Your Voices is a simple concept created to encourage conversation and opinions between movie lovers. It works like this: I throw out a certain topic or question and I’ll take time to make my case or share my opinions. Then it’s time for Your Voices. Head to the comments section and let fellow readers and moviegoers know your thoughts on the topic for that day!

Let’s get this out of the way. There is nothing wrong with crying at a movie. Women are more at peace with the fact, but men often can’t get past the silly predilections of macho manhood. Personally, I rarely cry or even tear up at movies. It isn’t that “I’m a man” therefore I don’t cry. It is just the way I’m wired. Movies still hit me on an emotional level but rarely to the point of tears.

That being said I do find myself getting a bit misty when movies strike a few specific chords. The one that hits me the hardest is when a film features a big moment between a father and his son/daughter. Without a doubt, this became a thing for me the moment I had children of my own. That deep affection became real. When movies do it well it can be tender to the point of tears. They can also be emotionally devastating. So that’s what gets to me, but what about you? Now it’s time for Your Voices.

YOUR VOICES: What makes you cry in a movie?

I’ve shared my teary-eyed confession. Now it’s your turn. Do you ever cry at movies? If so, what is it that triggers those emotional faucets? If not, is there anything that at least gets you close? I would to hear Your Voices.

It’s hard to gain full appreciation for Jafar Panahi’s latest film without knowing a bit about his personal story. Panahi cut his filmmaking teeth by working with the great Abbas Kiarostami. He showed himself to be a major component of the Iranian New Wave movement with his 1995 acclaimed film “The White Balloon”. But while recognized as a brilliant and highly influential filmmaker, Panahi quickly found himself in the crosshairs of the Iranian government.

In 2010 Panahi was arrested along with his wife and daughter. He was charged with making propaganda films against the Iranian government and for committing crimes which threatened national security. He was sentenced to six years of house arrest, was forbidden to leave the country, and was given a 20 year ban on making movies or documentaries. Despite his steep sentencing, Panahi has continued to secretly make films and address many of his society’s ills.

“Taxi” is another bold movie where Panahi makes clever use of his obvious constraints. All conventional methods of filmmaking are out the window yet “Taxi” feels just as revealing and just as organic. It is basically a documentary but with a sly touch of drama. Its main focus is to show the varying degrees of life, personalities, ideals, hardships, and persecution in modern day Tehran society.

Panahi does this by simply posing as a cab driver. He drives around Tehran picking up as assortment of people and filming their conversations through carefully placed dash-cams. They cover all age groups, male and female, and come from a variety of unique (and sometimes troubling) perspectives. None are trained professional actors, but each offer some truly compelling insight into elements of the culture that Panahi clearly wants people talking about.

Panahi’s interaction with the people is often fascinating. Some are just quirky individuals who he allows to carry on. Take a fellow who sells pirated DVDs. At one point he actually recognizes Panahi, but that doesn’t stop him from his shady dealings. Other characters unknowingly offer Panahi the opportunity to indict certain mindsets without the director saying a word.

There are some interactions that feel a bit too scripted even though they have strong messages, and there are a couple of moments where the pacing sputters a bit. But at the same time “Taxi” always kept my attention, and it had me absorbing every encounter to find how they fit with Panahi’s vision. This wasn’t an easy project to pull off, but its strengths testify to the brilliance of its maker.

VERDICT – 4 STARS

Truly great movies leave indelible marks. It may be through an emotional connection to the story. It may be through a remarkable performance or a signature scene. But it could also be through the brilliant imagery that films carves into your mind. That’s what this feature is all about – highlighting great images from great movies.

As is customary each and every year I like to look back and share a few thoughts and reflections on the Academy Awards. As usual there were several winners who were easy to predict, but there were some big surprises and a handful of news-worthy moments. There were also several times where all I could do was shake my head. But enough of the rambling. Here are a few random thoughts off the top of my head:

• Chris Rock – I actually don’t think his job was quite as hard as some think. I felt he was more or less criticism-proof and that proved to be true as he has been praised far and wide despite a few missteps. He had some funny jokes, but his monologue delivery was pretty messy. And the Girl Scout Cookies thing – meh.
• Rock – “Jamie Fox is one of the best actors in the world”. That was his best joke of the night. Oh wait, he was serious?
• Thrilled that “Spotlight” won for Best Original Screenplay. It was such a wonderful accomplishment and the script was the key to its brilliance.
• Despite some dull and boring presenters (I’m looking at you Sarah Silverman and Patricia Arquette), it seems fashionable to hate on the appearance of the Minions. I think it was fun and heaven forbid we have a brief 30 seconds of the show that kids may enjoy.
• The first surprise came early. Alicia Vikander beats Kate Winslet for Best Supporting Actress? Can’t say I saw that one coming. Winslet had won everything up to this point. I guess you never know.

