The Bad Guy's Top 50 Movies of 2014

[The Bad Guy]

So the Academy Awards are this evening, which means that I've officially run out of time to do my 2014 list. While I didn't get to absolutely everything I feel confident that I've seen plenty.

I will not be doing an honorable mentions list at the outset this year. Instead, I'm just going to get right to it. So without further ado, here we go...

50. Starred Up

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David Mackenzie's prison drama centers on the character of Eric, a young offender with a propensity for violence and a disdain for authority. We immediately see why he is considered such a high risk inmate, as Eric's poor impulses lead to physical confrontations with prison guards and verbal confrontations with prison officials. Several of the higher-ups quickly come to the conclusion that he is a lost cause, which does seem to be the case at first. But Oliver, a man who hosts a group therapy session with inmates, isn't convinced. He puts his reputation at risk by going against the consensus of his colleagues and tries to help this young man.

As you might expect, the story focuses on themes of rehabilitation and to what extent this is possible with dangerous inmates. It's also interested in the fatalistic circumstances of the characters themselves. For example, Eric's literal father Neville is imprisoned under the same roof. While he does seem to care about Eric and attempts to steer him straight, it's clear that this man's criminal mindset and aggressive behavior has rubbed off on Eric, to the point where it's no surprise that the two of them are locked up. Oliver's back-story also seems to suggest he was destined for his current position, as he feels the need to help in whatever way he can. We know far less about the gestapo-esque Governor Hayes, yet even he seems naturally predisposed towards his position, and his absolutist worldview can result in extreme methods.

Some might argue that the plot of the father and son is a contrivance, or that we've seen much of this before in prison dramas. While I'll grant that, there's something so visceral about this film that I found myself captivated by it. As one might expect from a gritty prison drama, there's not much room for bright colors or imaginative shots. But the cinematography in the film is very effective at portraying the sense of claustrophobia and drabness of the prison world. It's a movie with several strong performances, but Jack O'Connell is arguably the best thing about the film. He does a stellar job here and may be one of the best young actors working today.

49. Inherent Vice

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One of the most divisive films in recent memory, Inherent Vice is either a major disappointment from Paul Thomas Anderson or one of his best depending on who you talk to. While I enjoyed it, I personally feel that it's one of Anderon's weaker efforts and certainly a big step down from The Master.

Much of the film's polarizing effect is due to the script, which is unusually difficult to follow. In fact, some people, like Philip Hensher, commented after seeing it that they "feared he'd had a stroke" because they understood so little of the plot or dialogue. Others said they needed a joint beforehand, a re-admittance ticket afterward, or both. I personally burned a lot of fuel trying to keep up with the constant introduction of new characters and plot threads. It's only after quite a few encounters that one starts to realize this isn't a detective film at all. In fact, Paul Thomas Anderson's adaptation of Thomas Pynchon's novel is in some ways the spiritual successor to the Coen's The Big Lebowski, another film where the overly complex plot is not the essential part of the film. While it's not nearly as funny as TBL, Inherent Vice does have a lot of retro Los Angeles style and its own brand of humor.

Inherent Vice is one of the most difficult films to rank and write about this year, in my opinion. I would go so far as to say that part of my appreciation for the film is speculative. It seems like the type of movie that demands a re-watch, yet I haven't been able to see it a second time. But I have confidence in saying this much about Inherent Vice; while many films of 2014 are destined to be forgotten, this one will likely become a cult classic. It's the sort of film that enthusiasts will champion and some will watch over and over again. While a lot of the larger plot points are clear by the time the credits roll, there's certainly a lot of depth to explore here and some interesting discussions to be had about everything from the story to cinema generally.

48. Predestination

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One of the more interesting sci-fi efforts to come out in recent years, Predestination is a nifty time-travel film that should satisfy sci-fi fans as well as those interested in a good story.

While the plot can feel a bit strained at times it doesn't delve into idiocy or obvious contradiction in the way that other modern time travel movies have been guilty of (I'm looking at you, Looper). Much of the film centers around a bar conversation about a person's upbringing, so a lot of the key plot points surrounding time travel and the fizzle bomber appear extraneous at first. I'm not going to delve to deeply into the plot because this is a film that's better unfolded to your own eyes, but I will say that I really appreciated how certain threads tied together. I have a few issues with some of the later parts of the film, but I still find a the questions it raises to be thought provoking. We're shown just enough of this world that it mostly makes sense, yet there's quite a bit of the story that remains mysterious by the time the credits roll. Even the big reveal of the film is never explicitly stated outright, even if the audience gets the connection. It's not nearly as complex as something like Primer and it's far more serious than a Back To the Future. Yet the film manages to be both fun enough and weighty enough to appeal to just about everyone.

While no time travel film can be completely original, I respect how Mike & Peter Spierig's film does its best to create a unique world with its own look and feel as well as its own set of rules. Some of the retro scenes have a great visual aesthetic, and there are some cool details in the film, like how guitar cases are used as the disguise for time travel technology. It's also refreshing that they understand that a compelling script is what makes for a quality sci-fi film, rather than big budget action sequences.

By this point, I think everyone has an opinion on Ethan Hawke as an actor. But it's Sarah Snook that really steals the show here. I had never even heard of this girl before, but she was given a great character to play and wow, she sure took advantage of the opportunity. I don't know whether she's considered a marketable commodity in Hollywood, but she has serious talent and I can't wait to see what she does next.

47. Omar

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One of the more unique and daring films I saw last year was this Palestinian import by director Hany Abu-Assad. If you've seen Paradise Now, which Abu-Assad co-directed, the plot of this film will strike you as familiar. But to many people the subject matter and protagonist of the film are going to be controversial, as it humanizes a man that many would consider a terrorist.

The film's protagonist plots to kill a random Israeli soldier. He and his compatriots train tirelessly to carry out this assassination at a nearby base with a sniper rifle, honing their skills and readying their escape plan. I'll spare you the particulars, but this incident leads to a cat and mouse game between members of Israeli intelligence and Omar's group. They find themselves constantly on the run and questioning the loyalty of those near them, worried that a potential capture could lead to coercion and spying.

This story of intrigue and unrequited love plays out more like a crime thriller than a heavy handed film. It's easy to forget you're watching something that seems so inherently political or even dangerous. Some of this is due to the tension within the script, which is undeniably captivating. But this is also a movie with surprising production values and well filmed action. There are several chase scenes in this film that are some of the most impressive sequences I've seen in any movie all year.

I'd be remiss if I didn't mention the controversial ending. I obviously won't say what it is, but I personally found it to be a stunning and abrupt finale I'll remember for a long time.

46. John Wick

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One of the best executed US action blockbusters in recent memory, John Wick is an exciting return to form for Keanu Reaves and head and shoulders above most of what passes for action at your local United Artists multiplex these days.

Part of what makes the film so fun to watch is that it's unapologetic about what it is. The initial parts of the film are a bit dark and emotional, but once the film takes off it's as straightforward an action film as you're likely to see. It's also not a movie that takes itself too seriously, as it sets up a dark underground world with memorable and quirky characters. While a lot of the film is brutally violent and involves people getting shot in the face, this isn't a humorless ride. The writers and directors seem fully aware of what they're doing here, and the results are immensely entertaining.

The biggest strength of this film is, by far, the action choreography. There's no Bourne-esque cutting to a different frame every second or two and there's no obnoxious shaky cam. Much of what passes for decent Hollywood action these days is nowhere near this level of quality. You can always tell what's going on in the fight sequences and they look great. It's refreshing to have a film like this that can generate real excitement with its action, rather than over-stylizing it to the point where the audience is tricked into thinking they've seen something bold.

This final paragraph is a bit of a spoiler, so if you haven't seen the film you might want to skip this - My only real issue with the film is that it begins to feel a little routine as it goes on. Wick is so effective at disposing his enemies and there really aren't any viable challengers to his kill streak other than the next nameless goon with a bulls-eye on his forehead. I would have appreciated if the difficulty level had noticably increased as time went on, because while they continue to throw challengers at Wick the outcome never feels questionable. It's interesting that the film is so ineffective at establishing tension, because it's surprisingly effective at getting us to care about what is (on paper) a comical revenge premise.

[Peng]

Starred Up is in my top 10, and John Wick top 20. Didn't connect much with Inherent Vice, I'm afraid, although I enjoyed watching it.

EDIT: I've also been wanting to comment to your thread on RT, but it seems I can only log in with my fb account, or somehow not able to access the forum (error has occured) if sign in the usual way. Don't know how to fix that.

[Dukefrukem]

I can't believe you guys still post on RT.

Keep going Bad Guy

[The Bad Guy]

Starred Up is in my top 10, and John Wick top 20. Didn't connect much with Inherent Vice, I'm afraid, although I enjoyed watching it.

EDIT: I've also been wanting to comment to your thread on RT, but it seems I can only log in with my fb account, or somehow not able to access the forum (error has occured) if sign in the usual way. Don't know how to fix that.

Glad to have you following along.

Yeah, Inherent Vice certainly isn't everyone's cup of tea. I can easily see both Starred and Wick being in someone's top 20 or top 10.

I was actually trying to reply to people on RT this morning but am having the same problem.

According to Nathaniel you can e-mail flixster through their website and re-gain access that way. I sent them an e-mail and am waiting to hear back.


I can't believe you guys still post on RT.

Keep going Bad Guy

Thanks, Mr. Duke

I'm hoping to have the next entries up tomorrow.

[The Bad Guy]

45. The Drop

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The Drop is written by Dennis Lehane and adapted from his story Animal Rescue. It's a slow burn crime drama that centers around a Brooklyn drop bar. Bob and Cousin Marv, played by Tom Hardy and James Gandolfini, run a comfortable operation and appear settled into their station of moving money through their establishment. But when the place gets robbed and money goes missing, tensions start to rise and nefarious mobsters begin to take an interest in the case.

A popular criticism of this movie is that touches on a lot of familiar territory in the crime genre, but I feel that it's elevated by the quality of its parts. Every level of the film's production is solid, and I couldn't help but be intrigued by the film's mystery. It's difficult to talk about without spoilers, but a lot of the subtler moments in the film mean that much more in retrospect. Viewers are unraveling some of these plot threads, but it isn't until we see how it all comes together in the third act that we really appreciate it as a whole. In my opinion, the film's final act pays off big-time. Some people may consider this a stylistic problem with the film or that the first two acts drag a little, but I was always engaged with The Drop. I found it to be a tense and unsettling script and it kept me wanting more.

