LISTFUL THINKING: Top 10 of 2015 (Individuals and Institutions)

31 12 2015

The end of the year has arrived once again in its typical fashion – surprising, jarring yet oddly welcome. On this occasion, per usual, it is time to celebrate 2015 in cinema. Thanks to a number of festivals as well as generous assistance from studio and regional publicists, I was able to see more movies than ever before. This year, the tally of 2015 releases alone soared to over 200. (I came so close to reviewing them all … but would rather provide well-considered commentary instead of rushing to meet an arbitrarily imposed deadline.)

When I sat down to pen my first top 10 list back in 2009, I doubt I had even seen 100 films, so the list represented roughly the top 10% of my year. With 2015’s edition showcasing less than 5%, I feel obliged to at least mention 10 other films that left an indelible mark on me this year but, for whatever reason, fell outside the upper echelon. These, too, are worthy of your time and attention. In alphabetical order, they are:

But the ten films that stood out above the rest this year all had one thing in common: they looked beyond their characters and plots towards larger, more difficult concepts to capture. Each in their own way spotlighted (pun fully intended) an institution or a system that guides, influences and even inhibits the actions that take place. I make no secret that my two fields of study in college were film studies and sociology, and to have such an exciting slate of movies that evinces how the former can shed light on the latter was a source of great joy (again, pun fully intended) throughout 2015.

Remarkably, each work never lost sight of the individual personalities that power our emotional engagement. The human element never detracts from the issues at hand, instead providing an entry point to ponder impersonal or intangible forces. In an era where television provides a depth of coverage that has become tough to rival, these films found power in a concentrated bursts of content where every second was carefully and wonderfully calibrated.

So, without further ado, here are my ten favorite films of 2015 along with the individuals and institutions featured within them.

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INTERVIEW: Josh Mond, writer/director of “James White”

9 12 2015

Back at it again! I had the really awesome chance to interview Josh Mond, the writer/director of “James White,” and the big conversation is over at Movie Mezzanine. But not all our talk made the final published interview, so for those that are curious, I’ve included two more questions here that Mond answered.

But what neither this post nor the full interview includes are the periods before and after our “official” conversation, so to speak. Right when I got on the phone with Mond, he said had just finished watching the Kurt Cobain documentary Soaked in Bleach before our phone call. (Apparently, someone around his office had told him, “I don’t know why you just watched that before doing an interview,” just prior.) We talked about documentaries for a little while before I got the official questioning underway, and then returned to it afterwards.

Unlike many interview subjects, rushing out after the final question to get to their next stop on the media tour, Mond stayed on the line for a full ten minutes to keep chatting about movies. Like any other cinephile, he is rapidly trying to work through the best films from 2015 during the year-end rush. Mond’s favorite to date is “Inside Out,” though he is still filling some gaps in his viewing. (We also discussed “Amy” and “Cartel Land” among others  – I put in a good word for “Mistress America.”)

But anyways, on to an excerpt from our conversation. This came from the tail end when he got reflective on the process of releasing the film.

Josh Mond directing James White

MOVIE MEZZANINE

You’re now at the tail end taking James White around the world. Has there been anything surprising to you about the journey of putting this personal story out there for audiences to interact with?

JOSH MOND

No matter the difference in cultures and how people have been responding around the world – in America after Sundance it was super vocal and great, other countries intellectualized – there’s always been one person at the very least who shares their story with me about what they’re going through or what they’ve been through [at the Q&A or after].

It’s continuing a dialogue, and the fact that it’s connecting so much that people feel okay doing that is … you know, I made this movie to connect. It’s a very hard thing to talk about, and it’s been awesome in that way to have a real connection with human beings all around the world.

MOVIE MEZZANINE

Is it going to be weird to move onto another project and have James White on the backburner?

JOSH MOND

It’s going to be extremely weird, but what’s really cool I learned – well, I’m still learning – a lot about what it is that I like. What makes me feel connected in what I want to say or be involved in.

I’m very lucky, though, because the day after one of the last things I had to do for James it was announced that Antonio’s new film [Christine] and then this other film we mentored and executive produced [Nicolas Pesce’s The Eyes of My Mother] both got into Sundance. It’s cool, though, like there’s more of us, we’re a family, and we’ve got other projects going on – I have other things to put my energy and the things I’ve learned into.

But the short answer is yes, it’s a little weird.

Christopher Abbott as James White


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INTERVIEW: John Crowley, director of “Brooklyn”

10 11 2015

Recently, I’ve begun contributing some pieces to Movie Mezzanine, a site run by a lot of people who started with WordPress blogs like this one back in the late 2000s/early 2010s. If the page isn’t on your radar, put it there. Tons of really great writers post some provocative, insightful scholarship there is out there on the Internet.

A nice perk of being able to post there is the incredible doors it opens for me to talk with some amazing talent. The latest of such is John Crowley, director of the new film “Brooklyn.” My full review is coming soon, although the interview has already been posted over at Movie Mezzanine. You can read about how the Dardennes influenced the film as well as how Crowley works with established cinematography teams and upstart young actors.

I work with an editor over there who provides valuable feedback, such as where pieces can be truncated. A few questions were omitted from the interview as it ran on Movie Mezzanine, but I wanted to give my good and faithful readers here at Marshall and the Movies a chance to read them!

John Crowley Brooklyn

These questions were asked at the beginning of the interview.

MARSHALL

I got to see the film at the New York Film Festival, and it really played like gangbusters with my theater – in particular some of the humor about the ethnic groups. Was it comforting to to have those screenings go over well?

JOHN CROWLEY

It was very satisfying, during one of the Q&As, somebody said, “How many weeks did you shoot in New York for?” And I was able to say, “Two days.” It [the question] was a bit of a gaffe, so that felt like we were able to pass muster.

You never know what’s going to play with what audience. It’s been fascinating as we’ve been doing the rounds and watching what audiences take away from it, but it felt like the New York audience was able to embrace the film and make it theirs.

MARSHALL

Why was the choice made to premiere the film at Sundance?  Obviously that’s one of the best launching pads for any movies, but you don’t normally see films so classically made there. [Fox Searchlight does not include the Sundance Film Festival’s laurels in any of the marketing materials for Brooklyn.]

 JOHN CROWLEY

I think it was about timing, basically. I don’t know that there was a huge strategic decision behind it. We finished the film in December [2014], and depending on the calendar of when you finish it, people go for the next festival. Sundance was that next one.

We didn’t think we wanted to wait until Cannes – it didn’t particularly feel like a Cannes film even though, I agree, it didn’t feel like a Sundance film either. So when it was submitted to Sundance, I thought they might go, “Oh, this isn’t enough of whatever we want.” It might not be edgy enough; it might not be indie enough.  And that wasn’t their response. They were very happy to have the film there.

So that was the main reason. I don’t think any of us really wanted to sit on it for six months and then try and do something with Telluride and Toronto.

Saoirse Ronan Brooklyn

The following was at the tail end of our conversation.

MARSHALL

Ok, one last question – is there an area of Brooklyn that hasn’t been addressed on the press tour that you’d like to talk about?

JOHN CROWLEY

Oh, gosh – that’s a question I’ve never been asked.

No, not necessarily. People have commented on the quality of the entire cast, which is rather lovely. Down to every last part, it was lovingly stitched together. That was a great joy, building this rather beautiful mosaic and wanting every part to be vivid and real.

