There was no more explosive movie (literally) in 2015 than George Miller’s “Mad Max: Fury Road.” Photo: Warner Bros. BY SEAN EGAN It’s that time again — when every publication, TV show, website and blog that covers the arts trots out their monolithic lists of the year’s most excellent offerings. But doing this, even if just attempting to articulate your own personal opinion, is a pretty tricky business. It’s not easy trying to compare the relative merits of, say, a movie shot for 100K on an iPhone, and the latest $200 million installment of “Star Wars.” I mean, that’s like comparing apples and the world’s most successful film franchise of all time. Seeing as even the notion of basing lists around the confines of the calendar year is arbitrary, it might be nice to take the focus off of ordering and numbering, and instead take films on their own accord — by assigning them other, equally arbitrary categories in which they can shine.

All of these movies are, I believe, pretty great, and are worth the effort to seek out and watch. Because if there’s one thing that film in 2015 has taught us, it’s that the more cinematically omnivorous you are, and the less concerned you are with consuming only “the best,” the greater chance you’ll have to find something you love — especially in unexpected places. Asda Colleague Handbook Holidays In October here. MOST KICKASS MOVIE OF THE YEAR: “ Mad Max: Fury Road”  Is there any way to describe George Miller’s belated fourth installment of his signature post-apocalyptic action franchise other than “kickass?” Well, you could also say the nearly non-stop, two-hour car chase is “action-packed,” “gorgeously shot,” “delightfully analog,” “surprisingly intelligent,” or “tons of fun.” Or, perhaps you could simply call it “the best movie of the year” — but even that seems a little bit reductive. MOST WHITE KNUCKLE INTENSITY: “It Follows”  With his astoundingly assured debut feature, David Robert Mitchell has created a near-perfect horror movie — and one of the year’s very best films, regardless of genre.

“Tangerine” While not exactly a Christmas movie per se, all the action of this iPhone-shot indie takes place on Christmas Eve — qualifying it for inclusion in. “The SpongeBob SquarePants Movie: Sponge Out of Water” In an inspired move, the Sponge's second big-screen outing marries the increasingly.

Mgi Photosuite 4 Free Download. Taking place in an out-of-time suburb, the shape-shifting titular “It” begins its titular following after the individual it’s plaguing passes it along to another via sex. Fluid camerawork, realistically-sketched characters, and a brilliant premise set this chilling meditation about growing up and mortality apart — as does its ability to prod at big existential questions more effectively than most prestige pictures, while also remembering to steadily mount dread and thoroughly creep its audience out.

“Sicario”  Smart and harrowing, Denis Villeneuve’s mid-budget adult thriller is the kind that doesn’t get made much anymore. It doesn’t skimp on the tension or action, even while exploring headier ideas.

Emily Blunt, in a shot emblematic of the arid, threatening landscape of “Sicario.” Photo: Lionsgate. Led by dynamic performances from Emily Blunt, Josh Brolin and Benicio Del Toro, and guided along by Roger Deakins’ expressive cinematography, it’s ostensibly about taking down a Mexican drug cartel — but is most resonant when examining dynamics of race and gender, and the personal toll this high-pressure environment takes on a person. AMERICAN AUTEURS: “Bridge of Spies”  To paraphrase the movie’s co-scribes, the Coen Brothers: “Tom Hanks. Cold War picture. Whaddya need, a road map?” And with Steven Spielberg in the director’s chair, the project does seem like a no-brainer the creative team could complete on autopilot.