The two things that really elevate this film are the quality of its final act and the talent of the cast involved. Tom Hardy is always great and in some ways steals the film here. But Noomi Rapace, Matthias Schoenaerts, and the late James Gandolfini are certainly no slouches either. After having seen Gandolfini's performance in Enough Said and now this, it really hits me to know that we're all losing such a talented actor. I feel like he was starting to break free from being pigeonholed as Tony Soprano and had so much range to offer. Unfortunately, this is the last of his films that will be released in theaters.

44. Wild

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Based on the true story and novel of the same name, is the story of Cheryl Strayed. This is a young woman who goes on a hike across the Pacific Crest Trail to get over a tumultuous breakup, a down-spiral into drug addiction, and the death of her mother. This is a woman who has endured a lot of hardship and appears to be mentally unwell. Her hope is that by leaving the world she knows behind and going on this epic journey, that she can find peace with herself and walk her way back to the person her mother wanted her to be.

The film strays from a lot of Hollywood elements. You're thrown into the hike from the jump and it is only over time that they reveal what she's been going through that lead her. Those uninitiated with the book or story might be confused at first why Strayed is doing something that appears irrational, but I liked how they revealed this information over time and tied it in to her struggles along the PCT. There's also a subtle shift in how these flashbacks are being utilized, as they peak during her more challenging moments and begin to subside toward the end of her journey. There aren't any big life-changing events that occur on the trail, but through these editing techniques and the strength of Witherspoon's acting we begin to sense that she is coming to grips with her reality and becoming a more enlightened person.

As someone who is interested in the potential benefits of solitude through retreats or meditation, this film spoke to me on a personal level. I imagine it will resonate with a lot of people. After all, who hasn't once fantasized about leaving civilization behind to go on an adventure - whether for self discovery or personal enjoyment? A hike like the one Cheryl Strayed embarked on is certainly no picnic, but there is a freeing quality to such an adventure. At one point she remarks to a female hiker that she feels more alone back home than she does out here by herself in the wilderness. That may sound cliche, but I think anyone who has gone through some of the things she has (or simply worked a desk job) instinctively knows what she's talking about.

There's one scene in particular towards the end of the film that I really loved. She runs into an older woman who is caring for a young boy. It's a really beautiful scene that seems to tie the movie together both on an emotional and thematic level. It's one of my favorite moments of 2014.

43. Listen Up Philip

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Written and directed by Alex Ross Perry, Listen Up Philip is about a young author who is making a name for himself and has just completed his second novel. He's also a full-blown narcissist that lacks any kind of empathy or sentiment. Although he is fully aware of these character traits, he seems to revel in them. As a viewer, it's easy to see that his actions are ill-advised and that he's actually something of a dim bulb. But you sort of have to sit there and watch his actions, which are often cringe inducing or comical. If you're the type of person who finds it difficult to like a movie in which you don't like most of the characters, then this is probably not your cup of tea.

In most other films, Jason Schwartzman's character would evolve and grow into someone more likeable. There is actually a bit of a question of whether this will happen towards the end, but it's predominantly the story of a man who is too full of himself and surrounded by corrupting influences to change his behavior. He is mentored by Ike, an elderly writer who has enjoyed far more success over the course of his career than Philip. Yet in some ways the character of Ike is even worse as a person than Philip, as his rampant narcissism and ego have gone unabated despite so many decades of life experience.

One of the things I really like about Listen Up Philip is how it utilizes the narrator. It's often been said that the written word's key advantage over cinema is its ability to articulate inner thoughts and motivations. There is a keen eye afforded to the novel that typically doesn't exist in scripts and films. While this is mostly true, a film like this takes full advantage of the available tools and does an admirable job of blending these qualities into the story. For a plot that focuses so heavily on writers this is an appropriate use of the medium, and it makes it feel like you are watching a short novel unfold on screen. I wish more films would adopt this approach.

42. The Unknown Known

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Errol Morris's The Fog of War, in which he interviews former defense secretary Robert McNamara, is probably my favorite documentary of all time. So you can imagine my excitement when I heard that Morris' new film centered on former defense secretary Donald Rumsfeld. There's no doubt that Rumsfeld presided over one of the strangest and most catastrophic chapters in the history of American foreign policy, so a filmmaker of Morris' caliber seemed poised to get some fascinating truths and behind the scenes insights.

Yet the film's subject, Rumsfeld, is so slippery that we get none of this. He obfuscates and deflects at every turn. Morris describes it as possibly the strangest interview he's ever done. There's a mystery at the heart of it asking 'who is this man?', yet Morris doesn't feel as though he is any better equipped to answer that question at the end of the project than at its outset. The answers Rumsfeld supplies to this line of interrogation are so deeply unsatisfying that many viewers and critics walked away feeling as if this was a failure on the part of the director, or even that Rumsfeld had bested Morris in some way. The poster for the film asks us 'why is this man smiling?', as time and again we see Rumsfeld's self-satisfied smirk in how he neutralizes a pointed question. You can tell that Rumsfeld feels as though he's playing a game and winning.

There's something not only unsatisfying about Rumsfeld's answers, but also genuinely frightening. When he is asked about the historical example of Vietnam and whether there were any lesson to be gained from it, Rumsfeld replies that if there's a lesson it's simply that "Some things work out. Some things don't. This didn't." Everyone has their own version of evil, Morris tells us, but what if there is simply nothing there? What do you do then?

41. Foxcatcher

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Bennett Miller's latest film tells the story of John DuPont, played by Steve Carrell, and his dream to provide America's best wrestlers with the tools and training to win Olympic gold. While the story may appear straightforward and the outcome is already widely known, there's actually a lot going on here. This is also a film that touches on a wide variety of subjects such as the male ego to mental illness etc.

I will speak briefly about the acting, as everyone by now knows that this is a film heralded as much or more for its performances. However, I actually found that Steve Carrell's performance wasn't as strong as Tatum's or Ruffalo's. I am excited to see what Carrell does next, I felt that the other two leads gave arguably the best performances of their career. To some extent this is splitting hairs as all three of the leading actors do a good job and the awards buzz surrounding the film is warranted.

One of the more defiantly austere and atmospheric films of last year, Foxcatcher draws us into a world that is undeniably cold. The use of color and cinematography convey an environment that is emotionally drab, and the script (which centers more around Channing Tatum's character Mark Schultz) adds to this sense of emotional isolation. Both John and Mark have grown up living in the shadow of others. For John, it's his family's fortune and the overpowering disapproval of his mother. For Mark, it's the sense that no matter what he achieves in life he will always be seen as the younger brother of David Schultz. So when the two of them join forces to accomplish great things there is actually a time when the story feels headed in a positive direction. Mark initially sees John as a mentor and a heroic figure, but as time goes on the two grow more distant. This is largely due to some sensitive subject matter that the film doesn't fully delve into, instead choosing to handle it in a manner consistent with the tone of the film.

The most lasting impression that I took away from the film was the arrogance of hereditary wealth. DuPont feels that his money entitles him to be an expert at everything from wrestling to ornithology, and his wealth does afford him the ability to feel he's playing a vital role in helping the U.S. win a gold medal or in publishing a book about birds. Yet the closer you look it's clear that he's an Emperor without clothing. There's a scene in the film where David Schultz is asked by a director to speak into the camera and say that he considers John a mentor to him. The pain and hesitation that Mark Ruffalo displays in this scene is palpable, and for good reason.

Money is not a guarantee of happiness. In fact, being born into money is no guarantee that you'll avoid being petty or miserable. While this is a subject that's been touched on in countless films, there's something about the way Foxcatcher handles it that leaves a lasting impression.

[Peng]

I really enjoyed The Drop's atmosphere and sense of community (Dennis Lehane's adaptations are always good on that front), and Hardy's superlative performanc. He is on my top 10 favorite 2014's male performances twice for this and Locke (much like Cotillard for the female side).

After almost disliking Dallas Buyers Club, I'm surprised to find how much Wild is engaging to me. An inspiring and feel-good movie that's also subtle, which is hard to find.

I feel similar as you about the performances in Foxcatcher (Tatum > Ruffalo > Carell for me). In fact, my feeling towards the film is the same as to Carell's performance: good, but tend to be one-note at times.

[MadMan]

Hey you post here too. Also.

[The Bad Guy]

40. Selma

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There were a truly alarming number of biopics this year. Whether that was fueled by Academy Award preferences or it's just a statistical anomaly is hard to say. What can be said is that most of these biopics weren't very good for a variety of reasons. Ava DuVerney's Selma, which chronicles Martin Luther King's struggle to secure voting rights in Alabama, was one of the exceptions to the rule.

The film has a polished Hollywood feel to it much of the time. Some things are a bit trumped up for extra drama like a more antagonistic Lyndon Johnson than we'd expect, or the use of unsourced dramatic music in one car ride scene. But Selma is also a bold film that isn't shying away from some of the pragmatic moral concerns involved in the struggle, or even the flaws Dr. King had as a person. You got to see some of the complexities of the struggle, as several members of King's group disagree on how best to proceed or second guess his decision making. Other activists outside of his circle have radically different notions, as well. Anyone who has been in or around a political movement will understand that it can be a messy process.

DuVerney's movie doesn't make MLK into some larger than life figure, but humanizes him as someone trying to do their best in a difficult situation. This, combined with David Oyelowo's performance, really brings King to life in a way that's both new and familiar. The film might have been benefited by going into detail with some of the other people in King's circle. Perhaps that's an unfair criticism because of the amount of time allotted for a film, but there was some good material they could have explored here.

I have to give the movie a lot of credit for being emotionally moving. There were some sequences in Selma that had me riveted or even close to tears. Some might argue that this has more to do with the history more than the story itself, but I'm not sure I agree with that. So many other biopics this year should have been emotionally engaging and simply weren't. DuVerney deserves a lot of credit for this passionate and well constructed project.

39. The Immigrant

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It's surprising that a film with so much talent, production heft, and star power behind it went relatively unnoticed this year. The Immigrant debuted at Cannes in 2013 and has since proceeded to fly under most people's radar. It was given an extremely limited release and received no awards consideration, despite the positive reviews from critics. It deserved a lot more attention than it got.

The film's plot centers around a Polish immigrant in early 1900s Manhattan. Ewa, played by Marion Cotillard, is separated from her sick sister upon reaching Ellis Island. To make matters worse, she is immediately accused of indecent conduct and threatened with deportation. Bruno, played by Joaquin Phoenix, takes a special interest in Ewa's case. He takes the woman under his wing, allowing her to come work for him in an urban underworld of burlesque and prostitution. Seeing little alternative to help her sister or provide for herself, Ewa begrudgingly agrees to this arrangement.