MARSHALL

I even felt sympathy for Dolores [a minor character at Eilis’ boarding home in Brooklyn, roundly despised by all the other girls] – she was so sweet even as she was annoying.

JOHN CROWLEY

Yes, exactly. That’s a wonderful performance from Jane Murray. I think we’ll be hearing a lot more from her.

I can’t honestly say there is [a question I haven’t gotten to answer]. You’ve asked the most surprising question by asking what hasn’t been talked about.

MARSHALL

I always want to give people the chance to answer the right question.  If there’s one question that I can ask to help someone’s vision shine through, I want to ask it. 

JOHN CROWLEY

The style in which I did it was almost invisible; that’s why I don’t necessarily describe myself as an auteur. I don’t try to put myself forward in the frame. I say look at this rather than look at me. That’s the thing that informs everything that I do.


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Two Days, One Night: A Separation (VIDEO ESSAY)

25 08 2015

In honor of today’s Criterion Collection release of “Two Days, One Night,” I have prepared a video essay examining the superb use of composition in the film.  Full text of my narration can be found below – enjoy!  I hope this video is somewhat enlightening.

* As a reminder, the film is available (as of publication) to stream for free with a Netflix subscription.

It’s hard to think that a pair of filmmakers who have won two Palme d’Or prizes at the Cannes Film Festival could be underrated, but the extent of Jean-Pierre and Luc Dardenne’s talents still feel insufficiently realized.  Their latest work, Two Days, One Night – now available through the Criterion Collection – showcases an area of their acumen seldom discussed when praising their work: shot composition.

In today’s cinephile culture, composition is often reduced to mere eye candy and celebrated mostly whenever the merits of a shot loudly blare their meticulous construction, such as in the films of Stanley Kubrick, David Fincher, or Wes Anderson.  To be clear, these filmmakers are all great craftsmen who create truly indelible imagery.  But the Dardennes do something with composition in Two Days, One Night of particular note – they employ it to serve as a direct compliment to the tensions present in their narrative.

Perhaps part of the reason this stylistic triumph seems relatively unheralded is that the Dardennes, early adopters of the shaky cam verité style, often used cinematography to enter the subjective headspace of a character.  In Two Days, One Night, the directors’ camera offers a direct commentary from their position outside the story.

That story, boiled down to its essence, is one of binary choices and the journey that an individual must make to move from one side to the other.  The main choice in Two Days, One Night is the decision that 16 workers must make between a thousand euro bonus or saving the job of Sandra, played by Marion Cotillard.  The head of the company allows Sandra one weekend to try and convince her co-workers to change their minds before a revote that Monday.

At the script level, this means a lot of conversations between two people, which typically restricts the visual choices available at a filmmakers’ disposal.  Most films shoot these in some variation of a shot-reverse shot technique, varying close-ups, and the occasional master shot containing both characters.

The Dardennes, however, shoot almost exclusively in that master shot that can capture two figures from a long range.  It is here in these shots, along with some spare editing in post-production, where the directors echo the choice in the narrative.  In their visuals, the Dardennes introduce a visual motif of separation and union to compliment the tough referendum Sandra must pose to her colleagues.

This motif does not appear in every conversation, which is probably for the best as the Dardennes’ subtle aesthetic decision could have become bludgeoning and thus defeating the purpose of their attempt to keep the visuals interesting.  But it appears enough to put aside any doubts that this was some kind of accident or repeated mistake.

So let’s take a look at this in action.

Sandra goes to visit as many colleagues as she can to plead the case for why they should vote for her job.  Whenever she encounters someone hostile to her request, there is usually something in the frame that puts them in a separate space from Sandra.

At her first stop, it’s a piece of wood…

Then, a stack of grocery crates…

A locker…

Later on, it’s different stones on the wall of a row of buildings.  This conversation plays out with the camera roving a little more than usual, beginning on a close up of Sandra, then pivoting to get the same shot of her co-worker, and then moving back to capture them in this two shot.  The two might as well not even be in the same shot – and were it not for the fluidity of the take, I might suspect the sides of the frame were stitched together in post-production.

Later on, when they stop to talk again, she appears against the backdrop of the street while he remains seen against the stone wall.  Call this coincidence all you want, although to have the same pattern pop up twice in the same scene seems to indicate the Dardennes know exactly what they’re doing.

But most often in Two Days, One Night, the visual separation comes from a doorway.  Sandra goes to visit these workers at their homes, and they often prove unwilling to extricate themselves from that place.  They remain comfortably situated in their space of private domesticity and thus allows to remain steeped in the concerns of their own self-interest.

For the people who do make the difficult decision of self-sacrifice for Sandra’s well-being, the visuals play out with a closely correlated complication.

Take, for instance, the case with her colleague Anne.  She decides to come outside and address Sandra directly, which is more than most co-workers were willing to do.  Still, the answer is no, and the corner of the house separates them in the frame.

Later on, Sandra returns to the house, and Anne comes outside to inform her that she’s trying to make it work financially to sacrifice the bonus.  Still, her husband yanks her back inside and yells at Sandra for daring to come and ask this of them.  But now that she has crossed the precipice, it presages this scene.

…where she shows up at Sandra’s house to proudly profess that she will vote to forgo her bonus.

Earlier in the film, she manages a much easier vote switch with Timur, who she catches while coaching soccer practice.  The two talk from opposite sides of a fence, but the Dardennes scarcely let that barrier drift into the shot as they float fluidly between mid-shots of the person talking.  While a separation may have existed between them in the past, the camera suggests the relevancy of that division is next to nothing.

The Dardennes save what might be the masterpiece of camerawork and character blocking in Two Days, One Night for the very last off-site conversation, one between Sandra and Alphonse at a Laundromat.  As he explains his tough choice not to vote for her, she stands in front of the blue-painted wall while he is positioned in front of a red door.

Then, as Alphonse moves around, he has a change of heart and declares his intent to vote for Sandra as he now stands in front of that same blue backdrop with her.

But later, after having a realization that a vote for Sandra might adversely affect his long-term employment prospects, Alphonse decides to change his vote back.  And now, a machine and some bubbles on the wall mark a line that puts them on opposite sides once more.

Fascinatingly, the Dardennes do not only make visual choices that draw separations between Sandra and her co-workers.  In the film’s most tragic moment, where Sandra has to excuse herself from a family lunch to break down crying, the camera catches her facing away from the lens.  We, the audience, are separated from Sandra’s emotions when access to them might make us feel all the more for her.

Yet, through these conversations that dynamically illustrate the power of humanity at both its most selfish and selfless, we cheer on Sandra as she makes the journey towards larger choice that has a far greater bearing on her life – the journey from the stasis of the opening shot, where she finds herself unable to summon the energy to fight for her job…

…to the motion of the final shot, towards whatever uncertain future lies ahead.


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INTERVIEW: Brett Haley, co-writer and director of “I’ll See You In My Dreams”

12 06 2015

The University of North Carolina School of the Arts (UNCSA) has produced many a successful alumni from its film program: David Gordon Green, Jeff Nichols, Craig Zobel … and now, Brett Haley.  In the decade since his graduation in 2005, Haley’s had quite the wild ride – making short films, working as assistant to an established director, and cobbling together a debut feature on a few thousand.  Now, he’s garnering serious mainstream attention for his second film, “I’ll See You In My Dreams.”

