In no particular order except for #1
1. Before Midnight
I was twelve years old when I first met Celine and Jesse. I was introduced to them by my father who would tell me about the adorable way they looked at each other while listening to music. When I saw them, immediately I was enamored by the possibility of love that was permeating the screen. "Before Sunrise" was a revelation of honesty and purity in characters and dialogue. In an art form built on the idea of fantasy, here was a representation you could believe was actually real. It's a rare feat to express as much, for lack of a better term, truth, in film today.
The "Before" series has been a beloved and revered moment in film history. Presenting what probably are some of the most unpretentious films about human connection ever produced this side of 1979. The surprise appearance this year of the third (and potentially final) entry to the series was a breathe of fresh air for a season filled with depressed violent superheroes and examinations of our histories more unforgivable moments. We welcome Jesse and Celine back into our lives and surrender to new things they have learned with the hope they will just as happy as they were when we last left them. But instead we find them in the heat of their seven year itch. They've lived a lot of life and seem to slowly find more and more things to gripe about each other. Something I think a lot of people can relate to in their own relationships. Ultimate what made me put this on the top of my list is a combination of personal reasons and professional. I feel I've grown up with these two…two of the most truly realized characters in modern cinema. And I love them. As an audience member I feel as close to these two as I would two of my real friends. Thats a power that's so rare, it can't be ignored. On a professional level, the maintaining of these characters over 20 years is such an impressive feat. It's a feat for everyone involved, especially for Ethan and Julie. The level of integrity they have maintained in these two creations is a writing and acting power like no other I've seen this year. You never doubt them for a min. This film speaks a high volume of both artistic integrity and emotional honesty that for myself was an unrivaled achievement. A beautiful film, with equal parts love and pain, but never forced, they felt like us. That is it's skill and pleasure.
2. her
It's like "blade runner" as a greeting card. A beautiful and hopeful film that manages to speak and talk high concepts of how human connection and technology "could" collide. The story grows from the upgrade of Phoenix's personal computer OS (operating system) which creates an actual A.I. (artificial intelligence) that learns and grows like a human, both in function and emotion. Eventually building self awareness and emotions. It take a bit of suspension of disbelief, but honestly the performance of Scarlett Johansson is such a triumphant piece that it takes no time to fall into the path its taking you on. And you start to giggle and wide eyed right with them, never once doubting the connection they have. The relationship building is played to such a confident level of realism thanks to Jonze's refined vision and miraculous script. The slightly futuristic clothes and technology are all supremely well designed and subtle, and never takes us out of the main story, but instead enriches and builds it up and up. I never felt the world being created was anything less than authentic. Same with the characters. A true pleasure. Phoenix is proving to be the new addition to a master level group of actors along with Day-Lewis and Penn. I couldn't be more excited for his next role in the new PTA film. *giggidy
3. The Act of Killing
I'd like to start be iterating that this film is not about violence in the media…I repeat…this film is not about violence in the media!
ok. With that said this movie is by and large one of the most heady and intelligent concepts ever committed to cinema. The layers that this film reveals about people and what it means to be human are mind blowing, terrifying even. The film reveals to us that these monsters are in fact human, who have forgotten that they are monsters, and in that realization…become human all over again. BAM! It's a hard thing to really explain with a film that hits on so many heavy points of human behavior and capabilities. But the device Oppenheimer has developed for this movie should go down in history and in my humble opinion, Oppenheimer would do well to lecture on the highly philosophical augments that reveal themselves over the course of this journey as a result. The lessons that are being learned by our subjects and in turn, the audience are not the easiest to accept. Humanizing cultural monsters is a slippery slope, and has to be handled with a very neutral eye. What Oppenheimer has done is nothing short of miraculous. Giving the subjects the device to create their own realizations about themselves. With the power of cinema, our monsters find in creating a celebratory film of their political achievements (Government sanctioned genocide) a huge mirror is shown into their own hearts, and a discovery of the highest significance. After being told for decades that they are heroes, and without much outside influence to challenge that fact, in the making of this film they discover the black in their souls. It's a powerful thing watch happen on screen, and reflects the sometimes extreme nature of our own delusions, and the power of the human spirit. Cinema is used here to a powerful effect. Not only does it show the blacks and whites, but indelible grey as well. Masterpiece is a term I think is thrown about a little to easily, but if anything I saw this year deserves the title, it's this.
4. The Spectacular Now
4.5 The Kings Of Summer
If you've read some of my other posts regarding films as they relate to the youth, it probably won't come as a surprise these two films made it to my list. I had to count them as one entry because I couldn't really decide which I liked better. The themes between the two are so similar that splitting the entry just seemed like the best thing to do.
