But aside from all of that, 2013 managed to be one of the most amazing years for film in recent history. It seems like everyone, from the actors, to their directors, to the screenwriters brought their A-game in telling some of the most interesting stories. Steve's McQueen managed to finally craft the first real authentic portrait of the horrors of slavery, while Alfonso Cuaron took us into space, reminding us of its dangerous beauty. There was also Selena Gomez and Vanessa Hudgens flirting with danger in Harmony Corrine's (flawed) examination of youth in revolt with Spring Breakers; the kids are NOT alright.
But I digress, the stories are plentiful and the talent even more so; it was extremely difficult in crafting this list. We're almost 2 weeks into 2014 and I just now finished this (partly due to the fact that movies have finally expanded to theaters in my area). I hate whittling it down to 10 but unlike the past few years, this year was the hardest. I could make a case for almost every movie not included on this list; even films I didn't like had things to admire about them, from the editing to the sound design.
I'll say it again, it's been a hell of year for movies; this one will always stick out in my mind as one of the best.
So here we go! My top 10 films of the year
Paul Feig's 2011 film Bridesmaids revitalized the genre of comedy in a way that no film had done before. For the first time, woman could be funny in the way that men could be (particularly those of The Hangover). Of course we all knew this already, but for some reason, this was the first time a mass audience accepted it; For the first time, women could be funny the way men could be funny, and be successful for it. Bridesmaids improved upon The Hangover's "Up All Night" formula by giving us laugh out loud humor complete with emotionally satisfying character arcs for its characters, even the unbelievable Megan (played by Melissa McCarthy, who returns in top form here). With The Heat, Feig took the cop buddy genre deemed "male only" and turned it upside down on its head, providing a hilariously outrageous showcases for stars Sandra Bullock and McCarthy (more movies with these 2 as co-stars please!). No one in any movie delivers their lines with such hilarious conviction like McCarthy ("I’m going to make you bend over and I’m going to reach up into your pocket and get the keys to your house, and then I’m going to drive there and stab you with your own badge. That’s what I’m gonna do."), whose rough around the edges Detective Mullins is the perfect foil to Bullock's "straight man" Agent Ashburn. Bullock has played the Mullins type before, but she is just as good as the more restrained character. It's been such a banner year for her with this performance and her work in Gravity; she really is one of Hollywood's best. It may not be the type of film that gets nominated for Best Picture, but The Heat is a balls out HILARIOUS film, with substance. Bonus points for not only holding up, but being funnier on a repeated viewing.
"I'm so embarrassed, I'm not a real person yet!" This line pretty much sums up the whole of Frances Ha, a story about a dancer who doesn't really dance. She (Frances, played by Greta Gerwig) is much more concerned living out her friendship fantasies with "soulmate" Sophie (Mickey Sumner) who comes to realize she wants to be an adult, complete with a brag worthy fiance. Frances, who has nothing but Sophie, goes into panic mode; we watch her fall, fall some more and stumble through New York City as she tries to make a life for herself. But no matter how hard she tries, Frances just can't seem to get her shit together. Welcome to the life of a 20something.
Shot beautifully in black and white, Baumbach's direction and Gerwig's energetically endearing star making performance capture the essence of what it's like to be a struggling 20something, scraping the bottom of their bank accounts to live; it's an artfully executed vignette that speaks very much about the now. Where the colorful cast of Girls seem to caricature-y to be actual people (almost like a cliche), Frances Ha's cast of eclectic and entertaining characters seem more real, without sacrificing the humor, sometimes at France's expense. Unlike Girls, the film isn't really rewarding Frances for having such an unorganized life, nor does it punish her. In fact, the film relishes in her constant falls and attempts at standing up, only to fall again, and trust me, it's highly entertaining. You will laugh, sometimes with a tinge of painful realism; you either know a Frances, you've been a Frances, or you currently are a Frances. Try and find a more memorable scene this year than that of Frances dancing through the streets of New York set to David Bowie's Modern Love. Go on, I dare you.