The film premiered at the Sundance Film Festival, where it found warm audience support as well as a distributor, the upstart new label Bleecker Street.  Prior to its May 15 release, the film hit the regional festival circuit hard; I got the chance to speak to Haley prior to a very special screening at his alma mater back in April.

IMG_8586

Brett Haley (center)

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LISTFUL THINKING: 10 British Actors Who Would Have CRUSHED Harry Potter

12 05 2015

With Eddie Redmayne now in official talks for “Fantastic Beasts and Where to Find Them,” a spinoff of the “Harry Potter” series, I figured now was as good a time as ever to turn a long-gestating list into a published post.  (This has been a note in my iPhone for almost four years now!)

It is easy to forget that the “Harry Potter” series, among its many accomplishments, offered fine roles to a number of talented British thespians.  Pooled together, the cast has amassed 31 Oscar nominations – a number that seems mightly low when you consider the names who graced the eight films.  Kenneth Branagh.  Julie Christie.  Gary Oldman.  Ralph Fiennes.  Maggie Smith.  Emma Thompson.  (Alan Rickman is not included because he has somehow never been nominated for an Oscar.)

Recently, a number of stars have expressed remorse that they were not a part of the series.  Martin Freeman got sad about it with Jimmy Fallon…

…while Eddie Redmayne briefly lamented it before launching into a hilarious story about bombing his audition for “The Hobbit” films.

Redmayne on HP

But just because it did not happen for Redmayne does not mean I cannot imagine a few recastings that incorporates some more talented British actors.  Maybe some roles will have to make cameos in the new trilogy, after all!  And, heaven forbid, Warner Bros. might actually reboot the original books one day.

So, as the title of the list suggests, here are 10 British actors overlooked by the “Harry Potter” casting directors and the roles they could have played brilliantly.

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Paul Thomas Anderson’s On Cinema

20 01 2015

On October 4, 2014, I had the distinct pleasure of attending a talk where Paul Thomas Anderson elaborated on his inspirations and influences.  His knowledge and love of cinema shone brightly, leaving me quite rejuvenated in the power of the medium.  Basically, he would be the best film professor EVER.  Here are some highlights from that session.

Part 1

http://www.youtube.com/watch?v=FzD01Hu1nPs

The program unfolded largely based on discussions following clips selected by Paul Thomas Anderson and, presumptively, moderator Kent Jones.  He began with an opening from “Police Squad,” a television show from the 1980s.  Not the first thing I associated with the director of “The Master,” I’ll be honest.

I knew the team behind “Police Squad” mostly for their inane “Scary Movie” installments, but I actually explored the older Abrahams-Zucker comedy on Netflix via “The Naked Gun” films.  Now I see where Anderson comes from when he descirbed the serious “hilarious, brilliant” and that it “doesn’t get any better.”

He rediscovered the joy of the show while watching videos on YouTube during smoke breaks, reminded how much the humor was ahead of its time.  Moreover, it made him remember that anything is possible.  That kind of energy plays out clearly in “Inherent Vice,” whether its Josh Brolin’s Bigfoot Bjornsen fellating a chocolate banana or Martin Short’s Dr. Rudy Blatnoyd doing lines of cocaine.  The gags are silly, but they are always clever.

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AUTEUR HOUR: Paul Thomas Anderson

9 01 2015

PTA prof pic

Welcome to a new feature here at Marshall and the Movies that I am calling “Auteur Hour!”  I have hinted at this since 2012 (yikes) and can think of no better way to kick off this series than with a look at the filmography of writer and director Paul Thomas Anderson.

For those who do not know, auteur is a French term meaning “author” that academic writers often apply to directors of films.  The term and all that comes along with it provides constant debate within the cinematic community.  Some think it provides a great way to honor filmmakers who use consistent patterns or motifs throughout their work, while others argue that the term serves as a catchall to redeem anyone who can carry something over from picture to picture.

Paul Thomas Anderson certainly qualifies as an auteur like few others in America with his fluency in the language and history of cinema as well as his virtuosic output.  I had the chance to grab a quick photo with him before the world premiere of “Inherent Vice” – as you can see, both of us were pretty awkward.  I stood speechless in the face of the man responsible for some absolute gems in the crown of cinema.  If you want to stand in awe as well, check out some of these videos…

And now, to the point of the post, here is how I would rank the films of Paul Thomas Anderson.  So without further ado…

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LISTFUL THINKING: Most Anticipated Films of 2015

2 01 2015

Well, time to usher in 2015.  It certainly looks to be another good year of movies with plenty of great actors and directors gearing up with compelling new projects.  And, if you’re a franchise lover, this year ought to be nirvana.

So, here’s a year-beginning top 10 list.  Normally, these do not even come close to lining up with my year end list.  In both 2013 and 2014, only two films from the list were in my final top 10.

It is entirely likely that one or more of these films will not be finished in time for release in 2015 – I mainly worry about “Silence,” which has yet to begin production and will likely be a massive endeavor – so I’ll offer up a few honorable mentions and some 2014 festival holdovers that have yet to be released.

2014 HOLDOVERS: I’m not quite sure what year to file “Maps to the Stars” under given that Julianne Moore was nominated for a Golden Globe this year, but I’ll certainly be glad to see it on VOD (February 27). “While We’re Young” (March 27) looks like an incredibly promising follow-up to “Frances Ha” for Noah Baumbach.

HONORABLE MENTIONS: Just outside the list is Derek Cianfrance’s “The Light Between Oceans” (TBD), which teams the director of “Blue Valentine” and “The Place Beyond the Pines” with perhaps the most exciting working actor, Michael Fassbender.  The McConaissance looks to continue in “Sea of Trees” (TBD), a collaboration with Gus Van Sant.

I am sure in a year with two Pixar movies, “Inside Out” (June 19) and “The Good Dinosaur” (November 25), one of them will be decent. And ok, fine, I guess I’ll get somewhat excited for “Star Wars – Episode VII: The Force Awakens” (December 18).

That's What I'm Talking About

#10
“That’s What I’m Talking About” (TBD)
Written and directed by Richard Linklater

Despite all the adoration being heaped upon Richard Linklater after “Boyhood,” the director churns out a “Me & Orson Welles” about as often as he churns out a “Before Midnight.”  I remain cautiously optimistic about his next film, a spiritual cousin to “Dazed and Confused,” which is set in a Texas college in the 1980s and somehow involves a baseball team.  I’m not the biggest fan of “Dazed,” but I’ll definitely be awaiting this one.

Knight of Cups

#9
“Knight of Cups” (TBD)
Written and directed by Terrence Malick
Starring Christian Bale, Cate Blanchett, and Natalie Portman

How can any film lover not eagerly anticipate whatever Terrence Malick has cooked up next?  The trailer for “Knight of Cups” was certainly … interesting.  This could be a profound meditation on fame or a Sofia Coppola film made on quaaludes.  Either way, I’m excited to see him work with Oscar winners like Bale, Blanchett, and Portman.  (No offense, Olga Kurylenko.)

The Intern

#8
“The Intern” (September 25)
Written and directed by Nancy Meyers
Starring Anne Hathaway, Robert DeNiro, and Rene Russo

Make fun of me all you want, but I absolutely adore all of Nancy Meyers’ movies.  My family stops to watch “Father of the Bride” and “The Parent Trap” each time they are on TV, and I thought “It’s Complicated” was a laugh riot.  That was six years ago, so it’s time for her to make a new movie.  The concept of an adult intern seems a little beneath her (not to mention kind of taken by “The Internship“), but I have faith that she’ll provide a potent blend of humor and heart like always.