• Chris Rock made a joke about race.
• Great to see Andy Serkis recognized as a true, genuine acting talent. The brief video montage showing his work was a deserving showcase of his amazing work. Glad to see the Academy and his peers paying him some attention.
• The geek in me yelped for joy when the Star Wars droids came out. I was as giddy as Jacob Tremblay.
• “Ex Machina” was a good film and it certainly looks fabulous, but Best Visual Effects over “Mad Max: Fury Road”? I simply don’t see it.
• But don’t feel bad for “Mad Max”. The film hit a furious run raking in one technical Oscar after another. It ended up winning six Academy Awards on the night. Not bad!
• On the other hand two of my favorites went home empty handed – “Sicario” and “Brooklyn”. It’s really no surprise but a guy could hope, right?
• So the James Bond theme from “Spectre” won for best original song? I’m no music guru but I did anyone actually like that song?
• How could you not love it when Abraham Attah and Jacob Tremblay came out to present? Both were a lot of fun and it could be said both deserved Oscar nominations of their own.

• Chris Rock made a joke about race.
• Emmanuel Lubezki wins the Best Cinematography Oscar for the third year in a row! I loved Deakins work in “Sicario”, but “The Revenant” was a visual masterpiece. Well deserved Chivo!
• Mark Rylance beats the frontrunner Sylvester Stallone for Best Supporting Actor. Unbelievable. No one can argue Rylance was bad, but considering Sly’s work (and the great performances that weren’t nominated) it was far from the best of the year. In the end Rylance simply didn’t leave a huge impression on me. A headshaker.
• And continuing that thought, will Stallone ever get another shot at an Oscar? Sadly, who knows.
• Joe Biden comes out to the classic Indiana Jones theme? Ummm, no.
• Absolutely thrilled that “Son of Saul” won for Best Foreign Language Film. Sure it was the frontrunner but so was Stallone. This was a intensely powerful film that needs to be seen.
• I think “Amy” is a fine documentary, but I can’t express how much I wanted “The Look of Silence” to win. Its brilliance and importance simply can’t be overstated. It deserved the recognition.
• Joshua Oppenheimer’s documentaries “The Act of Killing” and “The Look of Silence” both lost the Oscar to music docs. Let that sink in for a second.
• Alejandro G. Inarritu becomes only the third person to ever win back-to-back Best Director Oscars. Didn’t care for his “Birdman” win, but “The Revenant” was well deserved. Bravo.

• Chris Rock shows a video about race.
• The transition music was peculiar and a bit schizophrenic the entire night. The movie tunes they played were so oddly random. Julianne Moore walks out to “Mrs. Robinson”? Brie Larson wins her Oscar to “Goldfinger”? Weird.
• Brie Larson’s win for Best Actress was predictable. And while deep down I was rooting for Saoirse Ronan, I’m thrilled for Larson. She was fabulous. No drama in this category, but a very deserving win.
• Speaking of predictable, Leo DiCaprio’s Oscar drought is over. He wins Best Actor in the most sure-thing award of the night. But that’s okay. He deserved it, and the standing ovation he received was a really good moment.
• Just a note, every acting award went to first time Oscar winners. That’s pretty cool.
• And that brings us back to “Spotlight”, this year’s Best Picture winner. I gotta say I’m thrilled, but I never saw it coming. I felt it had an outside chance, but so much pointed to “The Revenant”. “Spotlight” was my favorite film from 2015 and it was a wonderful way to end the show.
• Ultimately this year’s Oscars was a pleasant mix of obvious and surprise. It did feel the entire show was in reactionary damage control mode. Chris Rock’s race jokes flirted with overkill, and he didn’t help himself by spouting a racist Asian joke himself. But he also had some funny moments that worked pretty well. Not horrible, but far from the monumental hosting job some are painting it as. For me it was about the movies, and I almost feel they were overshadowed. But it was still a fun night (as Oscar night always is).

