Wild in the Streets (1968)

I'd read the description of the film many years ago and always was curious how the concept would work. The voting age is lowered to 14 and a younger musician is elected president. I was curious what satiric bite a film with that concept could deliver.

Turns out not much. This is a really stupid film. It spends so much time setting up the film that by the time the main character is finally elected, the film is running out of time, and just throws a few wacky ideas together and calls it a day.

One basic problem is that the main character, who supposedly unites all the young people together, is a jerk. But the film isn't well made enough that I couldn't tell if the filmmakers knew he is a jerk.

Then there is the acting. I haven't seen all of Shelley Winters' work, but I'd always liked her before. Her character, the main character's possessive mother, is basically unplayable as written. I think Winters just gave up and chose to munch on the scenery instead. And I'd never seen the lead actor, Christopher Jones. Based on this, I don't need to see him again.

I will give the film this: the songs written by Barry Mann and Cynthia Weil are listenable, and help the time go by. But that's about it.

Odd note: this film was Oscar nominated for editing. Why?

Grade: D

The 2015 Top Ten List (5-1)

5. Selma. The first great film to follow in the footsteps of Lincoln and uses one incident in history to explore more in depth one individual. This allows one of the best looks into Martin Luther King ever committed to film. Yet the greatness of the film is to also show how many quality leaders were involved in the civil rights movement, not just King.

4. Carol. The sexual tension is so high I had to exhale a few times as I was forgetting to breathe. Of course a lot of that is due to the performances of Rooney Mara and Cate Blanchett. But even more it is a testament to the direction of Todd Haynes, who also delivers (as usual) one of his gorgeous postcard-ready movies then explores what's underneath that gorgeous surface.

3. The Hateful Eight. Allow me to be the contrarian about writer-director Quentin Tarantino. Inglourious Basterds was vastly overrated, as the title characters were the least interesting in the film -- a major flaw. While this film simply sets several well-drawn characters in one setting and lets them bounce off each other. This allows his dialogue to be featured, which is what makes Tarantino worth following. Great score and cinematography, too.

2. Brooklyn. This film following an Irish immigrant portrayed by Saorise Ronan sounded like homework. It is one of the purely joyful film experiences of the past few years. Its not to say that her struggles are not emotional, but that the light touch of the film in showing the immigrant experience in a mostly positive light is a true reward for the senses.

1. Mad Max: Fury Road. I can defend this choice with evidence on the acting, the incredible technical expertise, the inventive script, the propulsive score, and other stuff. But what it gets down to this: I staggered out of my screening like no film since Terminator 2. It delivers what an action film is supposed to deliver. The other stuff just makes it easier to justify as the best film of the year.