Top Ten of 2014

What it says on the tin - my top ten films of 2014. As seen at the cinema, at the time they were released in NZ:

August: Osage County
This emotionally epic tale of the worst family you will ever come across has remained with me all year. Bitterly funny and tragic. With superb performances all round from an A-list cast. My film of the year.

Boyhood
A feat of film-making, but not because of the usual computer-generated bangs and whistles. Filmed over 12 years, with a cast and director utterly committed to the project, the audience literally witness a coming of age. A compelling, touching film.

Frank
An odd-ball comedy/tragedy very, very loosely based on the singer Frank Sidebottom. Quirky, laugh-out-loud as well as 'scratch your head in bemusement' funny. An absolutely wonderful Michael Fassbender is my pick for performance of the year.

Gone Girl
Wowzers. I was highly skeptical going in, having loved the book on which this film is based. I needn't have worried - in the hands of David Fincher this is one of the most thrilling, sadistic, slick films you'll see.

The Hunger Games: Mockingjay - Part 1
I'm as surprised as anyone to see the first part of the final instalment of this trilogy in my top ten. But, you know what - it was really very good. Less action-packed than the first two, without a 'games' on display. But grittier, darker, moodier, smarter, more mature, with a stellar performance by Jennifer Lawrence.

In Order of Disappearance
The blackest of black comedies, set in a landscape of snow and ice, this Norwegian film was simply brilliant. Starring the ever-watchable Stellan Skarsgard, as a father avenging his son’s accidental murder.

The Lego Movie
Everything is awesome. Enough said.

Nightcrawler
Loved this compelling story of a sociopathic crime scene photographer, which is so tense you will spend the entire film on the edge of your seat. Splendidly creepy performance by Jake Gyllenhaal.

Pride
The feelgood movie of the year. I laughed, I cried, and then I laughed some more. It sits easily alongside the likes of Billy Elliot and Brassed Off; the type of genuinely moving stories that the Brits tell so well.

The Skeleton Twins
A wonderfully funny, tragic, touching story of the 'black dog' that afflicts two estranged siblings. Kristen Wiig and Bill Hader are both brilliant, their familiarity through years of working together plain to see. And they perform the best lip-sync you'll see all year.

Interstellar

Matthew McConaughey, Anne Hathaway, Jessica Chastain, John Lithgow, Michael Caine, Mackenzie Foy

Dir. Christopher Nolan
Scr. Christopher Nolan and Jonathan Nolan

The one thing I would certainly urge for those interested in seeing Nolan’s latest outing, Interstellar, is: see it on the biggest screen you can find. And if you don’t like your movies LOUD, maybe give it a miss. Interstellar is certainly an experience. It’s not without some pretty major flaws, including some saturating doses of schmaltz. But there are enough ‘wow’ moments to make this film well worth a viewing.

Set in the not too distant future, on a dustbowl Earth ravaged by drought, famine and extreme climate, Interstellar tells the story of former astronaut Cooper (McConaughey). With the human race facing extinction, Cooper and a group of other space travellers (including Hathaway) are humanity’s last hope of finding a planet that can sustain life.

But first Cooper must leave his family behind, not knowing when or if he will return. In a heart-wrenching scene unlikely to leave anyone with a dry eye, Cooper says goodbye to his daughter Murph (Mackenzie Foy).

I suppose this is where the overwrought sentimentalism begins. And unfortunately it’s not where it ends. I’m not at all opposed to some well executed schmaltz, but if I had to listen to Caine’s character recite the Dylan Thomas poem ‘Do Not Go Gentle Into That Good Night’ one more time, I was going to strangle someone (preferably Michael Caine himself). For my taste, there was simply too much espousing of how so very important their interstellar journey was, what dire straits humanity was in, and love, the universe and everything. We didn’t need to be hit over the head with the gravitas. It was abundantly clear from the set up and the visual, which was spectacular.

Having said that, there are moments in Interstellar that blew my tiny little mind. And because this is a spoiler-free zone, you’ll just have to trust my word on that. But if you know Nolan, you know this is an epic visual feast. He had a challenge living up to last year’s Gravity, which changed the space genre forever. But he does, in spades.

The performances in this film were largely solid. McConaughey has risen exponentially in my estimation (thanks to the likes of True Detective and Dallas Buyers Club), and he is a brilliant choice for the gruff, can-do Cooper. Hathaway, as fellow space traveller Brand, is only mildly annoying and no more unlikely an astronaut than Sandra Bullock was in Gravity. Caine and Lithgow offer up predictably grizzly performances. The other real standouts both play Murph, but at different ages. Foy, as 10-year-old Murph, has maturity and magnetism beyond her years. And Chastain, as adult Murph, is equally engaging and compelling. And there is one more performance that is excellent and refreshingly against type … but you’re just going to have to see the film to discover that one.