If last year's The Great Gatsby showed the opulence of the roaring 20s, then this film is almost its polar opposite. We're constantly seeing rundown sets of shabby apartments, dirty street corners, or the inelegant cells of Ellis Island. The use of color is almost monochromatic, as half or more of the scenes utilize a golden brown hue. It can feel drab and repetitive, but there's an over-exposure to the color in this film that gives it a surreal quality at the same time. That feeling of the unreal ties in nicely with the character of Orlando the magician, as well as some of the fabled elements of the story.

Although much of the film centers around a love triangle between the three main characters, I'm not certain whether any of the romance in the film is genuine. You get the sense that Ewa is caught between her circumstances and will do anything to help her sister, so it's unlikely she finds either Bruno or Orlando's romantic advances enticing. Orlando seems the type who might relish in competition with Bruno, more taken with Ewa than genuinely in love with her. Bruno seems the most convincing of any of them, yet he also shows a willingness to exploit Ewa for his personal gain. It's not until the film's third act that we get some resolution on this question, as the actions of one character appear to speak for themselves.

Marion Cotillard and Joaquin Phoenix are great in this, as they are in most things. But the best thing about The Immigrant is its fantastic ending. I'm always a sucker for a good finale, and The Immigrant's ranks with some of my favorite final sequences of the year. It captures what the film is trying to say beautifully and it's emotionally powerful. If I were ranking these films according to their endings, this one would be in my top 10.

38. Calvary

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Anyone who has followed my lists closely will know that John Michael McDonagh's The Guard came close to taking my top spot in 2011. His next film has a lot in common, as it tackles heavy issues with humor and intelligence. But while Calvary is a very good film, it falls short of that level of greatness.

The story follows Father James, who is played by Brendan Gleeson. One day at the confessional, a man tells him that he was molested by a priest as a child. When James urges him to make an official statement about it, the anonymous man informs him that the priest has since passed away. Unable to provide any good advice for this man, the mysterious figure lashes out with a threat on Father James' life. He says he is going to kill him because he's a good priest and has done nothing wrong. Killing a bad priest wouldn't get anyone's attention, but killing a good one? The people wouldn't know what to make of that, would they?

Father James is seen as the figurehead of the Catholic Church in this small Irish town, which carries with it a certain amount of respect and disdain. Because of the recent child abuse scandals with the Church and the declining religiosity of those around him, he finds himself in the unenviable position of shouldering the blame for a grand institution while trying to provide spiritual counsel for people who are often disinterested in the role of the Church in their lives. Yet father James is a good man, and despite the looming threat on his life he feels compelled to do what little he can to help ease the burdens of those around him. He has to take on this task single-handed, as its clear that his simpleton colleagues aren't going to be of much help.

Like The Guard, this is a film that may throw some people off with its lack of tonal consistency. I thought that The Guard did a better job at juggling its weightier themes and cutting sense of humor. Calvary isn't nearly as funny, partly because it delves deeper into darkness as it goes on. A lot of the plot deals with some very heavy stuff, and although this works it comes at the expense of some laughs. Still, this is a uniquely intelligent and clever film that further cements John Michael McDonagh as one of the better writer/directors working today.

37. We Are the Best!

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Lukas Moodysson's latest film has an explanation point on the end which seems appropriate. It's a coming-of-age story about three young girls who form a punk band, even though two of them have no musical talent whatsoever and are consistently told that punk is dead. Undeterred by their lack of expertise or the peer pressure around them, these young girls become an unstoppable trio who begin to form a bond as they struggle to write and rehearse their music. It's a punk rock story that isn't necessarily about punk rock. The 1982 setting of Sweden and the fading punk movement aren't essential elements, they just happen to be the backdrop for this story. You could easily substitute all of this and you'd be left with a thematically identical script. It's more about the idea of youth and counter-culture. I think a lot of people can relate to that feeling of youthful exuberance, where everything feels a bit rebellious.

Ultimately, even these ideas take a backseat to the main subject of the film which is adolescent friendship. The film doesn't shy away from showing us some of the clumsy ways that these types of friendships can manifest themselves. As you might expect, boys come up at one point in the film. It also addresses the desire to pressure those in your circle to be more like you. These elements are familiar if you've seen enough coming-of-age films, but the film never goes so far as to become cliché. It deals with some of these topics because they're true to life, not because it's interested in manufacturing drama. The film flows with a joyful energy that never lets it get bogged down by these scenes, keeping the viewer engaged throughout.

The finale didn't go quite as I expected it to, but in retrospect it makes perfect sense considering what the film is about. I was very satisfied after my screening ended, leaving with a smile on my face. Also, it brought up some compelling reasons for why we should hate the sport, so there's that.

36. Joe

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A major departure from the likes of Your Highness and Pineapple Express, David Gordon Green's latest indie effort is far more serious.

Joe is a story about a man of the same name (played by Nicholas Cage) who runs a foresting operation. He and his crew go out into the woods to poison trees and clear the land for redevelopment. It's technically not legal but nobody seems to make too much of a fuss about that, as everyone in the film is just trying their best to work and survive. One day, Joe runs into a young boy named Gary who is eager to to work hard and earn some money. It quickly becomes clear that Gary is wise beyond his years and a committed worker, but he also comes from a profoundly troubled household with an alcoholic, violent father. Joe must decide whether he's willing to take on this added baggage or cut Gary loose.

This is one of the most impoverished looking films of 2014. It feels like most of it was filmed in the middle of nowhere or behind a dumpster. Far from being a criticism, this helps give the film a very distinct feel and sense of place. In addition, the use of cinematography and editing in this film is so good that it caught me off guard. There are moments where the use of visuals merges with the music to create some fantastic sequences and transitions. It's obvious that a lot of care and talent went into the craft of this film.

Nicholas Cage is great in this, giving one of the most subdued and best performances of his entire career. Cage can often help make a bad movie watchable, but you can tell that he's often collecting a paycheck. Seeing him turn in such a strong performance in such a quality film is refreshing. But it's Gary Poulter, playing the role of Gary's father of Wade aka G-Daawg, who really steals this movie. At first we think he's nothing more than a mean drunk, but it quickly becomes apparent that this man is incredibly dangerous and prone to extreme actions to get what he wants. Poulter was a man with no formal acting experience, and instead was a real life alcoholic and homeless man. I had no idea that this was the case when I watched the film and was enamored with his performance the whole time as it felt so natural. Tragically, shortly after filming Joe, Poulter's very real problems caught up to him and he was found dead in a river. It's a damn shame, yet the movie serves as a lasting achievement to a man who might otherwise have passed on in obscurity. The film is worth watching for his performance alone.

[dreamdead]

Been hearing from multiple people that Calvary is really good stuff. I'm excited to see a film treat the idea of religion as an actual subject, one that acknowledges hypocrisy within the members of the faith yet still offers hope.

I was indifferent to Wild when its trailers first premiered as it looked like a get-ugly vanity project, one of the Oscar-bait staples. That said, the screenplay does a solid job orchestrating a return to the wilderness theme, how civilized life doesn't offer Cheryl anything, and how one's sex 100% impacts how you perceive others in the wilderness. The menace that she fears from the hunters was, if not subtle, memorably conveyed even as the filmmakers leave us hesitant to know how much of a threat he really was. Great final monologue as well. Not sure if the fox business was needed, but it didn't distract. Everyone's praised the filmmaking in this over Dallas Buyers Club. Was there really that much of a growth?

Listen Up Philip was sadly neglected by a lot of top 10 lists, when Moss did such excellent work. The film's diversions into the secondary characters really make that film.

Lots of great write-ups here!

[Dukefrukem]

Not sure about Joe. I didn't find anything particularly great about it. Definitely not as fascinating as Foxcatcher.

[The Bad Guy]

35. Ida

http://i.imgur.com/d1wFLhW.jpg?1

Pawel Pawlikowski's film takes place in 1960s Poland and follows the story of a novitiate nun named Ida. Having been raised from within, she only knows what life is like in the convent. Not only is she ignorant of the outside world, but she is ignorant of her family history and origins. That is, until the Mother Superior insists she visit her last known relative, Wanda Gruz. She insists that Ida stay for as long as is necessary with Wanda before returning. Although Ida is reluctant at first, she soon discovers a shocking truth - she is a Jew whose relatives were killed during the war. Curious to find out what happened to her deceased ancestors and intrigued by the decadence of ordinary life, Ida decides that she must stay and try to learn all she can before heading home.

Perhaps unexpectedly, this is as an odd couple road trip movie. The character of Wanda, exceptionally portrayed by Agata Kulesza, is almost the polar opposite of the young Ida. While Ida is demure, Wanda is rash and uncompromising. An older woman who is fully attune with her sexuality, Wanda is unapologetic in her pursuit of vices even if she is lacking in spiritual wisdom. She has no problem ignoring social decorum and speaking her mind to anyone along her way, all as the younger Ida looks on stoically.

It's a morally complex film that doesn't offer easy answers, both as it concerns literal events and how one defines the good life. The audience can feel like they're taking a vicarious journey behind Ida's captivating stare, always looking with interest but saying little. It touches on notions of identity politics, history, hedonism, and purity. Yet it's up to us to decipher these ideas and come to our own conclusions. While Wanda's character is well understood, Ida remains mysterious even after the end of the film. We must decide for ourselves what path she is likely to take, as well as what direction we feel is best for her.

The cinematography in this film is absolutely gorgeous. I had no idea going into the film that it would look this good, and that was actually one of the more pleasant surprises of the year. The look of Agata Trzebuchowska, who plays Ida, is one of the things that gives this its visual flair. The use of black and white gives her eyes a captivating, dark gaze that you can't turn away from. But this is also a beautifully shot film that uses a lot of creative angles and wonderful images. Calling it one of the best looking films of 2014 isn't an exaggeration.

34. Snowpiercer

http://i.imgur.com/S50hLBg.png?1

Bong Joon-Ho's latest film is based on a French graphic novel Le Transperceneige, by Jacques Lob. Set in the near future, a chemical released to combat global warming has had unintended consequences. Rather than avert a climate catastrophe, the world has instead been plunged into an eternal ice age. Mankind is mostly extinct, with the exception of one train that runs on a miracle engine. Within this locomotive there exists a distinct class hierarchy. The have-nots are relegated to the rear of the train, forced to survive in dehumanizing conditions while feasting on energy bars made of waste and insects. The more affluent members live near the front of the train, where they are afforded luxuries beyond imagination given the planet's circumstances.