I'm always glad to see films taking stories about childhood with some sincerity and weight. I've always maintained that films for kids or about kids that try to show some seriousness to them sometimes are unfairly maligned. These two movies specifically show something of a revelation in cinema. Films are catching up with the times of broken families, and less than conventional households and how these new situations are affecting the already development of kids from adolescence to burgeoning adulthood. Both being large points tackled in "Spectacular" and "Kings" with a clarity and clean emotional delivery. There are things addressed here that plague any adolescent, the question of whether or not we are in control of who we become as people. Are we purely the product of our parents? Do we have control over our own destiny? Do we surrender to the shortcomings of our fathers? Both films succeed with incredible casting, believable and timely stories, and a strong yet simple visual sense. "Kings of Summer" is a heartbreaking film of friends coming into their own as individuals pitting challenges for each other as well as with their parents. It's a new kind of "stand by me" rebellion film that shows the strength of growing up and the pain that sometimes has to come with it.
"Spectacular Now" shows the rising above the unworthiness you sometimes tell yourself. That self destructive pattern of only feeling barely good enough, and never allowing to believe that you can be more. This movie shows you are more than the some of your parts and can rise above your environment. And a side note, this has one of the most honest and positive sex scenes I've even seen in a movie with teenagers. I know the R rating, but I wouldn't hesitate showing this to teenagers. It tells all the right lessons.
5. All is Lost
Ok, I'll admit that I really didn't expect to like this movie as much as I did. I got to see it at the Mill Valley Film Festival where I was a projectionist. And usually those of us working the festival don't get to really sit and see an entire film due to the crazy running around. But I was fortunate enough to see this for at least 90% of it. And the effect it had on me was completely unexpected.
First, you gotta see this movie with good sound. It's truly just as much a character as anything else and made me stand up and take notice right away. Robert Redford opens with a narration of a letter he's written…placing it into a bottle and sending off into sea. Backtrack, Redford wakes up on his sailboat to the noise of a loud crash only to find that a displaced shipping container in the water has punctured his hull just at sea level. In the most unfortunate place of where his communications reside, ruining them. After the narration of the letter the film is completely silent of dialogue. The idea of which had me nervous at first, it's a two hour movie after all, could it be that compelling? Yes. Redford's struggle to use only his wits and knowledge to try and survive the elements is a brilliant performance that only a handful of actors could carry. The weathered and still handsome face of Redford carries the weight of years truly lived. And with his finely place looks and movements it captures us before we even know it. We watch captivated as this person moves with pure instinct and deliberant action. It's the strength of human will and endurance on display in a simple and unmolested fashion. The director deserves a lot of credit for making this work. It's a tone poem of utter brilliance. I was swept away by it. I know this is a high regard, and it could just be me…but what is on display here just shook me to the core.
6. The Hunt
I have been a huge fan of Danish cinema since writing my graduate school admissions paper on Lars Von Trier. Now, I love Von Trier for a lot of reasons, and equally have issues with him as well. I will say that his "Dogville" script might be one of the finest pieces of writing of the last 20 years. Now, most people are unfamiliar with some of the other Danish film all stars because of Von Trier taking most of the spotlight, but Thomas Vinterberg is true refined master of modern Danish cinema. His masterful "The Celebration" won the Cannes Grand Prix back in 1998, and with "The Hunt" (or the danish title "Jagten") he shows himself a true force to be reckon with.
Mads character is caught in the middle of a turbulent storm of assumption and accusation when the very young daughter of his best friend comments the he showed her his penis. Mads, a kindergarden teacher is thrown to the wind when the entire down simply doesn't believe the girl is lying, or more so that she would be incapable of lying. In the scenes leading up to the accusation we see the girl swirled with strange reactions to her older brothers showing her a porno picture featuring a large penis. With the almost fatherly relationship she has with Mads, a cascading sequence of events mixes the perceptions for the girl and ultimately leads to her telling the story of inappropriate behavior. It's a very complex film. As we follow the fall out and crumbling of the town, and breaking of Mads character it brings up lots of questions of the power of perception and how much our mind creates of a situation. It's layered upon layered and a truly engrossing experience. It brings up some very important topics and more over really challenges us the audience.
