Gotta keep it real short this year, as other projects have completely dwarfed my precious movie time this year. One of the many reasons I don’t want to go into super detail about each film is that comparing them this year seems even more unjust, as there are so many films I just missed. So, as always, take these reviews with a healthy grain of salt.
Not an exceptional year for film, but in 2013 there were a handful of really good movies. And, as a plus, they seem to be spread out over the whole year as opposed to just all being released in December. And, the three films at the top of my list would be up there in most years, and really were exceptional.
Let’s get started:
The Hobbit: Desolation of Smaug:
A huge improvement over the previous film, and not just because expectations had been lowered so severely. This was the Hobbit I remembered from childhood, and while lighter by many shades, this film still manages to tie in nicely with the Lord of the Rings trilogy. There was still some filler and some clunky, clumsy filmmaking throughout, which continues Jackson’s downward slope from The Fellowship of the Ring, but the material here is strong enough to make this a worthwhile film and to keep me interested and invested in the next one.
American Hustle:
For me, this was easily the most frustrating film of the year. To be fair, it is not the film itself that has been keeping me up nights, but the manufactured Hollywood promotion of it as a great, Oscar worthy movie. And, to add to my frustration, the same machine that is responsible for its Oscar hopes is the definition of what I didn’t like about the film: it is an illusion of greatness. All flash, no substance. Like a sparkly, fast paced, seizure inducing music video that convinces people the song is good when it is really not.
There is plenty good in American Hustle. Jennifer Lawrence is absolutely amazing and completely steals the film in the short amount of time she is on screen. For her performance (and, admittedly, her dialogue) alone, the film is worth seeing. The other actors though are very inconsistent. At first, Christian Bale’s Dinero impersonation was interesting but after 2+ hours was terrible (there was even a horrible, poorly done scene of the actors making eye contact that seemed to be some meta attempt at acknowledging this impersonation or some sort of passing of the torch that was completely ham-handed).
I kept waiting for some sort of twist or reveal in the end of some genius long-con that would have made the story worth my time, but it never came. And in the end, the problem with this film was that the story sucked. It was good to look at, the music and costumes were excellent, but it was a mirage. A silk hat on a pig.
Instead of going to see this film, maybe just pop Casino in the DVD player, because really, it’s the same film without the drugs, violence and drama. And I will take authentic Scorsese any day over a cheap imitation.
Much Ado About Nothing:
I’m a sucker for Joss Whedon. His particular writing style and sense of humor have appealed to me for a long time and I’ll see just about anything he’s involved with. And while he certainly did not write this film (if I have to acknowledge who did, we have truly failed as a society), he put his stamp on through the comedy, timing and the actors he chose for each role.
This film could have easily veered off into a self-congratulatory, inside-joke filled film that would have been better suited for the film school crowd, but instead it remains a personal film to be enjoyed by everyone. Obviously, the source material is a very relatable story, but what makes this film such an enjoyable experience is the two main actors. Alexis Denisof and Amy Acker are fantastic. They are hilarious from start to finish, have a great chemistry with one another and for the life of me I can’t figure out why both of them are not household names.
Only God Forgives:
I want so badly to love this film. It had me so invested from start to finish, and I was so convinced that it was this slow burning fuse that was going to blow up in some fantastic display of cinematic fireworks, which would cap the visual masterpiece that was the rest of the film.
But it never came. Instead of an explosion, the fuse just smoked and went out. The ending, while fitting in hindsight, was a huge letdown and left me wired from the built up tension in the rest of the film.
I don’t know what would have met my expectation or how I would have ended it differently, but I cannot pretend that I wasn’t hugely let down. Still, see this film if only for the emotional arguments it will insight.
Her:
Very much Charlie Kaufman-esque, Her is a mediation on the growing disconnect and social breakdown in society. We live in a world without Devil’s advocates and surround ourselves with constant affirmation of our own beliefs and our technology is what is fuelling the bonfire.
I went into this film expecting an awkward and uncomfortable comedy, but I was presently surprised at how sweet and sensitive the subject matter was handled. This one is going to need subsequent viewings to completely process, but I enjoyed it very much.
The Wolf of Wall Street:
Men in their early twenties will want to be Jordan Belfort while men in their thirties and later will hate him with a fiery passion. Because he is the stupid, id controlled, self-important Icarus figure we all regret being. All of us have done something stupid because we thought we were invincible and that the world revolved around us. Then we grew up and learned some hard lessons and wish we could go back and smack some sense into our younger selves. Take that bratty kid you were, give him millions of dollars and seemingly zero consequences for any actions, and what you get is The Wolf of Wall Street.
Funny, topical and emotionally engaging, this is Martin Scorsese flexing his muscles, as well as playing with the cynical humor that has always stayed just under the bubbling surface of his films. If this film had been edited a little tighter and was a half hour shorter, it would be up there with some of his best.
To the Wonder:
I will see every Terrence Malick film, when it comes out, until I die or he stops making them. His films elevate the entire medium to art. And To the Wonder is undeniably Malick, from start to finish.
I will say though, that it is probably the weakest of his films. Though that is hardly a put down.