The film has its merits as an action sci-fi film, but the thing I liked most about Snowpiercer is that it really is nonsense. What I mean by that is that the plot and the logistics of the world fall apart if you think about them for a few minutes. It's as far-fetched as you can get, and we only go deeper into the rabbit hole as the film moves towards the front of the train. From a kindergarten classroom to a sushi bar to a club scene... this is a movie that becomes increasingly surreal, giving the film a hazy and dreamlike quality. Some will undoubtedly look at that as a major flaw, but it's part of what gives the film such a cool vibe.

I don't think that this is a particularly deep film or an insightful one. It's an obvious class metaphor about ruling elites and the have-nots resulting in a bloody insurrection. It doesn't have much new to say about income inequality or even environmental stewardship, for that matter. These themes are timely, but what makes Snowpiercer good is that it's such a crazily imaginative, apologetically dark, and thrilling journey. I enjoyed getting lost in its madness and it's not something I'll forget anytime soon.

33. Two Days, One Night

http://i.imgur.com/NMO0DW8.jpg?1

The Dardennes latest film stars Marion Cotillard as a woman who learns that she's lost her job. Rather than just being fired, Sandra is informed that her colleagues were asked to take a vote on whether to bring her back from sick leave or terminate her employment altogether. Her co-workers are incentivized to let her go when they're informed that they will all receive 1,000 euros bonus pay if she does not return to the company. Initially, the vote is a slam dunk - Sandra is overwhelmingly voted out. But one of her close friends and colleagues urges her to fight, insisting that the boss pressured some into voting against her for fear they may lose their own jobs. Urged by her friend and her lover to fight this decision, she must now go door to door in order to convince those she worked with to give up their bonus and let her keep her job.

I left the theater wondering about whether this kind of thing happens. I've never heard of something like this in reality, but it's plausible given the circumstances the film presents. In any event, the premise of the film does set up a great moral fable. The film seems to be holding up a mirror to its audience, asking to what extent we belong to a society or to what extent it's just every person/family for themselves. As Cotillard's character goes from one co-worker to the next, we're left wondering which of these competing notions will win out in the end. The answer to the question "society or jungle?" doesn't appear clear cut, especially in this type of economy. It isn't until the film's final act that we see the outcome, but even then we're left pondering. A lot of this plays out like a thriller where you're increasingly on the edge of your seat wondering what will happen. I personally loved the ending of this film, but I don't want to say why.

Like the Dardennes other works, this is not a film with big set pieces or car chases. The plot of the film, though compelling, is small in scope. Yet despite the embellishment, this is a film that resonates with truth and emotion much like their other movies. It captures that fear of living life on a financial knife edge while managing to be a profoundly human narrative at the same time.

Marion Cotillard is exceptional in this, giving one of the best female performances of last year. While she is very good in The Immigrant, I personally believe that this is the better of the two performances and the better film as well. Perhaps flying a bit under the radar, Fabrizio Rongione is a great compliment to her and takes on an equally challenging supporting role.


32. The Babadook

http://i.imgur.com/N7psNRX.jpg?1

Horror is perhaps the most lackluster of all movie genres, with the possible exception of romantic comedies. Even some of the most celebrated horror films of all time have their fair share of detractors, and it's not uncommon to go a full calendar year without one good horror film being released. Hollywood has pummeled horror into the ground in recent years with tired clichés of found footage, exorcism, and creepy children. Honesty, I don't even waste my time with most of them anymore. I'm more likely to find real terror in a well crafted documentary than your average horror flick.

But one of the most hyped films of the year, The Babadook, actually lives up to its billing. Written and directed by Jennifer Kent, the film has genuinely frightening sequences that unnerved me as I was watching it. For a film of its type to resonate with so many people as being truly scary is rare. It avoids nearly every pitfall that modern horror tends to stumble into and it takes risks that you wouldn't expect. The look and feel of the film draw you into its creepy world, while the script has you invested in the fate of its characters. A number of the fright sequences do rely on some traditional techniques, but it has enough of its own style to stand apart. This isn't a movie with a lot of jump scares etc.

It features a brilliant performance by Essie Davis, who I now realized has been criminally underutilized for most of her career. I think the last thing that I saw her in was The Matrix Reloaded and that was roughly a dozen years ago (seriously?). I'm also excited to see what Jennifer Kent does next, as this film shows enough moxie and creativity to suggest she has a lot more left in the tank.

The only issue I have with the movie is that, like most horror films, I had mixed feelings about the ending. I won't go into specifics and I recognize how the film is trying to have a metaphorical undertone and the horror of mundane life. I would have appreciated if it took itself more like a traditional horror film, though I can understand the counter-argument that we have dozens upon dozens of movies that do something similar to that. The Babadook, to its credit, is trying to do something fundamentally different and I respect it for that. I just wished I liked its conclusion as much as I enjoyed everything that led up to it.

31. Locke

http://i.imgur.com/pcPswTj.jpg?1

It's rare that a film like Locke comes along. Unlike a lot of films that change things up regularly, this film starts and ends with Tom Hardy's character in a car. It's refreshing to see a movie that's doing one thing well and doesn't let up. However, it takes good writing and a strong performance by the lead actor to pull something like this off. Thankfully, both are more than up to the task.

At first we know very little about why Locke is making this journey. Slowly but surely, the film starts to reveal the circumstances that our protagonist finds himself in. The more we discover, the more intense and stressful the situation gets. We're told that Tom Hardy's character is a man of the utmost integrity who is extremely confident, and we're assured by the calming tone of his voice as he tries to put each caller at ease. However, the situation becomes increasingly difficult as time goes on. We're left wondering whether this well intentioned, intelligent man is in over his head. I don't want to say more than that, since the less you know going into Locke the more you are likely to get out of it.

The only film in recent memory this reminds me of is Buried with Ryan Reynolds. That's a film with a very different plot, but it's also a nearly one man performance outside of cell phone conversations. I was a big fan of each of these films, though I understand that they're a hard sell to wide audiences. Neither film made much money, but I greatly appreciate the vision of a film like Locke that isn't afraid to take a chance and chart a different course.

As much as I liked Tom Hardy in The Drop, this is the performance that defines him from last year. Given the film's premise, Tom Hardy needed to carry this one and he most certainly did. I personally would have nominated him for best actor.

[The Bad Guy]

Been hearing from multiple people that Calvary is really good stuff. I'm excited to see a film treat the idea of religion as an actual subject, one that acknowledges hypocrisy within the members of the faith yet still offers hope.

I was indifferent to Wild when its trailers first premiered as it looked like a get-ugly vanity project, one of the Oscar-bait staples. That said, the screenplay does a solid job orchestrating a return to the wilderness theme, how civilized life doesn't offer Cheryl anything, and how one's sex 100% impacts how you perceive others in the wilderness. The menace that she fears from the hunters was, if not subtle, memorably conveyed even as the filmmakers leave us hesitant to know how much of a threat he really was. Great final monologue as well. Not sure if the fox business was needed, but it didn't distract. Everyone's praised the filmmaking in this over Dallas Buyers Club. Was there really that much of a growth?

Listen Up Philip was sadly neglected by a lot of top 10 lists, when Moss did such excellent work. The film's diversions into the secondary characters really make that film.

Lots of great write-ups here!

It is refreshing to have a film deal with the subject of religion in an intelligent and nuanced way. McDonagh is obviously very sharp, and I appreciate that he has the guts to meld harsh truths with humor. Let me know what you think of Calvary if you find time for it.

I thought that Wild was a significant improvement over DBC, which barely made my list last year but would have missed this year's list by a considerable margin.

The fear you felt for Cheryl every time she encountered a random man was palpable. I'm a male that has never had to experience that, but I definitely felt that vicarious sense of dread every time she played "creep or normal guy". The one hunter in particular made my skin crawl.

Agree that the closing monologue in Wild is very good. I was mostly indifferent to the fox, feeling that it didn't really add or detract from the picture.

Thank you for the compliment, Dreamdad. I look forward to hearing more from you.



Not sure about Joe. I didn't find anything particularly great about it. Definitely not as fascinating as Foxcatcher.

I thought it was a film with great characters and a captivating plot. I also preferred the sense of style and the craftsmanship to FC. Joe does kind of drop the ball in the third act, and that's actually where Foxcatcher shines.

I only have them rated five spots apart from each other, which isn't that much especially in a year of so many great films. I just happened to like Joe a bit more.

[The Bad Guy]

30. Love Is Strange

http://i.imgur.com/Qx8Kz0S.jpg?1

After spending over thirty years together, Ben and George (played by John Lithgow and Alfred Molina) are finally able to get married in a Manhattan ceremony. What should be the happiest day of their lives instead gives rise to a downward spiral that separates the couple into different housing. Once the news breaks, George loses his job teaching music at a Catholic school. Now unable to afford their apartment, the newlyweds are forced to call on help from friends and family to provide them with temporary living arrangements until they can get back on their feet.

The premise of the film might suggest that this is a message movie about gay rights or marriage equality. Surprisingly, Love Is Strange spends very little time going into this aspect of the story. Instead, Ira Sachs and Mauricio Zacharias have written a screenplay that's more concerned with human relationships than it is about politics. In fact, this is as much about the smaller memories we make between people as it is about romantic love. The film really nails those small moments that are true to life. There is no big plot other than the backdrop I mentioned earlier, but there's a lot of heart and the low-key transitions across time help to make this one of the more affecting movies of the year. Some have actually compared it to Linklater's Boyhood in terms of this storytelling style, though this is less ambitious in scope.

It's worth noting that the chemistry between John Lithgow and Alfred Molina is great in this. It genuinely feels like a decades long relationship, to the point where you can sense the difference in the characters' negative energy when they're apart and the connection they have when they're together. But as the two main characters spend so much time apart, a big focus of the script is on the platonic relationships of family and friendship, which isn't always smooth but can give way to greater understanding and affection with time. As the title of the film suggests, love can work in mysterious ways.

29. Leviathan

http://i.imgur.com/XSsN4iK.jpg?1

There is a scene in Leviathan where several men go out into the countryside with firearms and vodka. They're families are nearby, but they're essentially off in the middle of nowhere. One of the men unveils some objects he's brought for target practice - framed photographs of former politicians like Joseph Stalin and Boris Yeltsin. When asked if there are any modern mugshots that they can aim at, he replies that not enough time has passed for there to be a historical perspective.

Russian cinema seems to exist in an odd place at the moment. Very few major films come out of the country, so it was with some surprise that the most widely released import of 2014 was Leviathan, a movie that is scathing in its critique of the Russian oligarchy. Adding to the surprise is the fact that a lot of the film's funding came from the Russian Ministry Of Culture, and that the biggest objections to it seemed to be language. In a year where we saw Iranian dissidents change their identities to avoid imprisonment in the filming of Manuscripts Don't Burn, it really makes you wonder why it's the foreign language film frontrunner for Russia at the 2015 Academy Awards. I'm hoping that Andrey Zvyagintsev doesn't get in serious trouble for making this.