7. Stories We Tell
8. Prisoners
Prisoners was a complete surprise to me. A film that seemed to sneak in under the radar with a limited advertising campaign but garnered a rapid positive response from film festival screenings. I was curious after watching the trailer but it didn't light a fire under my ass to go see it. A few days before its release I saw a rare screening of the newly restored "Sorcerer" by William Friedkin, with Friedkin in attendance.
Side note: All of you should go re-watch "Sorcerer" right now!
William stated that he 99% never sees new movies and hasn't for over ten years. But. He and his wife attended a screening of Prisoners the week before and had nothing but glowing praises to give the dark and relatively unknown drama. Well, if William Friedkin tells me to see a movie, I'm going to see it. So I did. And just…wow. This dark kidnapping mystery was an expertly conceived and executed piece of filmmaking. Every one involved was bringing their "A" game. The performances by two actors I don't usually hold in the highest regard, not that I think they don't do good work, but I also haven't seen anything that has especially blown me away. Well both Jackman and Gyllenhaal absolutely floored me in this. Both characters were so fully realized and nuanced that I became both engrossed and invested in their journey. The subtle twitches and speech rhythms in Gyllenhaal especially, made me look at the actor in a whole new light. It was a dedicated and almost effortless character design, created through great material and great acting. It's difficult to make old material seem fresh. The way the title resonates throughout the story like ripples in a pond, hitting different points and the effect of that first stone thrown, rises this project above the rest. In a very similar fashion to the now classic "Se7en",
"Prisoners" taps in scary territory of our deepest fears and faces them. It challenges us to ask what our own limits are and how far we would go. It goes to the deepest depths of our humanity and takes a look into the darker corners. A tremendous work.
9. The Wolf of Wall Street
I've missed Scorsese. I was one of (apparently) the few people who wasn't very impressed with "The Departed". The only thing I was glad to see from that was he finally got the statue he's deserved many many times over. But this whirlwind of a film I saw as Scorsese's return to fiery form and urgency that's so palatable in most everything he made up to "Bringing Out The Dead", which I still love for the pure insanity of it. But his energy dipped a great deal from then on. DiCaprio and Scorsese drive a fast car through the life of a wall street hopeful who after getting his legs cut, grows them back bigger and stronger, building his own company and becoming rich beyond his dreams. What happens at that point is the main crux of the tale. Greed. Once you get in, it's hard to do anything but just want more and more. What I've read of most people's criticism of this film is kinda exactly what I appreciated most about it. Scorsese is never trying to play the morality card with the presentation of this story. The film claims a neutral position of judgement for its characters. It's lavish portrayal of the lifestyle is easily felt as celebration for it, but what it's actually showing is a window into the people who control a significant amount of this countries financial status. Its a very fine line and a hard thing for some people to agree with. The severity of recklessness shown on screen, and complete lack of empathy by the characters for the people they are hurting, gives us the natural reaction of wanting these people to learn their lesson in the end. When that doesn't necessarily happen…us the audience wants to react with outrage. Well thats exactly what we are supposed to feel. The film brings to light lots of extremes, extreme lifestyles, extreme depravity, and moral ambiguity from the characters to its victims. The fact that this is all true, and that this is what is happening at the top of the money food chain, should bring you outrage, and disgust. The film has done it's job.
10. A Hijacking
Everyone is all like "Captain Phillips" was awesome, I'm over here like "A Hijacking" was better. That's not exactly fair since they cover two completely different situations but be sure, if you want a complete and factually sound insight to the somali pirate situation, than you'd be best to give "A Hijacking" a viewing. One thing I found particularly impactful about this film was the very real matter of fact tone it starts with. The way this film creates tension is much different than it's American counter part. Giving the situation a realism of dread by allowing the severity to build slowly. It creates an honest depiction of desperation that can be felt throughout all the players. The equality provided to all parties eliminated the usual polarizing "good guys, and bad guys" and instead shows human beings in a extraordinary circumstances. The ship take over is very business oriented. It contrasts one group holding power over the other with business formalities being conducted by the company having to negotiate with the pirates, taking a rather frank look at the details that go into these situations. It's two levels of tension and stress coming at you with real weight. The wrought with stress company man who works tirelessly to get these guys home becomes just as much a hostage as the crew. Slowly withdrawing from life to the point of living in his office. The whole ordeal takes months…with no guarantee. It's creation of tension using the subtle sociological tactics of the pirates, the mental pressure put upon these men to ultimately break them into giving the pirates what they demand, sets this film apart from the more…dare I say…"Hollywood" version, is a more frightening and honest film. Everything you feel, you know is genuine. Watch the documentary "Stolen Seas" as well, which includes interviews with the actual people involved in this specific incident.