Tina Fey and Amy Poehler acting during film of their new movie The Nest

#7
“Sisters” (December 18)
Directed by Jason Moore
Written by Paula Pell
Starring Tina Fey, Amy Poehler, and Maya Rudolph

TINA FEY AND AMY POEHLER IN A MOVIE TOGETHER AGAIN.  This is not a drill, people!  Sure, they’ve hosted the Golden Globes and both cameoed in “Anchorman 2.”  But this is them co-starring in a movie together.  I’m just going to have to watch “Baby Mama” ten times this year to mentally prepare myself.

Revenant

#6
“The Revenant” (December 25)
Written and directed by Alejandro Gonzalez Iñárritu
Starring Leonardo DiCaprio, Tom Hardy, and Domhnall Gleeson

I did not drink the “Birdman” Kool-Aid quite as much as others, but there is no denying that Alejandro Gonzalez Iñárritu is making bold, risky cinema.  His next film, shot this fall, brings together Leonardo DiCaprio and Tom Hardy.  That pairing just needed to happen, first of all.  Iñárritu also requested additional funding so he could shoot the film in sequence, a somewhat odd insistence that has me wondering why it was necessary.  Perhaps to procure that first Oscar for DiCaprio?

Macbeth

#5
“Macbeth” (TBD)
Directed by Justin Kurzel
Written by Jacob Koskoff, Michael Lesslie, and Todd Louiso
Starring Michael Fassbender, Marion Cotillard, and David Thewlis

I am not necessarily a big Shakespeare dork, but Macbeth and Lady Macbeth are two of the meatiest characters in all of fiction.  Watching Fassbender and Cotillard inhabit them should be nothing short of thrilling.  (They are also directed by Justin Kurzel, whose last feature, “The Snowtown Murders,” needs to be placed at the top of your Netflix queue immediately.)

Midnight Special

#4
“Midnight Special” (November 25)
Written and directed by Jeff Nichols
Starring Joel Edgerton, Kirsten Dunst, and Adam Driver

A big-budget studio sci-fi film directed by the guy who gave us 2013’s indie smash “Mud.”  Hmmm.  I think this could establish Jeff Nichols as the next Christopher Nolan or Steven Spielberg if all goes well.

FFN_IMAGE_51471858|FFN_SET_60081353

#3
“Untitled Woody Allen Project” (TBD)
Written and directed by Woody Allen
Starring Emma Stone, Joaquin Phoenix, and Parker Posey

A new Woody Allen film is always reason to rejoice.  But this year’s installment features an odd yet intriguing pairing: Joaquin Phoenix and  Emma Stone, Allen’s new female muse.  There is some kind of teacher-student relationship at the heart of the film, which does sound a little clichéd.  Still, to watch those two act opposite each other ought to be a show.

Silence

#2
“Silence” (November)
Directed by Martin Scorsese
Written by Jay Cocks
Starring Liam Neeson, Andrew Garfield, and Adam Driver

For decades, Scorsese’s work has dealt both directly and indirectly with his Catholic heritage.  With his passion project, “Silence,” religion takes center stage with a story about Jesuit priests in Japan.  Shockingly, Scorsese had to come beg for funds at Cannes for the film; you would think by this point, he could just get a check to make whatever he wants.  It has still yet to shoot, so hopefully the final project is not so rushed that it turns out as sloppily self-indulgent as “The Wolf of Wall Street.”

Joy

#1
“Joy” (December 25)
Directed by David O. Russell
Written by Annie Mumolo
Starring Jennifer Lawrence, Bradley Cooper, and Robert DeNiro

At this point, David O. Russell could direct Jennifer Lawrence reading a calculus textbook, and I would still buy a ticket.  (And it would probably get her an Oscar nomination.)  I’m not quite sure what they see in the story of the inventor of the Miracle Mop, but I am excited to see how they simultaneously find laughter and drama in it.

What movies are YOU excited to see in 2015?  Any of these?!  If you’re just dying to see “Avengers 2,” I guess we can still be friends…


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LISTFUL THINKING: Top 10 of 2014 (The Self-Aware One)

31 12 2014

Boyhood stillAnother year gone by, and what an odd and largely unremarkable one (at least for me).  That’s not to say, however, that there were not plenty of good movies to see.  Between two years – this and last – packed with film festivals as well as a summer living in Los Angels, I have racked up a shamefully high film count for 2014.

The final tally: 154.  That’s a gain of over 50% from just two years ago.  And, mind you, I still have many left to see, although only “Selma” and “American Sniper” would likely have ended up on this list.  Impressively, I have actually managed to review all of them (including one for “A Most Violent Year” which irksomely has to be held another month).

I usually try to tie my year-end top 10 list around a theme or a unifying idea, and this year is no different.  At the beginning of the month, my films were essentially set (sadly), but I could not for the life of me find a correlation or angle.  Then, I read a rather snarky piece by Anne Thompson of IndieWire called “How to Make a Ten Best List in Five Easy Steps.”

Thompson is a highly regarded entertainment reporter, and I value her insight on industry news that provides more thorough coverage than the click-bait titles.  At times, though, I find her writing contains a certain aura of superiority that verges on haughtiness.  In this reductionist list, which I believe is meant to be in jest to some degree, here are some of her suggestions for top 10 building:

“1. Include a selection of brainy consensus critical faves of the sort that are likely to be Oscar contenders.

2. Add a few popular hits as well to show that you click with the mainstream.

3. Add at least one wild blue yonder arcane title, either foreign or up-and-coming indie, that will leave readers scratching their heads, impressed with your erudition. This proves that you saw way more movies than they did.”

Pike Affleck Gone GirlI dismissed the piece at first, and then I told myself that such blind herd mentality was something to which I was not susceptible.  I don’t normally drink the Kool-Aid and tow the critics/bloggers party line – I picked “Win Win” and “The Queen of Versailles” as my favorites of their respective years, for heaven’s sake!

Yet I could not shake Thompson’s piece off, for whatever reason.  I kept thinking about it and realized that my top picks for the year might not match up with a ton of external validators, but they did meet a certain set of internal criteria.  As it turns out, I do have a couple of favorite “types” that rear their heads in my annual top 10 list.  These are not necessarily genres or styles of filmmaking so much as they are experiences.

So, without further ado, my extremely self-aware top 10 films of 2014.  I hope no one is incredibly offended by me reducing these films to merely what they meant to me, but if you want to read a pure assessment of their merits, click on the title to be taken to my original review.

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FEATURE: Can you identify a director by a music video?

29 09 2014

This week sees the long-awaited release of “Gone Girl,” the latest film by director David Fincher.  It’s become a bit of a habit among film lovers to lament that this modern master does not yet have an Oscar to his name – especially given that he came within arm’s reach back in 2010 with “The Social Network.”  (And to be honest, I’d rather him make a great movie than win an Academy Award.)

For those particularly interested in Fincher’s work, feel free to check out my “Fincherfest” series from 2010 where I reviewed all of his movies up to that point.

Yet while the holy grail of the film industry seems to elude Fincher, he is certainly not lacking in trophies for his mantlepiece.  At the MTV Video Music Awards (yes, the ceremony that gave us Miley’s twerkgate scandal), Fincher is the most rewarded director of all time with eight nominations and three wins.