I certainly enjoyed Interstellar. It is hugely ambitious – it reaches for the stars (excuse the pun) and in many ways, delivers. At nearly 170 minutes, it certainly felt a little heavy and could have lost half an hour without much trouble, and ended at least ten minutes before it did. And I did feel simply too emotionally manipulated – Nolan could have reeled himself in, without losing the emotion and sentiment he was clearly shooting for.

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Cooper: We used to look up at the sky and wonder at our place in the stars; now we just look down and worry about our place in the dirt.

Gone Girl

Ben Affleck, Rosamund Pike, Neil Patrick Harris, Carrie Coon, Kim Dickens, Tyler Perry

Dir. David Fincher
Scr. Gillian Flynn (based on her novel of the same name)

Director Fincher had quite a mountain to climb in his latest outing. Gone Girl – the book – was read and acclaimed by half the planet, which makes Gone Girl – the movie – a challenge. Fincher’s no stranger to the task however, directing The Girl With the Dragon Tattoo and Fight Club, both adapted from popular novels. What he’s managed to do here is satisfy both the reader and non-reader. Gone Girl is a genuinely thrilling, shocking ride, regardless of whether you know what’s up ahead or not, with some inspired casting and great performances.

On their fifth wedding anniversary, Nick Dunne (Affleck) arrives homes to find his wife, Amy (Pike), gone. Suspicious circumstances point to violent kidnapping and a manhunt is launched, attracting nationwide attention for the seemingly innocent, perfect, loving Amy. Soon Nick’s lies and strange behaviour have the police, Amy’s family, the town and the nation asking the same question: did Nick Dunne kill his wife?

The set-up is simple, but soon enough the audience is blind-sided by twist after turn. It quickly becomes clear that no one is quite what they seem. Fincher and screenwriter/novelist Flynn do a stellar job in both keeping us on our toes and not letting the narrative run away or twist in on itself. Though I do think the ending feels too rushed and meaningless; undoubtedly the biggest casualty of moving from the written page to the screen. Regardless, this is a sophisticated thriller, and while some might label it humourless, it’s definitely fun in its own way. And when I say fun, I of course mean twisted, nasty, shocking fun. The kind of fun that makes you laugh and recoil in equal measure. This creepiness is no doubt helped along by Nine Inch Nails’ Trent Reznor’s score and, as we have come to expect from Fincher, a grey, muted palette which manages to convey a seeping sense of foreboding.

The performances in Gone Girl are almost entirely spot-on. I’m not a huge fan of Affleck; what the last few years have made clear is that he’s better off behind the camera than in front of it (and I simply cannot comprehend an Affleck Batman). But it is precisely this unlikableness that makes him perfect to play the smug, disgruntled, soulless Nick Dunne. For those of us who know her work, Pike is simply her usual beautiful, stellar self. But I suspect she will be largely unknown to an American audience, at least in a lead role. And this unknown factor makes her a perfect choice for Amy, the true enigma of the story. Harris is absolutely inspired, perfect casting for the creepy ex-boyfriend Desi Collings. And Dickens gives a very fine performance as Detective Rhonda Boney. Nick’s twin sister, Margo, played by Coon is really the only weak link – her performance is a touch too overwrought and frenetic for my taste.

Gone Girl isn’t perfect, but it’s probably the most thrilling, sadistic, slick film you’ll see this year. And I promise you one thing – it’ll make you feel extremely smug (and relieved!) about your own relationship.


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Amy Dunne: I can practice believing my husband loves me. But I could be wrong.

Top Ten of 2013

It's that time of year again - when I bemoan how few films I have managed to see and blame life for getting in the way; when I explain this is my top ten films seen this year (even if some are technically from last year) ... I hope you saw some crackers this year. I certainly did. And, yes, I can count - there are 11 films below. I simply couldn't decide which one to cut. Ah well - my blog, my rules to break. So, here they are:

Beasts of the Southern Wild – An early favourite this year, Beasts has stayed with me for many months. A beautiful, heart-breaking story with a ton of magical realism.

Captain Philips – I thought Gravity was tense. Then I saw Captain Philips. Jeez – nails bitten, seat edge occupied, stomach churned. Hanks gives his best performance ever in this harrowing true story.

The Fifth Estate – This will be an unpopular choice, I’m sure. This movie has been almost universally panned by critics and not seen by audiences. But I simply couldn’t overlook Cumberbatch’s amazing lead performance and this gripping tale of ego.