The decade is a little over half way gone so I thought it would be fun to look back at the first five years and see what movies have stood out the most. It is also a good chance to see how the films stand up against each other as well as how they have stood up with the passing of time. Today we are down to #10 – #1. Let’s get going…

#10 – “Boyhood” (2014)

During last year’s Oscar season it became somewhat fashionable for some to hate “Boyhood”. Some even called it “Oscar bait”. Obviously these people don’t know Richard Linklater. He doesn’t make bait movies and “Boyhood” is far from it. It’s a deep look at growing up that stays away from the big and obvious life moments. Instead it looks at the things which shaped its central character. At the end of the film it gave me a greater appreciation for my son and encouraged me to be a better influence.

#9 – “The Artist” (2011)

Yet another film many dismissed as Oscar bait. I think that is a ridiculous perspective. I love “The Artist” and its unashamed appreciation for the silent film era. The movie features so many stunningly accurate details and Jean Dujardin deserved his Best Actor Oscar. Everything from his expressions to his look seems pulled from that era and his chemistry with Bérénice Bejo shows in every scene they share.

#8 – “Mad Max: Fury Road” (2015)

One of the most glorious visual experiences I have had came from George Miller’s return to the wasteland. “Mad Max: Fury Road” is an incredible accomplishment within the action genre. It’s a carnival of vehicular carnage but at the same time the film goes to great lengths to be more than a macho movie. Women play a big role in the story which few people expected.

#7 – “Interstellar” (2014)

Christopher Nolan brings originality to every project he takes on. This particular movie reaches out in several interesting directions and explores several mind-bending ideas. There is a deep family element at the film’s center, but it also tips its hat to classic science fiction cinema. Some didn’t go for Nolan’s deliberate presentation. I found it fascinating.

#6 – “Spotlight” (2015)

This is lofty praise but I think “Spotlight” is the best film about journalism ever made. It is ensemble work at its finest and the procedural aspect of it fascinates me. The story looks at an incredible important topic, but it never uses its subject for cheap emotional reaction. It presents its case and highlights the true story of a newspaper’s discovery. Brilliant film from top to bottom.

#5 – “The Tree of Life” (2011)

When Terrence Malick released “The Tree of Life” in 2011 the responses were all over the place. There is no denying it is a unique film that doesn’t follow any routine formula. For me it was a hypnotic and emotional experience that I found challenging and rewarding. Sorting through the film’s message isn’t easy, but I was blown away by what it meant to me personally. It is a beautiful and lyrical film both narratively and visually.

#4 – “Amour” (2012)

Michael Haneke is often slammed for making movies that punish his characters and his audience. Some said the same about “Amour”. I view this film from a completely different perspective. This is a film about love, true genuine love. Love isn’t easy and it certainly isn’t always pretty. It is difficult. It is sacrificial. Haneke shows a side of love that we never get in movies. It is extremely tough to sit through, but my appreciation for what he shows us is huge.

#3 – “Gravity” (2013)

When talking about “Mad Max: Fury Road” I mentioned the incredible visual experience I had. The same could be said for “Gravity”. Alfonso Cuarón’s semi-science fiction movie offers up some of the most extraordinary visual effects I’ve ever seen on the big screen. But while others had problems with the thin plot, I found the story of self-discovery and rebirth to be powerful and satisfying. I recently rewatched “Gravity” and it still has a strong effect on me.

#2 – “Midnight in Paris” (2011)

Woody Allen is such a hit-or-miss filmmaker (mostly miss for my tastes), but he knocked it out of the park with the magical “Midnight in Paris”. So much could be said as to why this film works so well. The humor is whip smart. The city of Paris is perfectly utilized through the brilliant cinematography. Owen Wilson surprises with his fantastic performance. The supporting cast is top-notch. It’s some of Allen’s best writing to date. “Midnight in Paris” is essentially flawless in my opinion from its gorgeous opening montage to the perfect final scene.

#1 – “Inception” (2010)

It’s an impossible task but for me the best movie of the decade so far is Christoper Nolan’s dream thriller “Inception”. Anchored by one of the most original scripts, “Inception” captivates as it twists and turns through layers of dreams and emotional baggage. The cast is superb – DiCaprio, Hardy, Cotillard, Gordon-Levitt, Caine, Page, Murphy, Berenger, Watanabe. Hans Zimmer’s score is amazing and the special effects give us some of Nolan’s greatest visuals. “Inception” may not be for everyone, but I see it as a true modern masterpiece.