He’s one of many current feature directors who also dabble in the music video form.  For Fincher, it allowed him to explore cinematic language and got his foot in the door in Hollywood.  Many directors, on the other hand, take music video projects once established as fun exercises.  Either way, some of the best and the brightest in the business have tried their hand in music videos.

But just from the conventions they use or the themes they explore, can you match a director to a music video?  I’ve put 10 below for you to watch and guess.  Click the link at the bottom of the post to be taken to a Facebook note with the answers.  (While you’re at it, go ahead and like the page too!)  Enjoy, and let me know how you do in the comments!

Fincher

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LISTFUL THINKING: 2013 Superlatives

2 03 2014

It’s hard to believe every year (though perhaps not as hard this year given the prolonged season), but it’s time to close the book on 2013 in film.  The Oscars will have their say, and then history will either smile or frown on their decision.  No matter the outcome, tonight ought to be an exciting exclamation point on a fantastic year in film.   But remember, their favorite movie does not do anything to change YOUR favorite and whatever it may mean to you.

So in that spirit, I give out my superlatives, both the good, the bad, and everything in between!

MOVIES

Amy Adams

The Best

  1. “American Hustle”
  2. “Stories We Tell“
  3. “Spring Breakers”
  4. “The Past”
  5. “Inside Llewyn Davis”
  6. “Blue Jasmine“
  7. “Philomena“
  8. “12 Years a Slave”
  9. “The Hunt“
  10. “Enough Said”

Spectacular Now

The Worst

  1. “Post Tenebras Lux“
  2. “Anchorman 2: The Legend Continues“
  3. “The Butler“
  4. “The Hangover Part III“
  5. “Jobs“
  6. “The Internship“
  7. “Prince Avalanche“
  8. “See Girl Run“
  9. “The Spectacular Now“
  10. “Man of Steel“

The Purge

Surprising

  1. “Philomena“
  2. “The Purge“
  3. “Drinking Buddies“
  4. “Spring Breakers”
  5. “Stories We Tell“

Anchorman 2

Disappointing

  1. “The Hangover Part III“
  2. “Only God Forgives“
  3. “Gangster Squad“
  4. “Anchorman 2: The Legend Continues“
  5. “Trance“

THE SECRET LIFE OF WALTER MITTY

Forgettable

  1. “What Maisie Knew“
  2. “Cutie & The Boxer”
  3. “The Invisible Woman“
  4. “Stoker”
  5. “Violet & Daisy“
  6. “Parkland”
  7. “Admission“
  8. “The Company You Keep“
  9. “The Iceman“
  10. “The Secret Life of Walter Mitty“

Emma Watson in The Bling Ring

Rewatchable

  1. “American Hustle”
  2. “Spring Breakers”
  3. “The Bling Ring“
  4. “Enough Said”
  5. “Blue Jasmine“

Before Midnight

Glad to See Once … But Never Again

  1. “The Wolf of Wall Street“
  2. “Fruitvale Station“
  3. “Lone Survivor“
  4. “Before Midnight“
  5. “Blackfish“

Gatsby

Underrated

  1. “The Great Gatsby“
  2. “Lone Survivor“
  3. “The Book Thief”
  4. “The Way Way Back“
  5. “The Kings of Summer“

Blue is the Warmest

Overrated

  1. “The Act of Killing“
  2. “Blue is the Warmest Color“
  3. “Mud“
  4. “20 Feet From Stardom“
  5. “Gravity“

Frances Ha

Better Over Time

  1. “Blue Jasmine“
  2. “Inside Llewyn Davis”
  3. “Spring Breakers”
  4. “The Past”
  5. “Frances Ha“

The Place Beyond the Pines

Worse Over Time

  1. “Fruitvale Station“
  2. “The Spectacular Now“
  3. “To The Wonder”
  4. “The Place Beyond the Pines“
  5. “The Butler“

Catching Fire

Felt Shorter

  1. “American Hustle”
  2. “12 Years a Slave”
  3. “The Hunger Games: Catching Fire“
  4. “Enough Said”
  5. “Warm Bodies”

Man of Steel

Felt Longer

  1. “Anchorman 2: The Legend Continues“
  2. “The Act of Killing“
  3. “The Great Beauty“
  4. “Man of Steel“
  5. “I’m So Excited“

ACTING

Inside Llewyn Davis

Breakout Performances

  1. Lupita Nyong’o, “12 Years a Slave”
  2. Oscar Isaac, “Inside Llewyn Davis”
  3. Barkhad Abdi, “Captain Phillips“
  4. Brie Larson, “Short Term 12”
  5. Tye Sheridan, “Mud“

The Way Way Back

Breakthrough Performances

  1. Greta Gerwig, “Frances Ha“
  2. Joel Edgerton, “The Great Gatsby“
  3. Dane DeHaan, “The Place Beyond the Pines“
  4. Olivia Wilde, “Drinking Buddies“
  5. Sam Rockwell, “The Way Way Back“

Sean Penn and Josh Brolin

Breakdown Performances

  1. Sean Penn, “Gangster Squad“
  2. Jonah Hill, “The Wolf of Wall Street“
  3. Rachel Weisz, “Oz the Great and Powerful”
  4. Ashton Kutcher, “Jobs“
  5. John Goodman, “The Hangover Part III“

McConaughey

Best Body of Work

Matthew McConaughey, “Mud“/”Dallas Buyers Club”/”The Wolf of Wall Street”

Worst Body of Work

Michael Shannon, “The Iceman“/”Man of Steel”

Identity Thief

Most Similar Body of Work

  1. Leonardo DiCaprio, “The Great Gatsby“/”The Wolf of Wall Street“
  2. Melissa McCarthy, “Identity Thief“/”The Hangover Part III“/”The Heat“

This is the End

Most Disparate Body of Work

  1. James Franco, “Oz the Great and Powerful”/”Spring Breakers”/”This Is The End“/”As I Lay Dying”
  2. Bradley Cooper, “The Place Beyond the Pines“/”The Hangover Part III“/”American Hustle”

Nail polish

Best Ensemble

“American Hustle”

Worst Ensemble

“Oz the Great and Powerful”

Kristin Scott Thomas in Only God Forgives

Best Performance in a Bad Movie

Kristin Scott Thomas, “Only God Forgives”

Worst Performance in a Good Movie

Paul Dano, “12 Years a Slave”

Olaf

Needed More Screen Time

  1. Carey Mulligan, “Inside Llewyn Davis”
  2. Josh Gad, “Frozen“
  3. Matthew McConaughey, “The Wolf of Wall Street“
  4. Emma Watson, “This Is The End“/”The Bling Ring“
  5. June Squibb, “Nebraska“

Oprah

Needed Less Screen Time

  1. Colin Farrell, “Saving Mr. Banks“
  2. Steve Carell, “Anchorman 2: The Legend Continues“
  3. Terrence Howard, “The Butler“
  4. Olivia Wilde, “Rush“
  5. Ken Jeong, “The Hangover Part III“

Blue Jasmine

Most Obvious Casting

  1. Cate Blanchett, “Blue Jasmine“
  2. Emma Thompson, “Saving Mr. Banks“
  3. Sean Penn, “The Secret Life of Walter Mitty“
  4. Tina Fey, “Admission“
  5. Shailene Woodley, “The Spectacular Now“

Least Obvious Casting

  1. Will Forte, “Nebraska“
  2. Ellen Page, “The East“
  3. Amy Adams,”Man of Steel“
  4. Sandra Bullock, “Gravity“
  5. Jared Leto, “Dallas Buyers Club”