Gravity – One of the most memorable visual experiences of my life, Gravity has finally proven beyond any doubt that there is a place for 3D in modern cinema. An amazing achievement.

Les Miserables – My token musical … But so much more than that.

Lincoln – With many a fine lead performance this past year, Day-Lewis’s Lincoln still tops them all. A film especially compelling for legal history buffs (yes, we do exist).

The Secret Life of Walter Mitty – Mediocre reviews should not put you off this wonderfully magical film. A stellar effort from Stiller as both director and lead. I smiled throughout.

Silver Linings Playbook – I said it in January when I first saw Playbook and I’ll say it again: absolutely my film of the year. Wonderful performances from all and the kookiest love story you will see in quite some time.

Star Trek Into Darkness – Warts and all, this film entertained the hell out of me. Non-stop action and some great visuals. Cumberbatch shines again (when doesn’t he?)

The Way Way Back – A delightful coming-of-age movie, with a cast to die for. Funny, touching, compelling; a real unexpected highlight of the year.

The World's End – The final offering in the Three Flavours Cornetto trilogy, World’s End rounds out perhaps my favourite boxset ever. Bloody brilliant.

Top Five of First Half of 2013

Yeah, I know; I’ve been absent. I blame life in general. And my new-found obsession with the terribly time-consuming Doctor Who. I certainly haven’t been absent from the cinema though. So, for the first time ever, my top five films of the first half of this year (not very snappy; must try harder).

Beasts of the Southern Wild – What a cracking wee film. Its imagery and grittiness has stayed with me for months. Highly recommend. (My review is here: http://theflicks.blogspot.co.nz/2013/01/beasts-of-southern-wild.html)

Les Misèrables – I dreamed a dream that Crowe could sing. I dreamed that flair would be forthcoming. It wasn’t. However, it simply didn’t matter that Crowe was so average. The film was glorious and bombastic and a visual treat. (My review is here: http://theflicks.blogspot.co.nz/2013/01/les-miserables.html)

Lincoln – If you have any interest in US history or legal history or politics, you must see this film. If not, see it anyway; you might learn something. You certainly won’t see a better lead performance: Day-Lewis is (once again) an absolute phenomenon.

Silver Linings Playbook – My film of the year … so far (though it would take something quite special to knock it off top spot.) I don’t necessarily buy all the hype that it’s the first film to openly and honestly deal with mental illness, but it certainly does so with a whole lot of heart and spunk. Simply brilliant.

Star Trek Into Darkness – I just don’t care that it’s flawed. Or ridiculous. Or illogical. It was fun and relentless and visually wonderful. I laughed. I cried. And my love for Benedict Cumberbatch increased beyond a healthy amount.

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Quote of the year thus far:

Pat – “You have poor social skills. You have a problem.”

Tiffany – “I have a problem? You say more inappropriate things than appropriate things.”

Silver Linings Playbook

Django Unchained

Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L Jackson, Kerry Washington, Walton Goggins

Dir & Scr. Quentin Tarantino

It needs to be said up front: I’m not the biggest Tarantino fan. His early work is, at times, excellent and you’re never in doubt that he’s always got something to say. But in recent years he’s got self-indulgent and a tad sloppy. Django Unchained is a perfect example of the best and worst of Tarantino, with not enough of the good to balance the bad. According to the man himself, he’s telling us something new about slavery. That’s dubious at best. Django has style, it has humour (some of it very clever), it has some lovely against-type performances. But, make no mistake, this is Tarantino’s version of history and it’s too shallow and it’s too showy and it’s too blooming long.

Django (Foxx) – the ‘d’ is silent – is a slave in 1850s American South, separated from his wife and on the way to be sold to his next owner. Enter former dentist Dr King Schultz (Waltz), an eccentric German who is in the business of killing for money. Joining forces, Django and Schultz track down Broomhilda (Washington), Django’s German-speaking wife, in the possession of infamous and brutal plantation-owner Calvin Candie (DiCaprio). And, it goes without saying, there will be blood.

And on that note, first things first – this is a violent film. Of course it is. It would be refreshing for Tarantino not to resort to extreme violence, but I don’t think that’s ever going to happen. And it is gratuitous. Not all the time, but there are certainly two scenes which could have been just as effective if they had been reduced to thirty seconds rather than several minutes. I don’t accept that this is anything but self-indulgent. It’s not worthy, it’s no longer original. It’s just lazy. Another big problem with the film, also due to self-indulgence and ill-discipline, is its length. The story comes to almost natural conclusion, but instead of taking advantage of this, Tarantino adds another thirty minutes. A completely pointless and simply terrible thirty minutes, featuring Tarantino himself with the worst Australian accent I have ever heard. What were Australians even doing in the American South in the 1850s? And how did they have such clichéd Australian accents by that time??

