The Best Movies of 2015 (So Far)

2015 is packed with tons of movies vying for our coveted "thumbs up." As we near year's end, Moviefone's editors have put together a list of the best films of 2015 so far. Did your favorite make the cut?

'Inside Out'

Pixar can’t make a bad movie. (Um, just pretend “Cars” didn’t happen.) Smack-dab in the middle of a sequel-driven summer, the studio puts out an inventive, hilarious, tear-jerking tour de force masquerading as a kids’ movie. The stellar voice cast, led by the boundlessly cheerful Amy Poehler as Joy, is just icing on the “Inside Out” cake, which is as visually delicious as it is emotionally satisfying.  Tim Hayne, Moviefone

'The Martian'

In a pretty forgettable year of movies, “The Martian” really stands out. With its inventive and witty script and unbelievably talented cast, director Ridley Scott effortlessly makes audiences feel like they are also abandoned in space like Mark Watney. I left the theater wanting to see it again, but also never wanting to go to Mars.  Rachel Horner, Moviefone

'Ex Machina'

Screenwriter Alex Garland's ("28 Days Later") directorial debut touches on moral questions and philosophical implications of artificial intelligence in a way we’ve never really encountered on screen. This is not your typical futuristic robot flick, as it engages even the most reluctant sci-fi viewers (I’m one of ‘em) with mesmerizing performances from Oscar Isaac and Alicia Vikander, stunning visuals, and a cerebral exploration of consciousness that will get you a-thinkin’ long after it’s over. There’s also an insane dance scene, if you’re into that sorta thing.  Alana Altmann, Moviefone

'Dope'

One of the best movies of 2015 so far isn’t just great, it’s "Dope." “But what’s the name of the movie?” It’s "Dope" -- we just told you. Keep up with us here. Even though it’s set in the present day, the main characters are obsessed with ‘90s culture and hip-hop and the film plays like a love letter to that time. Hey, we love the ‘90s, too! And if that wasn’t enough, the film also features impressive newcomer Shameik Moore in the lead role, fresh writing, AND catchy electronic/funk music produced by Pharrell. Oh man, we are so in. Alexis Taylor, Moviefone

'Mad Max: Fury Road'

It’s too bad most audiences won’t fully appreciate “Mad Max: Fury Road” for at least a decade, because George Miller’s return to the franchise – his first live-action movie in 17 years – is not only a master class in pure visual cinema, it’s also one of the best films of this or any year. In addition to creating to instantly iconic sci-fi characters -- Immortan Joe (pictured) and Charlize Theron's Furiosa -- it aggressively commits to doing its big set pieces for real, in camera -- basically one giant eff you to the sameness of modern blockbusters drunk on CG. It's also proof that more movies need a gimp who plays a flame-throwing guitar. Phil Pirrello, Moviefone

'Iris'

After viewing “Iris”, the 93-year-old style icon’s enthusiasm for life, art, and her relationships leaves viewers inspired and also ashamed that we don’t have nearly enough bracelets, baubles, and bedazzled hats in our wardrobe. Trista Bakale, Moviefone

'Trainwreck'

As a woman who deals with the same emotional issues that the character Amy does in “Trainwreck,” this was one of the most relatable romantic comedies in a long time. Plus, I am a sucker for Bill Hader and everything he does. I loved how director Judd Apatow was able to deliver the funny while also giving the audience a serious case of the feels.   Rachel Horner, Moviefone

'Spotlight'

The only movie to ever milk thriller-level tension out of a scene involving a reporter getting documents to Xerox, "Spotlight" is a riveting, cliche-free investigative journalism movie that ranks up there with "All the President's Men." It skips the genre's recent melodramatic trappings in favor of emotionally-driven, boots-on-the-ground sleuthing as a group of overwhelmed reporters struggle to expose a scandal that the Catholic Church actively buries. The only problem with this movie is that it ends.  Phil Pirrello, Moviefone