The story is reminiscent of Job. It's about a man named Kolya and his family who live on a small plot of land near a fishing village. A corrupt mayor takes an interest in the property and attempts to seize it through a form of eminent domain. When Kolya is unwilling to give up his land, the State tries to seize the property by providing less than adequate financial compensation. Throughout Leviathan, you get the sense that average people are struggling against crushing bureaucracy. There are several scenes in which the law courts read out the verdict at a breathtaking pace, leaving the audience with a defeatist attitude in the face of such blatant corruption and institutional bias. However, the characters in this film seem to be unintimidated by the forces that be. Both the landowner and the lawyer are willing to press their case against extreme adversity, eager to take on the mayor and threaten him with corruption charges if necessary.

I don't want to get into too many specifics about how things play out. Thematically, this is a film about how absolute power corrupts absolutely. The theme of the haves bullying the have-nots may be especially relevant in Putin's Russia, but it's something that people in any country could relate to. Every aspect of the society seems to conform to the institutional forces, whether it's a religious leader telling a politician that his power is derived from the almighty or the common man who drinks copious amounts of vodka to deal with the frustration.

28. X-Men: Days of Future Past

http://i.imgur.com/nVqCvL2.jpg?1

There was a lot of buzz about Marvel superhero movies this year, as there seems to be every year. While I will grant that Captain America: The Winter Soldier and Guardians of the Galaxy are better than a lot of previous entries in that field, the best comic book movie of 2014 was Bryan Singer's X-Men: Days of Future Past.

Based on the famous graphic novel, the X-Men find themselves in a futuristic hell-scape in which an army of sentinels roam the Earth. These unstoppable killing machines hunt down and extinguishing mutants of all types. Originally designed to target mutants like the X-men, the sentinels now target anyone with minor genetic mutations. This race of machines has grown beyond anyone's control, and since they're able to adapt to the powers of their adversaries they are simply too formidable to fight against. The plan then, is to use Kitty Pryde's ability to channel time to send Wolverine into the past (in the original story Pryde is the one who goes back), to end the war before it ever begins.

This movie reminds me of two other sci-fi films that I love. It's as though the X-Men franchise had been fused with Terminator 2 and Inception. Like T2, you have a post-apocalyptic future with an unstoppable robot army and the hope of traveling back into time to rewrite history. Like Inception, you have the different layers of time with the familiar face of Ellen Page guiding you through. Time travel and alternate realities are great storytelling devices if done right, and I felt like Singer and the writers handled this one really well. It's rare that a superhero film's main selling point is its plot, but in this case I think that's fair to say. The modified source material they're working off is so engaging, and the quality of the cast is so first rate that nearly every scene of dialogue is compelling.

Of course, there's some good action in this film, too. The futuristic fight scenes with the sentinels are well designed a lot of fun to watch, as the mutants employ a lot of inventive teamwork to battle the machines. But the one that really steals the movie is a slow motion action sequence involving Quicksilver, a mutant whose power involves going really fast. Shot from his perspective, we see time appear to slow down as he runs along walls, manipulates bullets, and generally just kicks a lot of ass. It's one of the best sequences I've ever seen in a superhero movie.

27. Under the Skin

http://i.imgur.com/HOETYCe.jpg?2

It's arguably the most unconventional film of last year. Under the Skin challenged moviegoers and split people into love it or hate it camps. I've seen it at or near the top of top 10 lists, but I've also talked to some cinephiles that feel it's a plodding, nonsensical mess.

The premise seems simple enough on paper: Scarlett Johanson plays a seductive alien who preys upon unsuspecting men in Glasgow, Scotland. But that synopsis doesn't convey just how odd and atmospheric this film is. Much of the film seems to be operating in Kubrick-esque a 2001: A Space Odyssey mode where we're shown a lot of mysterious sights and sounds but told very little. We're seeing things through the eyes of the alien invasion, but we don't fully comprehend their purpose or their methods. Are they plotting for an invasion or merely doing scientific research? Why do they take such an interest in imprisoning these men and what are they doing with their skins? Whether it's a frightening sequence of submersion under black liquid or an even more unsettling sequence on a beach, we're constantly wondering what's driving the alien's motivations as well as what the heck is going on.

While I can't fully explain to someone what I watched in an elevator speech, Under the Skin is a haunting and memorable experience. A lot of this is due to the use of music in the film. The soundtrack is so bizarre and overpowering that it unsettles you, which is appropriate for a film like this. It may not be a horror film in the traditional sense, but there are some sequences in here which are as frightening as anything I saw last year. Other sequences are so visually arresting or thought provoking that I have a hard time shaking them from my memory. I was still vividly recalling moments from this film several weeks after seeing it. It's rare for a movie to have that kind of lingering effect on me.

[Winston*]

Two Days, One Night is my favourite film of the year.

[Peng]

Two Days, One Night is my favourite film of the year.

Same.

[The Bad Guy]

26. A Most Violent Year

http://i.imgur.com/8WJEAjE.jpg?1

As someone who avoids a lot of information before going to the theater, I was pleasantly surprised to find that A Most Violent Year wasn't at all what I expected. Given the title and some miscellaneous clues I'd picked up about its story, I figured that this was going to be another period piece mafia/gangster film. It turns out that it's an anti-mafia film, as its protagonist Abel Morales (played by Oscar Isaac) is a man trying as hard as he can not to become a gangster.

Written and directed by J.C. Chandor, the movie takes place in 1981 New York, statistically one of the most violent years in the city's history. Abel and his wife Anna (Jessica Chastain) run a heating oil company on the verge of acquiring some strategic new territory. The coveted loading dock exists by the river, and will give the Morales couple access to oil barges which could greatly expand their business. However, they must first give a down payment to the current owners and come up with the remaining 1.5 million dollars within a month's time. It should run smoothly, but Abel's trucks are getting hijacked at gunpoint more and more frequently. In addition to being an obvious security concern, this criminal activity is having a major impact on their bottom line. Making matters worse, an ambitious district attorney (David Oyelowo) is going after the company with a laundry list of fraud indictments.

At the time, it was very difficult for people in the oil-delivery business to avoid fraud and violence. For someone with Abel's ambition, it seems counter-intuitive that he would be so desperate to acquire more money and power, yet unwilling to engage in retaliatory violence or become an ally of the mob. Yet Abel is insistent that he will not stoop to such tactics, despite the advice of nearly everyone around him that he, at the very least, allow his drivers to carry firearms for protection. It can be difficult to tell at times whether he is operating this way because he feels it's the best strategy to achieve his goals, whether he feels morally opposed to such action, or some combination of the two.

I loved the ethical dilemma at play here and found it refreshing to see a film that takes such a different approach. Some have criticized A Most Violent Year for not having enough of a pulse or being too restrained, but I was captivated the entire time. There are actually some edge-of-your-seat sequences in this movie and much of the dialogue is intense or thought provoking. Bolstered by some great performances from the three main actors and a supporting role by Albert Brooks, this is one of the best casts of the year. Chandor has also managed to make a name for himself as a director to look out for, as each of his films has gotten successively better, in my opinion.

25. Housebound

http://i.imgur.com/IfZh9LR.jpg?1

Forced to return to the house she grew up in, Kylie is placed under house arrest and given an electronic ankle bracelet. The arrangement is less than satisfactory for Kylie or her parents. Her mother Myriam finds her to be a spoiled and unaccommodating brat, while she finds her mother to be an obnoxious blabbermouth. Myriam insists that the place is haunted, but this is brushed off by Kylie as the delusional rantings of an older woman suffering from dementia. However, it soon becomes clear that something with the house is not right. Slowly but surely, Kylie begins to understand that she may be in actual peril. Unable to leave the house, she must find a way to work with her mother if she hopes to survive another night.

The horror/comedy hybrid genre is very difficult to get right. Sam Raimi was able to have success with the Evil Dead trilogy, but audiences were split on his return with Drag Me To Hell. Even devoted cinephiles would be hard pressed to name a great horror/comedy film that's come out in the past ten years. So I'm excited to say that the New Zealand import Housebound is a modern great in its genre. Some say that it's able to succeed at being both frightening and funny. I'll grant that Housebound is using some scare techniques in creative ways, but I think what makes this work so well is that it's primarily a comedy in the guise of a horror film. I'm not sure I was ever genuinely afraid during it, which could sound like a big weakness, but it's so funny and entertaining that it works. Part of what makes the humorous concoction effective is that Kylie is such an unconventional damsel in distress. At one point she's asked what she'll do if she encounters a hostile spirit, to which she replies "I'm going to smash it in the face!".

I won't get into a lot of the details about the plot, since this is also a mystery film where the protagonist is unlocking clues along the way. While the puzzle does help keep your interest, the real selling point here is the vibe given off by this quirky Kiwi film and its sense of humor. If this sounds like your cup of tea then you should absolutely give this one a go. I think Gerard Johnstone's Housebound is destined to become a cult classic.

24. A Most Wanted Man

http://i.imgur.com/o6R2zOX.jpg?1

John le Carre's story is adapted to the big screen in Anton Corbijn's spy thriller A Most Wanted Man. Set in Hamburg, German intelligence gets wind of a Chechen man named Issa who has managed to free himself of torture and sneak into the country. Because he is seeking to gain access to his father's fortune, counter-terrorism officials are wary of having another Mohamed Atta on their hands. It's unclear whether Issa is simply an immigrant seeking to put his troubled past behind him, or whether he poses a legitimate danger in the form of financing extremists.

It's a very intelligent screenplay. In fact, it's probably the best script I've come across when it comes to the nuances of counter-terrorism. You could argue that there are no real villains in the intelligence community here, yet there's plenty of adversarial behavior as you move through the levels of the bureaucracy. Phillip Seymour Hoffman's character, Gunter, is met with some opposition by those around him for taking a hands-off approach. One of his colleagues, for instance, is afraid that Issa might do something disastrous at any moment. Gunter is more concerned with the long game than he is with making a quick bust. As he explains in one scene "It takes a minnow to catch a barracuda and a barracuda to catch a shark." From the Germans to the Americans, everyone seems to have their own personal philosophy on how best to cope with these types of situations. While the viewer empathizes and roots for Gunter, they can also see the wisdom of other approaches even if they believe his methods are ultimately the best.

The film moves at a steady but consistently gripping pace. There are no big Hollywood set pieces or car chases here, but it's a thinking man's spy movie with a lot going for it. I'm obviously not going to give the game away in this write-up, but I will say that the ending is excellent and provides for some interesting post-viewing discussion.