The story itself hinges hugely on the characterisation of Django and Schultz, and when they are together the film is compelling and engaging. Once the repugnant Calvin Candie enters on the scene, we are fully on side with Django and Schultz, understand what motivates them and care about what fate befalls them. I’ll turn to the actual performances in a moment, but kudos to Tarantino for some chunky character development, including a very clever power shift, as well as a rewarding underlying fairy-tale theme.

I think what really saved Django Unchained for me were three key performances. Foxx was very good as the freed slave driven by the love of his wife. When he takes on the cold, unfeeling character Schultz encourages him to play, he truly shines. DiCaprio is excellent, perhaps the best I have ever seen him. He has moved so far from his Titanic days, he’s hardly recognisable as the slick, inhuman Calvin Candie. But for my money, Waltz is the stand-out. He is a stranger in a very strange land and the gradual breakdown of his character is nuanced and extremely well played. A somewhat inconsistent act by Schultz towards the end of the film does not do enough to mar an excellent performance. Much has been written about Jackson’s portrayal of Stephen, Candie’s elder statesman slave, and just how accomplished and difficult his performance is. I was less impressed – throw in a few ‘motherf**kers’ and he’s basically playing the same role he always does in this type of film.

Django Unchained has been heaped with critical praise and will no doubt continue to pick up an award here and there. This doesn’t annoy me as much as perplex me. Tarantino is fundamentally making the same film over and over and I’m just waiting for him to surprise me. I think I’ll be waiting a long time. See it if you like this sort of thing; avoid if you don’t.

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Calvin Candie: Gentlemen, you had my curiosity. But now you have my attention.

Beasts of the Southern Wild

Quvenzhane Wallis, Dwight Henry, Gina Montana, Levy Easterly, Lowell Landes, Pamela Harper

Dir. Benh Zeitlin
Scr. Benh Zeitlin & Lucy Alibar

Beasts of the Southern Wild is a beautiful, sad, empowering story which, it seems, has captured the hearts of many. With four Oscar nominations, including Best Picture, this wee film is punching well above its weight. And all power to it. A compelling, magical story with some top acting, this won’t be everyone’s cup of tea. But if you want to see something different, something less polished, something that will stay with you, see this film.

Beasts is the story of Hushpuppy, a young motherless girl living with her father in a small bayou community cut off from the rest of the world by a massive levee. Her imagination knows no bounds and she seemingly lives in harmony with the natural world around her. A fierce storm and a sickness drastically alter her life and outlook and she must adapt to the overwhelming changes these events bring.

It all sounds very noble and high-minded, but there is little piousness or overwrought emotion here. The story moves along at a clip, with a quiet charm and melancholy that captures you right from the start. First time feature director Zeitlin is not trying to preach at his audience. And yet one can learn much from Hushpuppy – her bravery, her holistic outlook, her optimism. Beasts is what you might call a quiet achiever.

You mind also find Beasts a welcome respite from the bangs-and-whistles worlds of recent blockbusters. Filmed with a budget of around $1.5 million, there’s nothing digital at work here. Some might find discomfort with the frequent use of hand-held cameras and, at times, a lack of clarity of picture. But don’t mistake this for amateur film-making. There is much beauty in Beasts and the mystical creature motif is, for the most part, seamlessly integrated.

Beasts hinges greatly on two key performances, both superb. Hushpuppy’s father (Henry) is clearly a man who cares for his daughter, but in his own special way. Henry captures this perfectly and gives a heart-breaking and heart-warming performance. Wallis is the real star here though and her Oscar nomination is well deserved, though I doubt she will win. She has wisdom and a great deal going on behind her eyes. Her Hushpuppy is both naïve and haunted. Utterly bolshie, but still such a little girl.

This film is not for everyone. For my money, it’s one of the most visceral films I have seen in quite some time. It is also incredibly poignant and unusually beautiful. Highly recommend if you think it’s your sort of thing.

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Hushpuppy: When it all goes quiet behind my eyes, I see everything that made me lying around in invisible pieces. When I look too hard, it goes away. And when it all goes quiet, I see they are right here. I see that I'm a little piece in a big, big universe. And that makes things right. When I die, the scientists of the future, they're gonna find it all. They gonna know, once there was a Hushpuppy, and she live with her daddy in the Bathtub.