

A similar scenario, but Fassbender in Actor and Miller in director. If there is a split this year, I can almost guarantee that George Miller will be the one to benefit from it- the artistic achievement aspect of Mad Max will be what they want to reward. 

BEST FILM: Spotlight

BEST ACTOR: Michael Fassbender, Steve Jobs

BEST ACTRESS: Brie Larson, Room

BEST SUPPORTING ACTOR: Mark Rylance, Bridge of Spies

BEST SUPPORTING ACTRESS: Alicia Vikander, Ex Machina

BEST DIRECTOR: George Miller, Mad Max: Fury Road

BEST SCREENPLAY: Charlie Kaufman, Anomalisa

BEST FOREIGN LANGUAGE FILM: The Assassin

BEST DOCUMENTARY: Amy

BOX OFFICE 12/18-12/20: 'Star Wars' Shatters All Records

Unsurprisingly, The Force Awakens did what everyone expected it to this weekend, and completely demolished the all time opening weekend record, which was just set this year by Jurassic World, launching with 247 million- a new domestic number that beats JW's 208 million. I would say it's unlikely to be matched by anything else so soon, except maybe another Star Wars movie, but the Force is definitely still there with moviegoers of all ages, as the demographics for this film were widespread across every age group. I underestimated it, assuming the widely loathed prequels might have taken at least a little bit of luster off this franchise, at least for younger viewers, but no sirree. That's a pretty massive testament to the power of that original trilogy, isn't it?

With that now accomplished, you can go ahead and expect this to be the biggest movie of all time, surpassing Avatar's 750 million domestic gross from 2009, I suppose. Word of mouth is strong, reviews are positive- there's no reason to assume a massive dropoff will occur. Worldwide it's already amassed over 610 million, setting opening records in Britain and France as well.  Not that any other box office story really mattered this weekend, but Tina Fey and Amy Poehler's new comedy Sisters opened with 13 million for third place, while the fourth Chipmunks movie came in second with 14 million. Creed and Mockingjay-Part 2 rounded out the top five, bringing their totals to 87 and 254 million, respectively.

Top 5:

1. Star Wars: The Force Awakens- 247 million
2. Alvin and the Chipmunks: The Road Chip- 14.4 million
3. Sisters- 13.4 million
4. The Hunger Games: Mockingjay- Part 2- 5.7 million
5. Creed- 5.1 million

There's not much to say about the limited release films this week, so let's go on about Star Wars, shall we? In addition to the opening weekend records, it also set the opening day record of 120 million, making it the first movie ever to gross over 100 million in a single day. But I should say we are sort of in uncharted territory here, because for it to cross Avatar's 750 million total it needs to have some serious legs, and Avatar and Titanic are the only winter openings to ever make that kind of blockbuster coin, and they didn't do it with massive opening weekends. Nope, they did it with good old-fashioned sustainability, which is the way big movies that open in winter tend to- this one is a very summer kind of opening, and those don't usually have the kinds of heavy legs Cameron's two epics did. So we're going to see if it plays like a James Cameron film or if it bottoms out before it can reach those kinds of heights. Stay tuned. Next week it's Christmas, which sees the openings of several films- The Big Short, Joy, The Hateful Eight, Daddy's Home and Concussion will all try to compete with TFA, and none of them will measure up as they try to eat into that holiday moviegoing crowd. Happy Holidays, everyone.