Sadly, this is Phillip Seymour Hoffman's final role. He gives a brilliant performance here, reminding everyone just how great he was. It's a performance that will probably not get mentioned among his best, as this is a film that didn't make a lot of money at the box office. However, this is about as good as anything he's ever done. His presence elevates the cast around him. You can tell he's bringing his A game and inspiring those he's working with to reach a little higher. RIP Mr. Hoffman... you will be missed.

23. Birdman or (The Unexpected Virtue of Ignorance)

http://i.imgur.com/FCkyTpx.jpg?1

Alejandro González Iñárritu has been wallowing in misery for a long time now. While I personally loved Amores Perros, I was starting to feel that his last three films had become too one-note, culminating in Biutiful which was so senselessly bleak that I worried the director had jumped the shark. With Birdman, Iñárritu is still exploring some heavy themes of depression and mental illness, but he's doing it a fun way... if that makes sense.

The cinematography by Emmanuel Lubezki is just fantastic in this and worth watching for that alone. He pulls off a high wire act with his amazing long takes here. It's shot with these beautiful and sweeping takes which give the impression that the movie is one continuous shot. All of this is bolstered by the film's frenetic energy and jazzy drumbeats that move it along. Yet it's also able to slow down and inject some serious show-stopping moments of beauty, poignancy, or sheer insanity. Some might argue that the long takes are a gimmick, but this is a film about a theatrical production so I think the illusion of one continuous performance is clever and appropriate. Also, our protagonist Riggan (Michael Keaton) is a delusional and schizophrenic narcissist. This stylistic eccentricity helps us see things through his eyes.

This is a funny and fast-paced fable about a myriad of subjects ranging from fame to art. Trying to touch on all of the ideas would be incredibly time consuming, so I'm not even going to attempt it. I will say that it's fun to see a movie that jumps from social media commentary to a critique of critics on a dime, all while keeping the show moving and not looking back. It's also nice to see some good actors that haven't gotten much opportunity of late, particularly Edward Norton and Michael Keaton. Though I thought everyone involved in the project did a good job.

My interpretation of this film and its last act is different from some others I've spoken to. I'm far less trustworthy of Riggan than some seem to be, since I believe the man is so obviously nuts that it's difficult to draw a line between fantasy and reality. The very first scene is him levitating mid-air, dressed in nothing but his underwear and listening to an imaginary superhero narrate his life. We literally see supernatural acts of telekinesis and flight, only to be shown later that he took a cab from here to there etc. So some of the more fantastical elements that happen later on can't be taken at face value, in my opinion. It may interest some to go back and try to piece it all together, but I'm far more interested in how fun the delusional ride is than trying to determine what's real.

[Melville]

Nice thread.

I just watched Leviathan last week. A magnificent blend of bleak allegory and grounded human drama.

I didn't know Omar was directed by the same guy who did Paradise Now. I'll have to check it out.

[The Bad Guy]

Two Days, One Night is my favourite film of the year.


Same.

I can't fault anyone for saying it's the best of the year. It's not my personal favorite, but it's a really beautiful film.

[The Bad Guy]

22. The Double

http://i.imgur.com/sGqcQoB.jpg?1

2014 had two good films about doppelgangers. Richard Ayoade's The Double is more of an oddball dystopian comedy, whereas Dennis Villenueve's Enemy was an incredibly dark and stylish thriller. It's interesting that two films could have such a similar premise, yet they went about executing it in very different ways. To be honest, I have a hard time deciding which of the two is better.

Simon James (Jesse Eisenberg) is a man who is extremely uncomfortable in his own skin. It seems that he is consistently awkward and unsure of himself no matter the situation. He has been an anonymous office drone for many years, toiling away in a cubicle as his superiors as well as colleagues barely seem to notice him. One day, a man who appears to be his identical appears at the office named James Simon (also Jesse Eisenberg). James Simon is everything that Simon James is not. He is gregarious, confident, successful etc. and is almost immediately recognized and celebrated by all those around him. Nobody seems to notice that the two men look exactly alike, not even Simon's crush Hannah (Mia Wasikowska). As James becomes more domineering and achieves greater success, Simon becomes increasingly marginalized and irrelevant.

The Double draws on countless influences that range from Dostoyevsky to Terry Gilliam. You could probably point to twenty other fictional works in film or literature that it's drawing from (even Flash Gordon is in here). Some have pointed to these various influences as a negative, but I really enjoyed seeing a lot of these different elements come together to form a whole. It's such a diverse and delightful tapestry that the film feels fresh. It also doesn't dwell on any one stylistic element for too long, as the editing keeps the story flowing at an enjoyable pace. It's consistently fun to watch in a way that few films are.

The story takes place in a dystopic world, overrun with bureaucratic nonsense and monotonous labor. It's exploring a lot of heavy themes such as urban isolation and the oppression of individuality, but it's important not to lose sight of how funny this movie is. In fact, its brand of dark humor makes this one of the funniest movies of the year.

21. Enemy

http://i.imgur.com/3nBqE91.jpg?1

2014 had two good films about doppelgangers. Richard Ayoade's The Double is more of an oddball dystopian comedy, whereas Dennis Villenueve's Enemy was an incredibly dark and stylish thriller. It's interesting that two films could have such a similar premise, yet they went about executing it in very different ways. To be honest, I have a hard time deciding which of the two is better.

Adam Bell (Jake Gyllenhaal) is a mild mannered history professor who happens upon a movie one evening. In it, he notices something strange; one of the extras in the film looks exactly like him. This begins the mystery of Anthony Claire (Jake Gyllenhaal). Is the man really his exact double or is it a mere coincidence? Should Adam try to confront Anthony to discover the truth? Once this plot kicks into high gear it doesn't look back. This quickly becomes one of the most captivating movies of the year as the pieces start coming together. A lot of this is because it's such a mysterious narrative and I think it's best if I don't say too much about that.

Enemy is not a film of great thematic depth or insight. That's not to say that this isn't a thinking man's movie, quite the contrary. It's a stylish mystery/thriller that keeps you on your toes throughout as you pick up clues along the way. But what really makes this great is a compelling script blending with elegant style. There wasn't a moment where I wasn't caught up in the mysterious plot, as I was kept on the edge of my seat from start to finish. The cinematography is excellent, featuring beautiful aerial views and intimate shots. The film uses a level of color saturation that is simply out of control, adding to the eerie vibe and giving it a very distinct look.

The ending of the film ties in to a lot of mysterious hints we got before. I have my own ideas about the final shot, but I love that so many people have varying opinions and conspiracy theories. Just about everyone that I've talked to has different ideas and it makes for a fun discussion. That ongoing mystery gives the movie more lasting appeal and re-watch value. However, it also works perfectly well if you have no interest in fitting the puzzle pieces together.

This is the obligatory 'Jake Gyllenhaal is killing it these days' sentence.

20. The Lunchbox

http://i.imgur.com/05qUmXF.jpg

Ritesh Batra's first film is not what you're expecting. For starters, it's an Indian film that has no music sequences or dance numbers. That might not sound incredible to some people, but it's quite literally the only Indian movie I've seen that has none. It also looks like a cloyingly sweet romance from the box art and some of its advertising, but it's more emotionally complex than you might think.

The story is about two desolate individuals living in Mumbai. Ila is a lonely housewife that longs for the affection of her emotionally distant husband. Saajan is a reclusive widower getting close to retirement. One day, the two make a connection when the dabbawalas deliver Ila's lunchbox to Saajan by mistake. Rather than correct the error, Ila decides to keep sending the lunchbox to the wrong address, trying out new recipes to see what works. Over time, the two find themselves engaged in a written correspondence and begin to learn about the other person's life. Yet things remain uncertain as they grow closer. Will these notes blossom into a romance over time? Will Ila become involved in an adulterous affair? Will Saajan be willing to love again after the death of his wife?

The Lunchbox captures the loneliness and sense of isolation that can fester in a big city like Mumbai. Whether walking through a bustling market or standing on a crowded train, there's a sense in which you can feel alone amidst a sea of people. This story touches on the longing people can feel to reach out and make a real connection with a colleague at work or through a romantic interest. We can sense the emotional impact on the characters as they begin to develop these connections. We can hear the progression of the back and forth letters as they become more personally intimate, juxtaposed with montages of their experiences. I'm not kidding when I say that some of these sequences with the letters are some of the most emotionally heartwarming and heartbreaking moments of the year for me.

Also, for anyone who loves Indian food this movie will make you want to get some immediately after watching it. Navratan Korma is serious business.

19. Blue Ruin

http://i.imgur.com/ScWNPki.jpg?1

Written and directed by Jeremy Saulnier, Blue Ruin is a very basic revenge thriller that is masterfully told.

Much of the film is done without much dialogue, as it opts for a show don't tell approach. This is especially appropriate given the film's straightforward narrative of a homeless man seeking vengeance. Yet, despite the bare bones plot, this is more than just a slow-burn genre exercise. The script seems to be making a commentary on the ease with which stakes can escalate in our second amendment society. It's also an insightful character study about a broken man set down a path of destruction and damnation. Even if we empathize with his actions, there is a fear of whether that old adage of violence only begetting more violence will come to fruition.

Part of what makes this film so intriguing is that Dwight is an unlikely and nebbish protagonist to take on a group of 'bad guys'. This is the polar opposite of something like John Wick or something along the lines of Steven Seagal. That type of film can have its merits if done right, but we've all seen the macho revenge plot done to death. The character in this film makes the danger feel believable. That tension is only heightened by how these scenes are shot and edited. There are moments of violence or potential violence in this film that will have you holding your breath. It can be incredibly tense at times in the way that an Alfred Hitchcock or Dario Argento movie can be. I think the last time I felt this kind of tension in a film was the robbery scene in Refn's Drive.

Some people have compared this to the Coen brothers debut film Blood Simple. Many will consider that praise to be effusive, but I do not. This is an indie film that lives up to that kind of hype. If this is what Jeremy Saulnier can do on a shoestring budget then I'm very eager to see what he does next. It's a shame there aren't more films like this one.

[Peng]

There are actually four films than I can think of about doppelgangers in 2014 (in addition to +1 from 2013. A weird topic to suddenly be in trend right now), one of which (not on this this list) is in my top 10. Saying what films they are might be spoiler, but I am wondering if you don't like the other two that much or haven't seen them yet?

