2015: A Year of Two Great Actors Working Together

Will Oscar Shine a Spotlight on These Fine Films and Performances?

By Chris Sabga

The Weinstein Company studio co-chief Harvey Weinstein wrote an editorial for "The Hollywood Reporter" lamenting that several worthy films and performances will probably end up being snubbed by the Academy when it comes time to hand out Oscar nominations. Among those he cites are Ian McKellen in "Mr. Holmes" and Helen Mirren in "The Woman in Gold." Both are indeed wonderful performances. Weinstein also carries a torch for "Burnt," which I did not enjoy nearly as much as he apparently did. Of course, his motives are probably not entirely magnanimous – he is obligated to promote and defend his own studio's films, after all – but that doesn't mean he has any less of a point.

It's blasphemy to say in some cinematic circles, but I'm completely bored with the Oscars. Even though the Best Picture award now includes up to ten films, there are always ridiculous omissions. It's worse in the other categories, which still contain only five nominees – not that I'm advocating for an increase, because I'm definitely not. Don't get me wrong: I still love the excitement and frustration that accompanies every Oscar season, but the show itself is usually a bloated bore.

I don't have a crystal ball, but I am going to assume that most of these – but perhaps not all – will be absent when the Oscar nominations are announced. I'll be happy if I'm wrong.

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My favorite Silver Screen Surprise of 2015 – "Predestination": I went back and forth on this one, but ultimately, this movie checked all the right boxes for me: Ethan Hawke, time travel, a great story (adapted from Robert A. Heinlein) with an authentic retro feel that kept me hooked, and fantastic performances (especially from Hawke and Sarah Snook). The Blu-ray is routinely $5 or $10, so you owe it to yourself to check it out. It's likely not for everyone, and it probably won't be on too many other lists, but keep an open mind and sample this mind-bending sci-fi treat.

My favorite television show of 2015 was "Wayward Pines." I am a sucker for these "special events": self-contained shows that are ten episodes or under ("Gracepoint" – which was my favorite in 2014 – was the same way). "Pines" was destination television for several weeks and the source of constant discussion. Terrence Howard, in particular, was memorable as the rum-raisin ice cream-gobbling sheriff facing off against Matt Dillon's frustrated gumshoe. As it turns out, a surprise season 2 is coming for "Wayward." Without spoiling anything, I'm not quite sure how that's going to work. I was excited when I first heard the news, but now I'm nervous.

My favorite performances of the year all featured two great actors working together and bouncing off each other. In "Mr. Holmes," Ian McKellen as an aging Sherlock Holmes and Milo Parker as his young apprentice made for a delightful duo From my review: At the heart and soul of the movie is the tender mentor-student relationship between Holmes and the boy. As Roger, newcomer Milo Parker delivers an outstanding performance that is every bit the equal of Ian McKellen's. That's no easy feat, because McKellen himself is fantastic as he switches between the great man with a gleam in his eye to the aging, fading legend who can barely get out of his own bed. He makes his incredible acting appear effortless – but it isn't, of course.

It shouldn't surprise anyone for Kate Winslet to turn in yet another stellar performance, as she did in "Steve Jobs" opposite Michael Fassbender, who was absorbing to watch as Jobs. What I wasn't expecting was for Winslet to almost take the movie for herself with her riveting portrait of Jobs lieutenant Joanna Hoffman. As I wrote at the time: The best supporting roles make you want to see a movie about them. Just as Tommy Lee Jones accomplished that as Thaddeus Stevens in "Lincoln," so does Winslet as Joanna Hoffman in "Steve Jobs."

I have a soft spot in my heart for Anne Hathaway and Robert De Niro in "The Intern." Was there a cuter "couple" in 2015 than these two? They make it look so effortless that it's easy to forget they're really two acting heavyweights volleying back and forth.

And, of course, Ethan Hawke and Sarah Snook take up most of the screen-time in "Predestination" – and they're spellbinding together.

I saw several older films too, and the most memorable was undoubtedly 1985's "The Last Dragon." In 2015, "racebending" – changing the race of an established character or archetype – became a major point of contention in movies, comics, and other forms of entertainment. Yet, "The Last Dragon" did exactly that with almost every character – and it worked. It helps, though, that its intentions were purer. The movie never felt like it was trying to be "progressive" for the sake of it. All anyone involved in this project wanted, it seems, was to have some fun and create an homage to the type of films they loved. Even though a black teenager is playing a martial arts master, Taimak still manages to give the role heart and authenticity.

A surprisingly great year for horror: I am not a big fan of the genre – that's what I don't pay Matt Wintz to write about – but I saw several great ones over the past twelve months. From 2015: "The Atticus Institute," "What We Do in the Shadows," and "Maggie." From earlier: "Trick 'r Treat," "The Babadook," and "Horns."

The best $1 DVD I bought all year: "Nothing But the Truth" – inspired by the real-life incidents involving CIA agent Valerie Plame and New York Times writer Judith Miller – is a fictional drama about a reporter who refuses to give up her source, despite mounting legal pressure. It features an incredible cast: Kate Beckinsale, Matt Dillon, Angela Bassett, Alan Alda, Vera Farmiga, David Schwimmer, Courtney B. Vance, and Noah Wyle. It would be easy to credit "Wayward Pines" as the reason I thought so highly of "Nothing But the Truth" – Matt Dillion plays very similar roles in both – but that would be shortchanging just how good this is. I have no idea how Alan Alda, especially, was passed over for an Oscar nomination. I'm glad I found it for a buck, but this is worth seeking out at any price. I loved it so much that I even bought extra copies to hand out as gifts.