Most Random Casting

  1. Taran Killam, “12 Years a Slave”
  2. Catherine Keener, “Captain Phillips“
  3. Jerry Ferrara, “Lone Survivor“
  4. Spike Jonze, “The Wolf of Wall Street“
  5. Christopher Meloni, “Man of Steel“

7) Philomena

Best Hero

Judi Dench, “Philomena”

df-26130_lg

Worst Hero

Forest Whitaker, “The Butler”

Fassbender

Best Villain

Michael Fassbender, “12 Years a Slave”

Worst Villain

Guy Pearce, “Iron Man 3”

JLaw AH

Best Comedic Performance

Jennifer Lawrence, “American Hustle”

Worst Comedic Performance

Zach Galifianakis, “The Hangover Part III”

Best Cameo

(tie) Channing Tatum, “This Is The End” and Robert DeNiro, “American Hustle”

Worst Cameo

Leonard Nimoy, “Star Trek Into Darkness”

OTHERS

Abdi

Best Lines

  1. “Look at all my s–t!” – Spring Breakers
  2. “Maybe all we have in life are poisonous, f—ed up choices.” – American Hustle
  3. “I wanna rob.” – The Bling Ring
  4. “I’m the captain now.” – Captain Phillips
  5. “Take yo panties off!” – This Is The End

5) Inside Llewyn Davis

Best Singing

  1. Oscar Isaac, “Hang Me, Oh, Hang Me,” Inside Llewyn Davis
  2. Keith Stanfield, “So You Know What It’s Like,” Short Term 12
  3. Craig Robinson feat. Rihanna, “Take Yo Panties Off,” This Is The End
  4. Jason Schwartzman and B.J. Novak, “Let’s Go Fly a Kite,” Saving Mr. Banks
  5. “Baby One More Time,” Spring Breakers

Best Worst Singing

  1. James Franco, “Everytime,” Spring Breakers

Best Karaoke

  1. Jennifer Lawrence, “Live and Let Die,” American Hustle

Worst Karaoke

  1. Ken Jeong, “Hurt,” The Hangover Part III

American Hustle

Best Music Montage

  1. “I Can’t Stop,” The Great Gatsby
  2. “Goodbye Yellow Brick Road,” American Hustle
  3. “Modern Love,” Frances Ha
  4. “Crown on the Ground,” The Bling Ring
  5. “The Moon Song,” Her

Worst Music Montage

“Mrs. Robinson,” The Wolf of Wall Street


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INTERVIEW: Actress Vanessa Hudgens, director Ronald Krauss, and the real Kathy DiFiore of “Gimme Shelter”

23 01 2014

20140122-085721.jpgI came into my roundtable interview armed with questions for Vanessa Hudgens about the evolution of her career, specifically the potentially unconscious links I noticed between her upcoming “Gimme Shelter” and “Spring Breakers.”

It’s potentially a bit of stretch, but “Gimme Shelter” offers a very different angle on pregnancy than you would get from watching MTV’s “16 & Pregnant.”  And “Spring Breakers,” though it has been widely misinterpreted as condoning the behavior it shows, exposes a darker underbelly to the “Girls Gone Wild” culture of hedonism.

Choosing both these roles would be bold for any actress.  It’s a particularly surprising turn, though, for Hudgens.  She gained notoriety through the same sort of mass cultural industry mechanics that these films react against, although at least her Disney products didn’t label themselves as “non-fiction.”

It’s the truth – not this fabricated reality – that she aims for in “Gimme Shelter,” and she’s aided in this quest by the help of director Ronald Krauss and the film’s inspiration, Kathy DiFiore.  The movie tells the story of a pregnant teenage girl (an amalgamation of real women) who enters a shelter after being largely spurned by her absent father, now a rich Wall Street trader.  My opinions on the film notwithstanding, it was undeniably sobering and powerful to hear Hudgens, Krauss, and DiFiore talk about how these women on the fringes of their society have changed their lives.

Vanessa Hudgens in Gimme ShelterSo powerful, in fact, that I (and I suspect the other journalists in the room as well) felt that it would simply be inappropriate to ask questions of Vanessa Hudgens that didn’t relate to the women of DiFiore’s Several Sources Shelters.  There was a sense of weightiness and importance that came with DiFiore being in the room that put to rest any chance that I was going to dare bring up “Spring Breakers.”  (DiFiore admitted she didn’t know who Hudgens was prior to filming.)

Heck, Hudgens herself seemed to realize that she should not be the big story of “Gimme Shelter.”  She is an important vessel to bring their stories to audiences who might not otherwise hear them; Krauss called the film “hands to uplift people.”  And indeed, she hardly made a peep during our session, mostly doodling a notepad in front of her.

She did divulge that in order to secure the character of Apple, she sent Krauss an email stating “I’d love to be the Apple of your eye.”  Hudgens was the only professional actress that Krauss considered for the film, and she managed to win the part in spite of her stardom, not because of it.  DiFiore and the girls of the shelter unanimously decided that Hudgens was the best, capturing the reality of their lives as opposed to typical Hollywood “transparent” actors, as Krauss deemed them.

Hudgens in Gimme ShelterWhat’s even more impressive is that when casting was underway on “Gimme Shelter,” DiFiore was recovering from brain surgery.  She has been fighting brain cancer for over two decades and goes in for chemotherapy every three weeks.  I was struck by her unshakable faith and complete lack of fear in the face of death.  “I live with death every day, so being a good person comes easy,” said DiFiore.

After Hudgens left to go to another interview, DiFiore stayed behind in the room to further elaborate on her mission through Several Sources Shelters.  When she opened up to talk about herself and not the movie, DiFiore’s incredible compassion becomes readily apparent.  She radiates an unflappable confidence that just makes you want to be a better person.  “I’ll find out when I go to heaven,” she stated without an iota of doubt, “but I think [Mother Teresa] is the patron saint of this movie.”

The shelter was only able to operate legally in New Jersey thanks to Mother Teresa’s help.  Quite literally an answered prayer, the Catholic icon threw her support behind the state’s DiFiore bill that would allow charities to run a boarding house.  The whole saga as narrated by DiFiore sounds like another compelling movie in and of itself, but it’s unlikely that you’ll see the story coming to a theater near you.  She’s far too humble to take center stage.

“Gimme Shelter” is the first bit of publicity that Several Sources Shelters has received in over 30 years, and DiFiore was very reluctant to let Krauss make it.  She only agreed so long as the focus would be on her work and not on her personally.  DiFiore has earned a fan and admirer in me, that much is certain.

To learn more about the real Kathy DiFiore and her Several Sources Shelters, please click the image below to be taken to the official website.

DiFiore


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LISTFUL THINKING: Most Anticipated Movies of 2014

2 01 2014

I’m still not quite ready to admit that it’s 2014 yet.  Heck, I still have stacks and stacks of 2013 reviews to write.  (Not to mention loads of outstanding reviews dating back to 2009…)  But these 10 movies give me something to look forward to – and I’m sure this is only scratching the surface.  So much of the fun of following and watching movies is finding fun surprises throughout the year.

Most of my top 10 list of 2013 did not come from my most anticipated films of 2013.  In fact, only two did.  But waiting for these films will keep me occupied while the best films of the year do come along.