[The Bad Guy]

There are actually four films than I can think of about doppelgangers in 2014 (in addition to +1 from 2013. A weird topic to suddenly be in trend right now), one of which (not on this this list) is in my top 10. Saying what films they are might be spoiler, but I am wondering if you don't like the other two that much or haven't seen them yet?

The only ones I can think of are The Double, Enemy, and The One I Love. If there are others I don't think I know of them... unless you're referring to The Identical.

[Spinal]

The Lunchbox was quite good. I was surprised how much I enjoyed it.

[The Bad Guy]

18.The Grand Budapest Hotel

http://i.imgur.com/2mTMNuS.jpg?1

Wes Anderson's latest film is told across several time periods. Most of the film takes place during the reign of legendary concierge Gustav H (Ralph Fiennes) who tends a European hotel. The film recounts his adventures alongside a lobby boy named Zero Moustafa (Tony Revolori), who becomes his unlikely sidekick and friend. Much of the film focuses on the recovery of an invaluable work of art entitled 'Boy With Apple', as well as the fate of a large and highly contested family fortune. All of this plays out against the backdrop of the war and a quickly transforming Europe.

The film has a comedic bent to it and is focused on one plot point flowing to another, but there are also interesting ideas bubbling beneath the surface. It's a melancholy story that's interested in the allure of nostalgia. Zero has learned from Gustav the value of being a consummate professional, that a loving care for those in the establishment goes beyond financial gain or even just the hotel's reputation. This sort of practice has sadly gone out of style. Indeed, as Zero remarks at one point, Gustav's world was already vanishing during his tenure as a young lobby boy. The longing for this lost world, among other lost things, is painfully evident on the elder Zero's face as he recounts these events from long ago. Yet these experiences retain their value even after all these years, shaping the man he is today and inspiring a new generation with the help of a curious writer.

I'd be remiss if I didn't mention all the technical aspects that make this work. The film is accompanied by a very good original score, strong script writing, comedic timing, and quality acting all around (most notably Fiennes, who is excellent as Gustav). But the single most noteworthy element is the cinematography, which is simply brilliant. The camerawork and imagery pairs nicely with Wes Anderson's vibe. Also, because this is a story within a story the playful mechanics of the cinematography feel uniquely appropriate here, rather than just something that was adapted to suit Anderson's sensibilities. It's certainly one of the more creatively shot and best looking movies of the year.

As someone who loves Wes Anderson's previous two entries of Fantastic Mr. Fox and Moonrise Kingdom, I have to admit that my initial reaction to The Grand Budapest Hotel was one of mild disappointment. I recognized it to be a good film, but it also seemed scatter-shot and perhaps too quirky even by Wes standards. A few days after seeing it I was having trouble recalling elements of the plot, which is extremely rare for me and sometimes a red flag. I knew I needed to give it a re-watch, and when it started appearing on a lot of top 10 lists (and topping a surprising number of them) I was left scratching my head. Since then I have re-watched the film twice. Each time I see it my appreciation has grown considerably. Normally this doesn't happen with me, but there's something so endearing about The Grand Budapest Hotel that I feel drawn to it time and again. I would welcome the opportunity for another visit.

17. The Dance of Reality

http://i.imgur.com/4T2Iijv.jpg?1

Alejandro Jodorowky's long awaited return comes in the form of a sort-of biopic entitled The Dance of Reality. Produced, written, and directed by Jodorowsky, this is his first feature film in an astonishing 23 years. I'm pleased to say that it lives up to the hype, as it's one of the most delightfully imaginative movies I saw all year.

It's technically a biopic, but it's one of the most bizarre and artistic biopics ever made. The movie is about a young Alejandro Jodorowsky growing up in Chile, yet it's also a double narrative about his father's life experience and how his parenting methods helped shape the man Alejandro is today. It chronicles the events of this family, but it's also refreshing to see that Jodorowksky has not lost his energy or sense of absurdity with age. While the wisdom of his decision making may not always be clear to the audience, there is such a gleeful enthusiasm to the ideas and images he presents that you can't help but be captivated. The Dance of Reality has so many outlandish and wonderful sequences that I can't even begin to cover them all.

Jodorowky's film is a celebration of diversity and human experience - no matter the ideology we're all united in some way. There's a scene in the film where an eccentric holy-man hands a young Alejandro a cross, a star, and a crescent. He explains that while each of these objects represents a different religious worldview, they're all made from metal. If you were to melt them down, he explains, they would all become the same metallic compound. In another scene, a man is being interrogated by torturers demanding to know who Don Jose is. The man replies that everyone is Don Jose, which doesn't stop the beating but this scene continues the theme of universality. Even the father figure comes to recognize many of the same admirable traits in his enemy, Ibanez, that he idolized in Joseph Stalin. Jodorowsky seems to be arguing that no matter or religious or political ideologies, our common experience of consciousness and the human experience is what connects us all.

Of course, the movie is just plain bonkers and so much fun to watch. It features boxing circus clowns, singing amputee coal miners, a cardboard cut-out tank pasted onto a jeep, a dress-up dog show etc. and that's just the tip of the iceberg. Yet somehow it manages to be have thematic substance and genuine emotion. I really hope Jodorowsky keeps making movies. He's a mad genius and he creates things that - love them or hate them - you've never seen before.

16. Gone Girl

http://i.imgur.com/M2pcCHC.jpg?1

Arguably David Fincher's best film, Gone Girl is a gripping mystery/thriller based on the best-selling novel by Gillian Flynn. Fincher has a history of elevating his source material. I actually liked the movie Fight Club more than I like Chuck Palahniuk's novel. I think that his version of The Girl With the Dragon Tattoo is vastly superior to the Swedish one, even if neither film is working off what I'd consider a great story. But in this case it looks like we're getting a chance to meld Fincher's style with a really good story.

It's very difficult to talk about this movie without delving into spoilers, so I'm forced to be a bit cryptic in this write-up. That being said, if you're the type of person that doesn't even want slight hints or inferences you may want to watch the film or read the book first. I will say that the thing I like most about Gone Girl is its thematic focus on the unknown. This is a story where we're initially thrown into a literal mystery, a crisis situation involving a missing wife Amy (Rosamund Pike) and her husband and suspected killer Nick (Ben Affleck). We're trying to piece together the clues and solve the puzzle, all while law enforcement and the media are coming to their own conclusions. There are twists and turns along the way, and the truth is eventually revealed long before the credits roll. However, the themes linger long afterward. For me, the biggest thing was the concept of how difficult it is to know another person (even your spouse) and how it's nearly impossible to know what's really going on behind the closed doors of another family. Yet in our modern society of media saturation and social media, it's easy to fool yourself into thinking you have a pretty good grasp on what this couple's marriage is like or what this person's private life entails. A story like Gone Girl dumps some much needed cold water on this delusion. As a college professor of mine once said "Any time someone claims to know the mind of another person, that individual is engaging in self-deception."

As you might expect, this is also just a really stylish and captivating movie. There wasn't a moment where I wasn't either gripped by the story or enjoying the look and feel of it. Jeff Cronenweth has done another fine job here with the cinematography, using many of the techniques he's known for but also adding in some interesting use of color and more ambitious shots in the flashback sequences. Ben Affleck and Tyler Perry are not actors I'm typically a fan of, though I thought they did an alright job here. I enjoyed Kim Dickens performance as Detective Rhonda, but the real standout in this movie is Rosamund Pike. Some of it is no doubt due to the quality of her role, but man did she knock this one out of the park. I have to say it's one of the best female performances of the year.

[The Bad Guy]

15. Jodorowsky's Dune

http://i.imgur.com/aCbIuBr.jpg?1

It's sometimes referred to as the most influential movie that was never made. Alejandro Jodorowsky was given a million dollars and carte blanche by Michel Seydoux to kick-start any project he could dream of. Without hesitation, he decided that he wanted to do the sci-fi epic Dune. He had not read Dune, but he had a friend who told him it was fantastic.

What followed is an amazing story of how Jodorowsky assembled his team of "spiritual warriors". He was working with a lot of untested people, but he was relentless in his pursuit of those he wanted for the project and ruthless in terms of his criteria. Despite the incredible special effects vision of the project, Jodorowsky even turned down Douglass Trumbull who had done the effects for Kubrick's 2001: A Space Odyssey. He believed that Trumbull was not passionate enough and was too corporate to be one of his warriors. However, the team Jodorowsky did assemble was filled with names that are stunning to think about in retrospect. Some of the cast and crew included Mick Jagger, Orson Welles, Pink Floyd, Salvador Dali, H.R. Giger, Dan O’Bannon, Jean 'Moebius' Giraud, and David Carradine. These artists banded together behind Jodorowsky's vision of Dune, as well as his aspirations to change the world through cinema. He describes his tremendous ambition as wanting to create a film that would simulate the experience of taking LSD through the power of cinema.

Despite the admirable creativity involved in the project, one also gets the impression that Jodorowsky's reach was exceeding his grasp. What he was attempting was undeniably one of the most ambitious films in history. In fact, many described the scale of the project as being well beyond George Lucas' Star Wars, which would not be made until years later. Whether Jodorowsky is a madman or a mad genius is in the eye of the beholder, but I can easily see from watching this why the financiers of this project would get cold feet. They would have been investing in a director who did not care about budgets or deadlines and was completely uncompromising in terms of his vision. He was making a movie about a popular sci-fi novel, but he was telling his own story without even bothering to familiarize himself with the source material. I got the impression that this project could have been a huge failure, but it remains an inspiring and at times heartbreaking story of artistic ambition that was squashed by the mechanics of Hollywood.

While the film never saw the light of day, Jodorowsky and his team of warriors did develop an enormous storyboard. It was so elaborate and imaginative that it began to catch fire, as people began to pass it around within the industry as an inspirational curiosity. It's hard to say exactly how it correlates, but there's certainly a lot of evidence to suggest that the members of Jodo's team (like Giger with Alien) went on to use a lot of the work they had shelved in other films. The documentary also argues that elements of the failed project can be seen in some of the most seminal sci-fi films of all time ranging from Blade Runner to Star Wars.

So many unanswered questions surround the project to this day. Had the film launched and been a massive failure, perhaps studios never finance Star Wars. Imagine how different modern cinema would be if projects like that had never gotten off the ground? Or if it had received unlimited funds and been a massive critical and commercial success, can you imagine just how different the cinematic landscape would look after a drug-inspired sci-fi Jodorowsky epic became the gold standard? Regardless of what could have happened or should have happened, this is an incredible story. Anyone who loves motion pictures or art generally should seek it out.