The disappointing release of The Purge didn't make things look good for You're Next. Though the trailer seemed fresh and exciting (much like The Purge's), at its core it seemed like another "trapped in the house & stalked by the bad guys" movie, and perhaps that's why it wasn't more of a box office hit. However, this film was unlike anything I had ever seen in the horror/thriller genre. Made on a slim budget of $1 million, it eclipses its bigger budget relatives, most notably Texas Chainsaw Massacre: 3D, and the remakes of Evil Dead & Carrie. Much like The Spectacular Now, You're Next takes a worn concept and manages to make it feel new again. The plot, though familiar in theory, is like an onion; the layers are slowly peeled back throughout the duration of the film to reveal new unexpected twists and turns in the story. It manages to always be thrilling and exciting, keeping you wondering what's going to happen next, while spouting a clever screenplay saturated with black comedy to keep the audience entertained on more than one level. Not only is You're Next a great entry for the horror genre, but its a great example of some of the innovative filmmaking that took place in 2013. Bonus points for featuring one of the most bad ass characterizations for a female lead in a horror movie; Erin (an electric Sharni Vinson) isn't on the sidelines hiding from the baddies. In fact, its her the film's antagonists are afraid of, and for good reason.
Enough Said could've been another standard rom-com. It could've been another story about 2 people who against all odds, end up with each other, even though everything about them suggests that they don't belong together. What Enough Said manages to do, however, is stick to this predictable mold, and offer some of the most memorable moments set to film, with fully fleshed out characterizations thanks to writer/director Nicole Holofcener, and her 2 principle actors Julia Louis Dreyfus and the late James Gandolfini. Rather than have them rest within their comfort zones (Dreyfus the goofy lovable comedienne, and Gandolfini the fiercely ferocious and intense man), Holofcener challenges them to be anything but themselves. We've seen Dreyfus rack up the laughs on Seinfeld and Veep, but never has she displayed such mastery at being this dramatically nuanced, and she completely aces it delivering one of the years best and most complex performances. Gandolfini sheds his scary image as Albert, and lets us see him in a different light: goofy, light hearted; he's a big ol' lovable teddy bear. It's sad this is the last time we'll see one of the greats on the big screen, but boy, does he remind us of his sheer versatility as a true leading man.
Holofcener's screenplay is full of memorable moments, from Eva and Albert's first date, to their quiet interactions on the front porch. Each moment manages to be as interesting as the last one, with a great supporting cast (Toni Collette and Catherine Keener included) to compliment Dreyfus and Gandolfini. Instead of suffocating these moments and filling them with cutesy moments like a lot of films in the genre do, Holofcener steps back as a director and allows for her actors to find these moments themselves, navigating the tricky beats of dramedy. Enough Said is about hurting the people you love with mistakes that might not be so easy to come back from, despite loving them unconditionally. It's a small movie with a lot to say, that reminds us of the magic of storytelling with an emotionally satisfying payoff.
#6.) Short Term 12 (dir. Destin Cretton; Starring: Brie Larson, John Gallagher Jr., Kaitlyn Dever, Rami Malek & Keith Stanfield)
In a year full of flashy Oscar contender movies (August: Osage County, American Hustle, etc) somehow this scrappy little indie unfairly has gotten lost in the mix of critical adoration. But what Short Term 12 lacks in budget, it makes up for in heart. It's an authentic and emotionally satisfying look at the lives of foster care employees, and the children they serve day in and day out.
Brie Larson leads the very able ensemble as Grace, an extremely passionate worker who will do anything for her kids. What I can't believe is that this is Larson's first lead role; as Grace, she is a complete and utter marvel, out acting actresses twice her age who are hogging most of the recognition these days. She is able to walk the tightrope between fiery determination and delicate fragility, adding up to a complex but strong willed female character that you just don't see in films anymore. But Larson isn't the only standout, from Keith Stanfield to John Gallagher Jr and Kaitlyn Dever, the cast is on fire; you truly feel every emotion of these kids and these workers. Director/screenwriter Destin Cretton has masterfully crafted a story with basically nothing, and yet delivers more heartfelt emotion and even humor than a lot of other films released this year made with a lot more money and resources.