Visually without peer, where every single frame is either a gorgeous landscape, an emotional portrait or some abstract play of light. Olga Kurylenko makes you fall in love with her (and has been sorely lacking in awards consideration), and the emotional journey of the characters is a worthwhile trip to take. But, ultimately, the story itself and the twists and turns are just not enough to keep the interests and attentions of anyone that is not a self-professed cinephile. And, if I can bring myself to criticize Malick at all, many have pointed out that this film is so full of his trademark style and camerawork that it borders on self parody, and I can see an argument there. Still, well worth the time if you are a fan of his work or just want to see some beautiful imagery set to wonderful music.
Gravity:
I loved this movie and was thoroughly entertained. But I am not sure I would call it film as art. It certainly straddles the line. What I mean by that is the story and characters often act and develop simply to further and support the visuals. It becomes an amusement park ride. But it was a fun one and I am glad this movie exists. It sparked an interest in me for reaching far beyond our grasps and a renewed love of space and science. Like a generation of kids who signed up at the local dojo after seeing The Karate Kid, maybe this film will be the catalyst in getting our space program back up and running. Alfonso Cuaron deserves all the praise in the world for getting this film off the ground, pun intended.
Blue Jasmine:
Another fantastic film by Woody Allen, and the first I have really enjoyed in the last decade that was actually set in the United States.
This is a darkly funny film that breaks all sorts of rules. At times it resembles a typical autobiographical biopic (excuse my redundancy, but I don’t know how else to explain this sub genre), where the “protagonist” sings “poor me” for 2 hours. But, you somehow never empathize with Cate Blanchett’s downward spiraling character and instead watch her painful decent with an almost scientific indifference. It is, in my mind, the best performance of the year. It is made that much better by an extremely strong supporting cast and non-stop awkward, situational comedy that hides just how dark this film really is.
Inside Llewyn Davis:
One of those personal films that you will either love or dismiss based on whether or not you care about the New York folk scene in the early sixties or even know enough to be interested by the myth of the place. And personally, I loved every second of it. The Cohen Brothers really do focus on the lasting ideal of a place and time, as opposed to the historical reality. And their films are better for it.
Inside Llewyn Davis is structured just like a great folk song. It tells you a story of ups and downs, and brings you full circle with a clever and inventive twist, as though it was a cautionary tale by Dylan or Woody Guthrie. It may not be the best film of the year, but it may be my favorite.
12 Years a Slave:
The best film of the year. This is really an extraordinary film. It is the best ensemble cast I have seen in a long while, it is masterfully filmed by a director that is quickly climbing the short list of best filmmakers working today and it is a heart-wrenching and emotional journey that is at times hard to watch but is undeniable and historically important.
The only criticism I have heard that is worth at all listening to is that it is gruesome and painfully engaging at times. And, while this is true, the sad fact is that the story shy’s away from the ugly reality at times and never takes the bait to make these villains truly and completely evil. And, in a way, that makes it even harder to stomach.
A wonderful and important film. One that we should all see and will hopefully be shown in schools and taught everywhere for years to come.
I’ll get around to seeing some more films and maybe adding them onto this list (as well as writing reviews and musings on some of the films I saw but didn’t feel I needed to fit in just now). But that is it for now.
As always, please let me know what you thought about these and other films as the discussion film breads is the best part of the movies.
Almost forgot - Oscar pics.
Best Picture
Should Win: 12 Years a Slave
Will Win: 12 Years a Slave. Gravity could steal it, but my moneys on the frontrunner.
Best Director
Should Win: Steve McQueen, 12 Years a Slave
Will Win: I have a strange feeling Alfonso Cauron will win this one. I can see a lot of people splitting this vote, and with good reason. Gravity is an amazing directorial accomplishment.
Best Actor
Should Win: Chiwetel Ejiofor
Will Win: I am hoping Ejiofor squeeks this one out but the safer bet is on Mathew McConaughy for Dallas Buyers club.
Best Actress
Should Win: Cate Blanchett
Will Win: Cate Blanchett. Even the backlash against Woody Allen shouldn't derail her gold
Supporting Actor
Should Win: Weak category. Jared Leto can have this one
Will Win: Jared Leto
Supporting Actress
Should Win: Either Lupita Nyong'o or Jennifer Lawrence would be great choices
Will Win: I think Lawrence will win this one and American Hustle will be shut out for the rest of the night.
Adapted Screenplay
Should Win: 12 Years a Slave
Will Win: 12 Years a Slave. A lot of people think Wolf of Wall Street should win based on the level of difficulty, but I think this one's a lock.
Original Screenplay
Should Win: Her or Blue Jasmine
Will Win: Her. American Hustle could take this one, but I am hoping it has a rough night.
Cinematography
Should Win: Inside Llewyn Davis.
Will Win: Gravity. No question here.
Editing
Should Win: Gravity
Will Win: Gravity
Original Score
Should Win: Steven Price for Gravity, in by far the weakest showing in the category in recent history. Hans Zimmer again was not eligible for weird Academy reasons.
Will Win: Steven Price for Gravity.
And again, I could go on to Make-up, costumes etc, but those are secondary in my opinion. And I really hate the Animated film category.
Thanks,
Ryan Black
February 28th, 2014