That wraps up this attempt at listing the 50 best films of the decade so far. What say you? Agree or disagree with by top ten? Please sound off in the comments section below. I would love to hear from you.

The decade is a little over half way gone so I thought it would be fun to look back at the first five years and see what movies have stood out the most. It is also a good chance to see how the films stand up against each other as well as how they have stood up with the passing of time. Today we are looking at #20 – #11. Let’s get going…

#20 – “The Illusionist” (2010)

As a huge fan of the classic French filmmaker Jacques Tati it is impossible for me not to love Sylvain Chomet’s fabulous homage. Taken from one of Tati’s most personal stories, “The Illusionist” stays true to Tati’s special brand of humor and the gorgeous animated style portrays a classic feel that feels perfectly in tune. I adore this film.

#19 – “Take Shelter” (2011)

“Take Shelter” was not only made by one of my favorite young filmmakers (Jeff Nichols), but it features one of the very best performances of the decade (Michael Shannon). The story deals with the weight of mental illness on a loving family. Shannon is amazing playing a man trying to maintain a mental footing through his intense emotional storms. Superbly realized through Nichols’ script and his camera.

#18 – “The Dark Knight Rises” (2012)

Many people had problems with Christopher Nolan’s finale to his Dark Knight trilogy. Personally I thought he wraps it up remarkably well. Expectations were through the roof after the brilliance of “The Dark Knight”. While this isn’t on that level of greatness, it is still an exciting and intelligent finish to the best superhero series to date.

#17 – “About Elly” (2015)

While it is a bit of a cheat (“About Elly” came out overseas in 2009 but 2015 in the United States), it’s a movie I insist be included. Farhadi’s third film on this list takes many of the previously mentioned elements and incorporates them into a different story. He is still examining relationships, deception, and personal revelations and he still does it in the most honest and thought-provoking way.

#16 – “Mud” (2013)

Jeff Nichols finds himself represented again this time in the southern gothic, coming-of-age drama set in small town Arkansas. Matthew McConaughey saw his career resurgence reach a new level with his performance as a mysterious drifter known only as Mud. Tye Sheridan is wonderful as is the supporting cast of Nichols favorites.

#15 – “The Rover” (2014)

It’s hard to express how hard I fell for David Michod’s dystopian thriller “The Rover”. The slow moving story weaves two distinctly different but equally fascinating characters together in a mysterious trek across a post-apocalyptic Australia. Guy Pearce leads the way but it’s Robert Pattinson who was the real surprise. The two butt heads throughout this dark and grungy tale.

#14 – “The Revenant” (2015)

I don’t always go for Alejandro G. Iñárritu’s approach to filmmaking, but I also don’t share the disdain for his work that some do. That’s because when he is on his game we get movies like “The Revenant”. Not only is this a riveting story of revenge, but it dabbles in several other deeper thoughts. It features some of the decade’s most stunning cinematography which is imperative in conveying the films many intriguing themes.

#13 – “Captain America: The Winter Soldier” (2014)

Superhero movies are everywhere and I generally like more than I dislike. My clear favorite of the decade’s batch is “Captain America: The Winter Soldier”. While this is a comic book movie through and through it has the smarts to do several new things. It pulls from classic spy movies and features a lot of action sequences that aren’t heavily dependent on CGI. Plus The Winter Soldier is one of the best villains Marvel has brought to the screen.

#12 – “Star Wars: The Force Awakens” (2015)

How on earth did J.J. Abrams manage to pull this off. Talk about a project ripe for failure. Instead Abrams and company manage to create a true Star Wars experience. “The Force Awakens” channels so much of what made the original trilogy great while also setting a new and promising course. It’s great to be talking about “Star Wars” again.

#11 – “Shutter Island” (2010)

The second Martin Scorsese film on the list that I feel doesn’t get the credit it deserves. This time Marty delves into the psychological thriller arena and creates a truly unnerving experience. The core mystery is filled in through haunting flashbacks and subtle revelations and the setting is genuinely moody and creepy. Top it off with a deep and tragic Leonardo DiCaprio performance – one of the best of his career.

That’s it for now. Follow along and look for #10-#1 tomorrow. Also be sure to share your thoughts in the comments section below. I would love to here your take on the list as it gets closer to my #1 pick of the decade (so far).