The world knew that Steve McQueen was a talented, emerging voice in the world of film; his debut Hunger (2008) and follow up Shame (2011) managed to be both haunting and a display of the director's distinct voice. His latest film manages to expand the scope of his previous endeavors while preserving his signature style. The result is the most hauntingly accurate film about slavery in the history of film, filled with truly powerhouse performances and disturbing, thought provoking images that will stick with you long after you've left the theater. What makes 12 Years A Slave one of the best films of the year is not its powerhouse acting (especially by the quartet of Ejifor, Fassbender, Paulson and Nyong'o), nor the haunting direction by McQueen. While all of those things are essential to the success of the film, it's the film's conviction to never shy away from telling the audience the true horrors of slavery; even when you want to look away, McQueen forces you to keep your eyes glued to the screen. 12 Years is not just a masterful film, it's an important film. For the first time in Hollywood history, the atrocities of slavery are laid bare without whitewashing or glossing over important themes. It's not an easy sit; we see every lash and every punishment. But what will haunt you long after the credits begin to roll is not the physical pain endured, but the pain inflicted to the mind and soul.
Set in an untold future, Her is Spike Jonze's examination of humans and the way we form relationships and connections. It's told from the point of view of recently divorced Theodore Twombly, a man who lives his life through other peoples' relationships by writing heartfelt letters these people can't write themselves. Much like we're voyeurs peering into Theodore's life, Theodore himself is peering into the relationships of these other people, but also acting as a mouthpiece for them. When he purchases a new advanced Operating system for his computer named Samantha (voiced by Scarlet Johansson), he begins to get to know her in a way that he's unable to get to know other human beings; their connection is unlike the one that Theodore had with his ex-wife (Rooney Mara), or even his best friend (played by Amy Adams).
Her is poignantly touching, handsomely crafted and surprisingly funny. The film simultaneously touches on many different ideas, but does not reach too far; it's scope may be wide but Jonze's execution is subtle which is one of the film's many strengths. The relationship between Samantha and Theodore is incredibly believable, and that is because of Johansson. Somehow, she transcends physicality; she makes her presence is felt throughout the film with only her voice. It's a film that couldn't have been made by anyone else; Jonze's distinct handprint is all over this one. Not only has he crafted a film with something to say, but he's created a truly emotional experience that forgoes its futuristic backdrop; it's a film that speaks to the young and the old and anyone that has ever been in love. Make no mistake, you will fall in love with Her.
The odds were set against Gravity: a film set in space, about space, resting solely on the shoulders of Sandra Bullock, whose controversial Oscar win earned her, and the film, some enemies. Alfonso Cuaron hadn't made a film since 2006's critically lauded Children of Men, and had invested not only years of his life, but much of his own money (he's one of the film's 2 producers; the budget was $100 million) in a project no one knew would succeed. The concept? Sandra Bullock's character lost floating through space after an accident separates her from the space station she's working on. So essentially, 127 Hours, except in space, starring Sandra Bullock and directed by Alfonso Cuaron.
Against all odds, Gravity became one of the most critically adored, and financially successful films of 2013, and one of my personal favorites (even of all time). Much more than a movie, Gravity is an experience, a real ride. The film envelopes the audience mind, body and soul into the journey of one woman's struggle for survival; make no mistake, you're on this journey with her. Space has never felt more real, breathtakingly beautiful but ominously dangerous than it does here in Cuaron's epic. Every detail has been perfected, from the editing, to the score, cinematography, sound design and even the production design, but none more than Sandra Bullock's career changing performance. I don't think anyone, myself included, knew she had this inside of her. In a complete 180 from her work in The Heat, she reminds us of her versatility, taking the already technically impressive film and gives it an emotional depth, guiding the viewer through her difficult journey, sometimes literally. While sometimes Cuaron acts as the visual guide, giving you deep space on a silver platter and putting you in Ryan Stone's space suit so you're there along with her, Bullock acts as the emotional guide. You feel the fear and every thing else she's feeling right there when she's feeling it. There's also a committed physicality to her performance, but what makes Bullock's work so special is that you can feel Bullock (the actress) herself grow as the film wears on. She sheds any sort of worry she may have had about doing the film; this is unlike anything she has ever done in her long career. She begins to trust herself, and dives headfirst and giving the performance of her life, much like her Dr. Stone must trust her own instincts to make it from space back to Earth. There is a level whole-hearted commitment between the director and his actress, and the payoff is extremely satisfying. Gravity sets the standard for masterful filmmaking, and will be studied and talked about by future filmmakers and film lovers for years to come.