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The jury is still out on the Oscars. For all we know, Ian McKellen, Kate Winslet, and all of my other personal favorites from 2015 will sweep the nominations. It could actually happen for Winslet – she is an Oscar darling who is seemingly being positioned by the Academy as the modern Meryl Streep – but "Steve Jobs" was a commercial flop, and the Academy of Motion Picture Arts and Sciences (what an earful) sometimes tends to shy away from those. Any nomination for "Steve Jobs" would probably be enough of an excuse for its studio, Universal, to re-release it in theaters in the hopes of capturing the audience that wasn't there the first time.

No matter what the Academy recognizes or doesn't, there will be plenty to talk about – and plenty more to see. I can't wait!

Today marks the third anniversary of Silver Screen Surprises. Whether this is your first time on the site or you've been here all along, thank you for reading!

Review: Steve Jobs

Hello Again

By Chris Sabga

Release Date: October 23, 2015 – U.S.

Rating: R

Genre: Biography, Drama

Running Time: 122 minutes

Director: Danny Boyle

Writers: Aaron Sorkin (screenplay), 

Walter Isaacson (book)

Cast: Michael Fassbender, Kate Winslet, 

Seth Rogen, Jeff Daniels, Michael Stuhlbarg, 

Katherine Waterston, Perla Haney-Jardine, 

Ripley Sobo, Makenzie Moss, Sarah Snook, 

John Ortiz 

"Steve Jobs" is the second movie in two years about the founder of Apple. Add a 600+ page book to the equation (by Walter Isaacson, which this is based on), and it's hard to blame anyone for being sick of Jobs by now. But this is far from a retread of the previous material.

The first film – 2013's "Jobs" – raced through its subject's "insanely great" history. "Steve Jobs" is narrower in focus: it takes place almost entirely during three product launches – the Macintosh in 1984, the NeXT Computer ("the cube") in 1988, and the iMac in 1998 – with a few other short flashbacks as needed.

The big surprise here: While Jobs (Michael Fassbender) may be an asshole, he's portrayed here as a benevolent one capable of recognizing his own flaws and compromising on (some) points. Steve Wozniak (Seth Rogen), meanwhile, comes across as somewhat of a bitter, petulant, slightly unhinged man-child. It's a dramatic shift from the nice and loveable but kooky guy he's usually portrayed as. Yet, the real Woz has nothing but praise for this movie, which seems strange to me given his less-than-flattering characterization in this version of the story. But, hey, who am I to argue with the creator of the Apple II?

Before each product launch, Jobs interacts with several important figures from his life: former Pepsi CEO John Sculley (Jeff Daniels, superb as always), infamous for "firing" Jobs from his own company; Andy Hertzfeld (Michael Stuhlbarg, "Hugo"), the designer in charge of making the Mac say "hello"; and Chrisann Brennan (Katherine Waterston), with whom Steve had a daughter. Chrisann is underwritten though. As justified as her emotions are, the writing or acting (or both) dismisses her as a nagging shrew. But her presence is a simply a means to an end to establish the relationship between Jobs and Lisa (portrayed by three different actresses – Makenzie Moss, Ripley Sobo, and Perla Haney-Jardine – from ages 5 to 19). The struggles between father and daughter – and the irony of a man "abandoned" by his birth parents later doing the same to his own child – end up being one of the major themes of the film.

In the foreground during all of this is Joanna Hoffman (Kate Winslet). Winslet dominates every scene she's in as Steve's tough-talking, no-nonsense, take-no-shit assistant. It's one of the film's biggest treats to behold. If Fassbender is in contention for an Oscar nomination, Winslet better be right by his side. The best supporting roles make you want to see a movie about them. Just as Tommy Lee Jones accomplished that as Thaddeus Stevens in "Lincoln," so does Winslet as Joanna Hoffman in "Steve Jobs."

It is a glaring fact that Michael Fassbinder doesn't much look like the man he's playing. But after five minutes on-screen, that doesn't really matter. Hair, clothing, and a dash of makeup are more than enough to maintain some semblance of an illusion for the audience. All of that, however, would be for naught without the great writing by Aaron Sorkin and the fantastic acting by Fassbender and his co-stars as they bring those words to life.

For a film that essentially consists of nonstop dialogue and people walking into different rooms, it is subtly stylish. The three time periods are each filmed differently: 1984 is grainy with a dark and drab color scheme, 1988 feels more open with a richer palette but retains a traditional film look, and 2008 is shot digitally and looks clear and bright. There are also other visual flourishes, such as a nighttime board meeting with rain pouring behind a glass window – a dazzling backdrop.

One of the best aspects of Sorkin's script: Something from 1984 may affect what happens in 1998. There are instances of that all over "Steve Jobs." One example: Lisa's Sony Walkman (a music tape player, for those of you too young to remember them) portends the coming of the iPod.

Of course, not everything really happened as depicted in "Steve Jobs." For one thing, people generally don't speak like great screenwriters and argue using only catchy soundbites and quips. Also, I don't think anyone is really expected to believe that all of the central figures in Steve Jobs's life would show up and confront him mere minutes before an important press conference – three times! If that actually happened, it would be a sign of collective mental illness. After all, don't these people have anything better to do? Obviously, it's a purposeful plot device designed to tell the story a specific way – and it works on that level. In Sorkin's own words, "this a painting and not a photograph."

It is tempting to analyze and contrast "Steve Jobs" with the earlier "Jobs," but it really is like comparing – forgive me – apples and oranges. Ashton Kutcher did an incredible job in 2013, but Michael Fassbender puts his own unique stamp on this version. Ditto for Josh Gad and Seth Rogen, respectively, as Woz. "Jobs" tells a more complete story, but the writing in "Steve Jobs" is superior. Both films have a reason to exist, and that's something I wasn't expecting.

• Review: The other Steve Jobs movie – 2013's "Jobs"