HONORABLE MENTION

I’m hoping for good things from “Dawn of the Planet of the Apes” after 2011’s superb “Rise” successfully rebooted the franchise.  And even though “Mockingjay” was my least favorite book in the “Hunger Games” franchise, the vigor of the “Catching Fire” movie has me excited.  Brad Pitt’s WWII flick “Fury,” helmed by “End of Watch” director ought to be promising for Oscars and entertainment.

Tammy

#10
“Tammy” (July 2)
Directed by Ben Falcone
Written by Ben Falcone and Melissa McCarthy
Starring Melissa McCarthy, Susan Sarandon, and and Dan Aykroyd

Ok, I’ll admit I know almost nothing about this movie.  But if Melissa McCarthy could make “Identity Thief” bearable and “The Heat” pretty hilarious in spite of its lackluster plot, then I can really get excited about a project she wrote with her husband.  Yes, her husband was Air Marshal John from “Bridesmaids,” and he’s also serving as co-writer and director.  Should be a hilarious highlight of the summer.

The Fault in Our Stars

#9
“The Fault in Our Stars” (June 6)
Directed by Josh Boone
Written by Scott Neustadter and Michael H. Weber
Starring Shailene Woodley, Ansel Elgort, and Willem Dafoe

I read this book in three days this fall.  I’m not saying it was great, but I just couldn’t put it down.  And now I can’t wait to see the movie because I know I’m going to cry like a baby.  (It’s about teenage cancer patients, in case you didn’t know.)  The book almost had me sobbing, which is something only “Where the Red Fern Grows” has accomplished in my life.

Foxcatcher

#8
“Foxcatcher” (TBD)
Directed by Bennett Miller
Written by Dan Futterman and E. Max Frye
Starring Steve Carell, Channing Tatum, and Mark Ruffalo

Bennett Miller’s “Moneyball” has continued to grow on me over the past two years, and there’s something oddly intriguing about his follow-up, “Foxcatcher.”  Check out the trailer if you want to see how strange and unconventional it appears to be.  Something tells me he’s going to get shocking career-best work from Carell and Tatum.

Noah

#7
“Noah” (March 28)
Directed by Darren Aronofsky
Written by Darren Aronofsky and Ari Handel
Starring Russell Crowe, Jennifer Connelly, and Anthony Hopkins

So the trailer might have been slightly underwhelming, and the supposed studio interference has me a little worried.  But this Darren Freaking Aronofsky’s follow-up to “Black Swan.”  It’s the Bible as we’ve never seen it before, according to the Oscar-nominated director.  And he must be onto something because there are now multiple Biblical epics in the pipelines at various Hollywood studios…

Jersey Boys

#6
“Jersey Boys” (June 20)
Directed by Clint Eastwood
Written by John Logan and Rick Elice
Starring John Lloyd Young, Vincent Piazza, and Christopher Walken

Clint Eastwood hasn’t exactly been on a hot streak as of late (hello, “Hereafter” and “J. Edgar“), but maybe a change in the tenor of his material will bring out the 2-time Oscar winner’s best.  He’s working with some brilliant source material in “Jersey Boys,” which is still one of my favorite Broadway shows.  Those who don’t love the stage musical format should take comfort in knowing the jukebox style lends itself to a much more cinematically friendly transfer.

Transcendence

#5
“Transcendence” (April 18)
Directed by Wally Pfister
Written by Jack Paglen
Starring Johnny Depp, Rebecca Hall, and Kate Mara

Christopher Nolan’s films, in particular “The Dark Knight” and “Inception,” have been immaculately lensed by Wally Pfister.  Now, he’s decided to sit in the director’s chair, and he’s brought along Nolan stalwarts Morgan Freeman and Cillian Murphy for his debut.  The trailer sure looks great – certainly unlike anything else I’ve ever seen.

Inherent Vice

#4
“Inherent Vice” (TBD)
Written and directed by Paul Thomas Anderson
Starring Joaquin Phoenix, Reese Witherspoon, and Josh Brolin

Hopefully this one does in fact see a release in 2014, but I’m certainly curious to how on earth Paul Thomas Anderson plans to top “The Master.”  Re-teaming with Joaquin Phoenix is a promising start.  The bold filmmaker’s decision to tackle the difficult prose of novelist Thomas Pynchon means we could be in for another quite enigmatic film … and I wouldn’t have it any other way.

22 Jump Street

#3
“22 Jump Street” (June 13)
Directed by Phil Lord and Chris Miller
Written by Michael Bacall, Rodney Rothman, and Oren Uziel
Starring Channing Tatum, Jonah Hill, and Ice Cube

“21 Jump Street” is probably my favorite comedy of the 2010s, so you can imagine my delight when they announced a sequel that sends Jenko and Schmidt to college.  The first trailer was phenomenal.  Hopefully it’s not the extent of the film’s laughs.

Gone Girl

#2
“Gone Girl” (October 3)
Directed by David Fincher
Written by Gillian Flynn
Starring Ben Affleck, Rosamund Pike, and Tyler Perry

I read “Gone Girl” essentially in a day over the summer, and I cannot wait to see how Fincher brings it to life.  It seems like a very happy median between the verbal ping-pong of “The Social Network” and the darkness of “The Girl with the Dragon Tattoo.”  I’m keeping my fingers crossed that it makes a star out of Rosamund Pike, whose talents I’ve been touting since “An Education.”

Interstellar

#1
“Interstellar” (November 7)
Directed by Christopher Nolan
Written by Christopher and Jonathan Nolan
Starring Matthew McConaughey, Anne Hathaway, and Jessica Chastain

Christopher Nolan is releasing a new movie.  That ought to be all I have to say, even though my disappointment still continues to grow over “The Dark Knight Rises.”  The fact that he’s assembled McConaughey, Hathaway, and Chastain, along with Michael Caine, Matt Damon, Casey Affleck, and Ellen Burstyn for the film is encouraging (even if the first teaser wasn’t).


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LISTFUL THINKING: The Top 10 Films of 2013

1 01 2014

Normally, I can come up with a unifying theme for my top 10 list.  But this year, I really struggled to find a common thread or through-line.  Ironically, even in the absence of some sort of angle for this piece, I would still consider 2013 to be the best year for movies in a long time, at least since 2010.

I suppose one commonality amongst this list is unforgettable characters.  The best cinema of the year entertained, engaged, and enlightened by bringing people to life before our eyes.  As they negotiated everything from familial regret (Philomena Lee) to career frustrations (Llewyn Davis) and even false enslavement (Solomon Northrup), their conflicts became real to me, captured my imagination, and hijacked my thoughts.

Though 2013 is over, my dealing with these films and characters is far from finished.  I will continue to wonder if Llewyn Davis will ever achieve success, if Ritchie DiMasso deserved to be screwed over, if Jasmine is primarily responsible for her own breakdown, if Lucas can ever return to any semblance of normality in his life, and if Epps is just pure evil at his core.

Without further ado, here are the 10 best films of 2013…

10) Enough Said

#10
“Enough Said”
Starring Julia Louis-Dreyfus, James Gandolfini, and Catherine Keener
Written and directed by Nicole Holofcener

A well-known cliché regarding great comedic actors is that they could somehow make reading the phonebook hilarious.  Julia Louis-Dreyfus would not even have to utter a single word of the phonebook to have me in stitches; just a contortion of the brilliantly expressive musculature in her face makes me laugh.  In her first live-action role on the silver screen this millennium, she is the perfect vessel for writer/director Nicole Holofocener’s humor in an insightful look at the way people act against their own interests and desires in the name of self-preservation.  Intimately scaled and brilliantly observed, “Enough Said” makes for 90 minutes of the most perfectly realized cinema this year.