The Bling Ring was my most anticipated film of the year, from the moment I had heard it was in development. Based on the real life "Hollywood Hills burglar bunch", the film tells the story of bored teens who google'd celebrity addressed, walked in (unlocked) doors, and proceeded to "go shopping" in their closets.
Though she's received some unfair, post- Lost In Translation backlash, Sofia Coppola remains one of our most talented story tellers working today, choosing to rely on the power of visuals rather than words to convey her films' messages, most notably in the misunderstood Marie Antoinette. With The Bling Ring, Coppola takes the strikingly beautiful visual storytelling to a new level, underlying it with intelligently sharp-biting satire and mixes it with the study of over privileged, bored protagonists that she's best known for, relishing in the excess of these snobby kids. Emma Watson sheds the Hogwarts uniform for Lindsey Lohan's jewelry, Pairs Hilton's tight fitting dress as a closeted fame whoring party girl who robs celebrity houses with her friends. In Watson, Coppola has found her muse, like Kirsten Dunst, Elle Fanning and Scarlett Johansson before her, and the satirical edge of the film is best conveyed in her scenes (especially the scenes she shares with Leslie Mann, who is also brilliant). The whole cast, however, perfectly embodies the shallow emptiness Coppola is trying to convey, while establishing themselves as actual characters instead of the personification of an idea like the girls of Spring Breakers. That being said, they never stumble into caricature territory like James Franco's "Alien". Critics went back to their default response to a Sofia Coppola film labeling it and its characters as "empty", never stopping for a second to realize that was the brilliance of the overall depiction; they were not willing to see, or admit that these characters were and are real people, and the hollow selfishness they lambasted the characters (and the film) for writhing in was merely retelling the events as if they had happened. Coppola's film has much more to say than the sweaty, tit and ass ridden Spring Breakers does, it's just the message is hidden beneath its vain and stylish surface, instead of in your face.
For all of the vast film gems of 2013, no film resonated with me more than the 3 hour epic (and it is epic, in the most subtle way) about a young girl who falls in love with an older college student, who happens to be female. The film won the Palm d'Or at the Cannes Film Festival. For the first time in its history, was awarded to not only the director but the 2 actresses as well, a decision that makes total and complete sense; the film's success is because not only of the Kechiche's intimate and masterful direction, but also because of Exarchopoulos (especially) and Seydoux's committed portrayals.
It's easy to say Blue Is the Warmest Color is a lesbian love story, with all of its graphic love scenes). And while the two people involved in this relationship happen to be women, there is an immense level of honesty that speaks to couples of all kinds. But beyond the romance, it is truly the story of Adele (Exarchopoulos) and her personal self-discovery that comes at the expense of her heart. We (literally) follow Adele in every moment of her life: from the moment she wakes up to the moment she falls asleep; Kechiche doesn't let his focus up, not for a second. Conversation scenes between characters play out longer than they would in a conventional film, but its these scenes that allow us to really get to know these characters realistically inside and out; moments aren't glossed over for the sake of wrapping the film up in a timelier fashion (the film doesn't apologize for being long). We see the passionate beginnings of love, and its heartbreaking end. Exarchopoulos' performance compliments Kechiche's brilliantly claustrophobic direction perfectly; she is a fiery ball of passion delivering one of the most believable, powerful and compelling performances ever set to screen; it's incredible that this is her first role. It's easy to see why Kechiche chose her as the film's focus; we as the audience are as fascinated with her as the camera is. The complete beautiful simplicity and the claustrophobic intimacy of the film put me under a spell that has made it impossible to shake from my mind. Blue Is the Warmest Color is genuine, heartbreakingly erotic and completely hypnotic. Kechiche takes a simple concept, and gives you a pair of awe-inspiring performances which transcend the lesbian label. Where Gravity had stunning beautiful visual effects, and The Bling Ring had expensively gorgeous clothes, Blue Is The Warmest Color is laid bare right down to the beautiful bodies of its actresses, giving you everything they have. It's a work of art, one that stays with you long after the credits begin to roll. It is for that reason, that it is my favorite film of the year.
The Long list; Those that came close, but didn't crack the top 10 (In Alphabetical Order):
11. The Spectacular Now (dir. James Ponsdolt; Starring: Miles Teller, Shailene Woodley, Brie Larson, Jennifer Jason Leigh, Mary Elizabeth Winstead & Kyle Chandler): Walks "been there done that" territory while sidestepping all of the familiar clichés; it breathes new life into the teen romance genre. Teller and Woodley are magic; their chemistry is undeniable. The film is a small, honest snapshot of a time in your life when you're trying to enjoy each moment before they blow past you.
12. Stoker (dir. Park Chan-wook; Starring: Mia Wasikowska, Matthew Goode & Nicole Kidman): A highly stylized love letter to Hitchcock. The film works like a clock, ticking closer and closer to its epic conclusion while inviting you to relax with its gorgeous imagery, even though you should be on your guard. Kidman is on fire, proving her versatility; she is one of our finest actresses.
13. Dallas Buyers Club (dir. Jean-Marc Vallée; Starring: Matthew McConaughey, Jared Leto, Jennifer Garner, Denis O'Hare, Dallas Roberts & Steve Zahn): An artfully directed showcase for stars McConaughey and Leto; Vallée steps back to allow you to see every choice each actor puts into their performance from the physicality to the emotions driving their actions.
14. Inside Llewyn Davis (dir. The Coen Brothers; Starring: Oscar Isaac, Carey Mulligan, Justin Timberlake, Adam Driver, Garrett Hedlund & John Goodman): The film itself is as melancholy as the folk songs its troubled protagonists sings, and yet its one of the most beautiful films of the year. Oscar Isaac delivers a star is born performance, with the support of a truly colorful cast of characters. The Coens have done it again.
15. Blue Jasmine (dir. Woody Allen; Starring: Cate Blanchett, Sally Hawkins, Bobby Canarvale, Louis C.K., Peter Sarsgaard & Alec Baldwin): Cate Blanchett is a level 5 hurricane; Jasmine is a force of nature that has only just begun unraveling, and she's taking everyone else with her. Never has it been so entertaining watching a ticking time bomb self-destruct. Great turns from Hawkins and Canarvale as well. This isn't the one woman show that everyone has been hailing it to be
16. Captain Phillips (dir. Paul Greengrass; Starring: Tom Hanks & Barkhad Abdi): An intense thriller that will have you on the edge of your seat from beginning to end, including the most amazing final 10 minutes you'll see in a film this year. Hanks delivers his best performance in years, with Abdi the perfect foil to his privileged captain.
17. The Place Beyond the Pines (dir. Derek Cianfrance; Starring: Ryan Gosling, Bradley Cooper, Eva Mendes, Dane Dehaan, Emory Cohen, Rose Byrne & Ray Liotta): A stunningly compelling 3 part saga centering on the importance of the choices made as a father. Ryan Gosling, Bradley Cooper and Eva Mendes turn in some of the best performances of the year.
Honorable Mentions (Films I Liked but didn't Love, in Alphabetical order):
- American Hustle (dir. David. O Russell; Starring: Christian Bale, Amy Adams, Bradley Cooper, Jeremy Renner & Jennifer Lawrence)
- August: Osage County (dir. John Wells; Starring: Meryl Streep, Julia Roberts, Ewan McGregor, Chris Cooper, Abigail Breslin, Benedict Cumberbatch, Juliette Lewis, Julianna Nicholson, Margo Martindale, Dermot Mulroney, Sam Shepard & Misty Upham)
- The Conjuring (dir. James Wan; Starring: Patrick Wilson, Vera Farmiga, Lili Taylor & Ron Livingston)
- Fruitvale Station (dir. Ryan Coogler; Starring: Michael B. Jordan, Melonie Diaz & Octavia Spencer)
- The Hunger Games: Catching Fire (dir. Frances Lawrence; Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Jena Malone, Sam Clafin, Lenny Kravitz, Stanley Tucci, Philip Seymour Hoffman & Donald Sutherland)
- The Way Way Back (dir. Nat Faxon & Jim Rash; Starring: Liam James, Steve Carrell, Toni Collette, Allison Janney, Anna Sophia Robb, Sam Rockwell, Maya Rudolph, Rob Corddry & Amanda Peet)
- The Wolf of Wall Street (dir. Martin Scorsese; Starring: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Kyle Chandler, Rob Reiner & Matthew McConaughey)
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