9) The Hunt

#9
“The Hunt”
Starring Mads Mikkelsen, Thomas Bo Larsen, and Annika Wedderkopp
Written by Tobias Lindholm and Thomas Vinterberg
Directed by Thomas Vinterberg

I first saw “The Hunt” almost 20 months ago at the Cannes Film Festival, and ever since, I have known it would make my top 10 list.  So needless to say, I’ve been waiting a long time (thanks for that release delay, Magnolia).  It speaks to the strength of the cinema in 2013 that had “The Hunt” been released in 2012, it probably would have topped my list of the year’s best.  Still, this drama of an innocent man put through the ringer stands high and mighty in 2013 thanks to the brilliant performance of Mads Mikkelsen, a screenplay that would make Arthur Miller proud, and the steady direction of Thomas Vinterberg.

8) 12 Years a Slave

#8
“12 Years a Slave”
Starring Chiwetel Ejiofor, Michael Fassbender, and Lupita Nyong’o
Written by John Ridley
Directed by Steve McQueen

After making “Shame,” which I firmly believe will be seen as a defining film of the decade for tackling the largely unrecognized pervasiveness of sexuality in society, there was really nothing else the unflinching camera of Steve McQueen could capture except the brutality of American slavery.  What he creates in “12 Years a Slave” is a brilliant hybrid of an art film with a traditional historical narrative movie, clearly communicating a story for all viewers with haunting complimentary imagery.  It’s a film so powerful that it does not just remind us that we need to talk about slavery – it somehow makes us want to talk about slavery.

7) Philomena

#7
“Philomena”
Starring Judi Dench, Steve Coogan, and Sophie Kennedy Clark
Written by Steve Coogan and Jeff Pope
Directed by Stephen Frears

Perhaps the unlikeliest (or at least the most unanticipated) entry on my list, “Philomena” screamed cringe-worthy Oscar bait from its premise.  Yet it pulls off the year’s strangest high-wire act thanks to Steve Coogan and Jeff Pope’s tonally masterful screenplay, managing to be at once funny and tragic while always touching the heart.  Though the movie makes a play for your emotions, it never feels cloying.  Rather, you just embrace Philomena the character played with infectious warmth and forgiveness by Judi Dench and “Philomena” the film all the more.

6) Blue Jasmine

#6
“Blue Jasmine”
Starring Cate Blanchett, Sally Hawkins, and Bobby Cannavale
Written and directed by Woody Allen

I’ve seen every Woody Allen film, for better or for worse, and I don’t think he’s written a character as complex as Jasmine since Annie Hall herself.  And that was so heavily based on Diane Keaton, so he along with a fearless Cate Blanchett are discovering and creating in “Blue Jasmine.”  No movie has stuck with me more throughout the year than this one; the question of social forces vs. personal agency in Jasmine’s demise haunting my thoughts so much that I paid an obscene amount to see it again four months later.  The debate over her fall from grace will rage on forever, but no discussion is necessary to settle the claim that Jasmine has the right to stand next to such complex female characters as Blanche of “A Streetcar Named Desire” and Nora of “A Doll’s House.”

5) Inside Llewyn Davis

#5
“Inside Llewyn Davis”
Starring Oscar Isaac, Carey Mulligan, and John Goodman
Written and directed by Joel and Ethan Coen

I’ve always been a fan of the Coen Brothers, but it took “Inside Llewyn Davis” to make me truly come to terms with just how incredible they are.  Masters of their form with an unrivaled attention to detail in this era, they have bottled up their essence and transported it to the nascent stage of the 1960s folk music scene.  Featuring what might be the best soundtrack since – well, maybe even the Coen Brothers’ 2000 “O Brother, Where Art Thou?” – and a stunning lead performance by Oscar Isaac, the latest entry to their remarkable canon may appear slight at first glance.  But look a little harder into their script, which is just as carefully constructed as every shot in the film.

4) The Past

#4
“The Past”
Starring Berenice Bejo, Tahar Rahim, and Ali Mosaffa
Written and directed by Asghar Farhadi

Asghar Farhadi set an unfairly high bar for himself with the consummate “A Separation,” and he scales those heights again with “The Past.”  He once again shows his incredible command and understanding of human behavior, crafting characters with complex emotions and intricate facades to conceal their transgressions.  Everyone acts on multiple levels of motivation, and it’s searingly gripping to observe their worlds unravel.  Farhadi uses the searing realness of these characters, especially Berenice Bejo’s Marie, to show how the past influences and clouds not only the present but also the future.  These are hardly groundbreaking themes, but Farhadi’s impeccable knack for realism makes them worth reconsidering not only in the context of the film but in our own lives as well.

3) Spring Breakers

#3
“Spring Breakers”
Starring James Franco, Selena Gomez, and Vanessa Hudgens
Written and directed by Harmony Korine

I’ve been hesitant to write anything about “Spring Breakers” all year, partially because I don’t think my words can do it justice but subconsciously because I don’t want to demystify it.  The film came over me like a haze or a stupor, took me on the trip of a lifetime, and then released me in slack-jawed awe.  It’s a genius look at the way sex, drugs, and violence intersect in contemporary culture, filmed in simultaneous beauty and grime.  Korine somehow manages to criticize the dark underpinnings of the spring break mentality while also capturing the almost spiritual allure it has.  Misunderstood and misread as pure glorification by many, I’m proud to be a “Spring Breakers” fanatic since the first time I saw it.  I look forward to watching this become a cult classic and a landmark film for my generation.  Spring break forevaaaaa…

2) Stories We Tell

#2
“Stories We Tell”
Directed by Sarah Polley

The year’s most audacious boundary-pushing achievement, “Stories We Tell” is a beautiful documentary that tests the limits of the fiction/non-fiction binary that is currently established.  As director Sarah Polley probes her own story, she finds chaos and confusion amidst the many competing narratives of the past.  Somehow, she manages to find rhyme and reason to it all, presenting all the recollections of her late mother Diane in one giant story that reveals the large gap in between reality as we experience it and the way we ultimately remember and retell it.  Yet somewhere in that hole, she gets at the core of what makes us human, a true treasure gleaned from what could have been a family album.

1) American Hustle

#1
“American Hustle”
Starring Christian Bale, Amy Adams, and Bradley Cooper
Written by David O. Russell and Eric Singer
Directed by David O. Russell

“The Fighter” and “Silver Linings Playbook” showed us that David O. Russell had a mastery of coaching performance, and “American Hustle” is elevated to the realm of the sublime because Russell uses that understanding to create the ultimate performances of performance.  Everyone in the film is playing multiple games and shuffling between multiple identities to get what they want, yet their success comes with an accompanying yearning for a truly real human connection.  Though the characters may groove to Donna Summer and sport comb-overs or perms, this 1970s drama connects to the realities and anxieties of 2013, where many of us interact through various social media profiles and avatars in order to replicate but also mediate and mitigate real relationships.  But this is hardly a somber meditation on the present era, rather an observation of basic human nature: we’re conning, hustling, and BS-ing everyone – including and especially ourselves.  And while you chew this over, Russell will have you grinning from ear to ear as his movie brims over with joy.


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