14. Song of the Sea

http://i.imgur.com/h9LbEJU.jpg?1

Anyone who saw The Secret of Kells will be familiar with Tom Moore's use of Irish folklore and unique visual style. I was a huge fan of Kells and I'm pleased to say that Song of the Sea maintains that very high standard of quality. This is a film that creates a world of pure magic, pulling you in with it's eccentricity and beauty.

The film begins with a young boy and his mother painting pictures on a nursery wall. Fast forward six years and we find that the mother has passed on. The newborn child, Saoirse, has grown into a young girl. She is mute and a bit mysterious, and we soon find that this is because she is a selkie — a child who turns into a white seal once she enters the sea — and she’s drawn to both the human world and that of the seals, whose bobbing heads beckon her into the water. However, her father does not fully understand the situation, so when Saoirse begins wandering the beach at night he fears losing another loved one to a tragic accident. Soon, Ben and Saoirse are taken away from their lighthouse home by their well-meaning grandmother, who believes it will be safer for them in the city. However, Ben and Saoirse both know that they need to return to the lighthouse and get back to the sea. Thus begins a fantastical journey home that is filled with numerous fairy tale creatures and wondrous imagination.

Although this is the type of film that will appeal to children, it seems almost wasted on kids to some extent. That's not to say that it won't appeal to children, but I imagine it will speak more to older and more sophisticated audiences. The plot feels very basic as it unfolds over its short running time, yet it's introducing a wide range of ideas and characters. It's only afterward that I started to realize just how much was going on. It's a testament to the quality of the script that it can make a story that kids and adults can follow along with, yet also have enough variety and thematic weight to warrant a re-watch. There are some weighty ideas in here about the importance of heritage and coping with tragedy which I'm sure a lot of younger viewers won't pick up on.

It's the sort of tale that harkens back to one's childhood, much like the mother's bedtime tales that she reads to Ben and Saoirse in the film. You don't need to be versed in Irish folklore to appreciate this, in fact, knowing little about the legends may add to the experience by making it feel more adventurous and new. All you need is a general appreciation of art and fables, as the production values here do the rest. The hand drawn artwork is unique and carefully crafted, allowing for grand epic scenes as well as smaller, detailed touches. All of this fantastic imagery is accompanied by a beautiful Celtic score, adding a level of emotion to the experience which is difficult to articulate in words.

13. God Help the Girl

http://i.imgur.com/YPC0pBY.jpg

Stuart Murdoch, best known as the lead singer of Belle and Sebastian, has written and directed a film that will split people into camps. Some will find God Help the Girl unbearably twee. If you're the sort of person that dislikes musicals in general, then this almost certainly isn't for you. However, those who are receptive to its charms may come away feeling that this is one of the best movies of the year. Obviously, I fall into the latter category.

The plot centers around Eve (Emily Browning), who has taken her leave of a mental hospital and gone out into Glasgow for a change of scenery. She's a troubled young woman who is low on self-esteem, but she's also a musically inclined genius who sees the potential for song in everything around her. She soon crosses paths with James (Olly Alexander), an aspiring and opinionated musician who is trying unsuccessfully to put a band together. The two quickly form a connection as Eve takes up staying at James' place and helping him with his musical aspirations. Once Cass (Hannah Murray) comes into the picture they begin to recognize that they have something going here. The three of them begin to form a friendship centered around their music and decide that they should form a band.

The music in the film isn't just rehearsals or concert hall performances, though. It's the type of movie that has no problem with characters randomly bursting into song, yet it's also self-aware enough to joke about that. The song lyrics themselves can also shift from the humorous to the playful or poetic depending on the mood of the characters. Eve (Emily Browning) believes that you should sing what you know, so there's a non-linear style to a lot of the musical productions in this where she is simply recounting her activities or life experiences. It's not uncommon for the songs to focus on the newspaper purchased at a train station, or the cereal that was eaten for breakfast. The spontaneity is part of what gives this movie its fresh energy and appeal.

The two biggest selling points here are the music and the cinematography. A lot of those songs are ones I'm still listening to after seeing the film months ago. The juxtaposition of the music with the cinematography is simply incredible. There are very few films from 2014 that look this good, or that utilize such creative visual transitions from one shot to the next. Some of the visual treat here is due to the appearance of movement of the actresses and actors, particularly the photogenic Emily Browning. However, it's obvious that Giles Nuttgens has done a fantastic job here and that it's a huge part of why the movie works so well. There are musical sequences in here like 'Musician, Please Take Heed', 'Come Monday Night', or 'Down and Dusky Blonde' that have the production value of a great music video. These moments were show-stoppers for me that made me recognize I was watching something special.

[Peng]

Not that I haven't anticipated it before, but wow to that image of Song of the Sea. It jumps even higher in my priorities now.

I find it funny that David Ehrlich liked God Help the Girl but hated Begin Again. I have almost the opposite reaction. Still found the former mildly pleasant enough, but it's such twee apocalypse. Song sequences and cast are ace though (it must take some serious talent to refrain from coming off as smug in this environment, but still blend in regardless).

[Winston*]

I like Belle and Sebastian, but God Help the Girl felt like barely a movie to me.

[The Bad Guy]

I like Belle and Sebastian, but God Help the Girl felt like barely a movie to me.

Well, it had moving pictures, sound, and a running time of over 100 minutes. Definitely sounds like a movie to me.

[The Bad Guy]

12. Edge of Tomorrow

http://i.imgur.com/Hy1uSWy.jpg?1

This action blockbuster uses the plot mechanics of the movie Groundhog Day and blends them with an alien invasion drama. While neither idea may be original in its own right, the two ideas merge together brilliantly in this case, making Edge of Tomorrow one of the most exciting movies of the past year.

Set in the near future, an alien race known as Mimics have invaded the Earth. They appear unbeatable by any conventional military standard, as they advance on every major corner of the globe. They also appear to have an uncanny ability to predict and intercept military intelligence, as though they were the enigma code breakers of the allies in the second World War. Major William Cage (Tom Cruise) is a spokesman for humanity's effort against the onslaught, but as the tide of battle begins to look more hopeless he is unceremoniously thrown into a major combat operation by General Bringham (Brendan Gleeson). He has no formal military training and is killed almost instantly. However, the Major finds himself resurrected at the start of the day, as contact with an alpha mimic has thrown him into a time loop. The famed war hero Rita Vatraski (Emily Blunt) had herself been caught in that time loop before and recognizes the signs. She tells Cage to "come find me when you wake up". Thus begins a partnership between the two, as they must find a way to help him change the course of this war through living... and dying... over and over again.

Some of it reminds me of a video game, but the difference is that our protagonists are aware of this reset button phenomena and incorporate it into their strategies. They also have to decide how to utilize their knowledge of their future and who can be trusted, as the story sounds so incredible that it could lead to problems like the psych ward. This dynamic makes Edge of Tomorrow incredibly engaging, and the fast-paced editing which wastes no time between subsequent attempts works very well. I've seen this movie three times and I still find myself completely caught up in the characters' struggles with each viewing.

Perhaps the only thing I dislike about this film is the finale. I don't exactly hate it, but considering how great everything was leading up to it my initial reaction was one of disappointment. It has grown on me a bit since my initial viewing, but I still consider it to be the weakest part of the movie. Obviously, I won't spoil why by getting into the specifics.

It's a shame that this wasn't more successful at the box office, as it's one of the best movies of the year and seems to appeal to everyone who watches it. It's a really good sci-fi story and it features some impressive action and editing.. Emily Blunt's performance is probably the best of her career, as she's absolutely convincing in what may seem to be an unorthodox role. I would encourage anyone who's skeptical about this movie to watch it.

11. Citizenfour

http://i.imgur.com/3tS5Pkc.jpg?1

By now everyone should be at least be familiar with Edward Snowden's story. He was such an influential figure that he was nearly TIME's man of the year (Pope Francis ended up edging him out) and there was a period of several months where no matter where you turned his leaked information was either making headlines or inspiring heated debate among those calling him a traitor or a patriot. So what makes this documentary so good? Why is this story which some consider old news and many others argue "we knew all along" still worth delving into?

There are a number of reasons why this is essential viewing. First of all, Edward Snowden had planned his leaks long in advance. He was very much aware of the implications involved with being an NSA whistle-blower and had given it ample thought. As a result of this, he had contacted people like documentary filmmaker Laura Poitras and journalists like Glenn Greenwald prior to any revelations being made public. The result is a documentary that plays out like a real-time spy thriller, rather than a retrospective analysis. We have the privilege of seeing Snowden interviewed before, during, and after the leaks. There is a palpable sense of danger here, as Snowden and those near him have to discuss nuanced moral decisions about liberty and security, as well as his personal livelihood.

While it's not pure advocacy cinema, Citzenfour is a film that views these issues of civil liberties and national security through the lens of Snowden. In doing so we see his motivations, and perhaps more truth than we'd care to about the dangerous implications of implementing those policies. There are also revelations in here that I did not get from media outlets during the leaks, some of which are difficult for me to explain given how important they seem. I normally trust my sources of news to bring me comprehensive information about pressing issues, but in this case I feel like they let me down. Regardless of your personal opinions about this subject, you owe it to yourself to see this documentary. The stakes for future generations and the moral ambiguity at play are too pressing to ignore. If nothing else it makes for a movie-going experience that you'll be thinking about long after seeing it.

For the record, I think there's far more to admire about Edward Snowden than there is to dislike about him. I respect what he did.

10. Force Majeure

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Written and directed by Ruben Östlund, Force Majeure tells the comedic story of a Swedish family on holiday in the French Alps. It's the perfect getaway for their picturesque family, yet somehow it all goes wrong. When they're at lunch at a mountainside restaurant, what is supposed to be a controlled avalanche upends their vacation. The torrent of snow keeps getting closer, the haze of snow reaching higher as panicked diners begin fleeing. Tomas' wife and children cry out to him, but sheer animal panic has set in. Rather than rush to save his family he retreats to safety, fleeing in a desperate attempt to save his own life.

That split-second decision weighs heavily on the entire film and the family's vacation. What was supposed to be a respite from work and the cares of everyday life quickly devolves into a nightmare. Ebba begins to doubt her husband, both as a partner and a father. Their friends, Mats and Fanni, are even unwittingly caught up in this drama upon their arrival. Not only must they deal with the insanity that this couple is going through, but they're forced to confront the situation as a hypothetical for their own relationship. Somehow, everybody gets caught up in these forces that they're powerless to alter. The vacation begins spiraling downward as each individual tries to maintain some semblance of sanity.

Force Majeure is obviously focusing on issues of gender politics throughout. However, for me, the most relatable and lasting theme of the film was how hard it is to be happy. The families and couples in the film are in an idyllic vacation spot. They have nothing but fresh powder and their loved ones beside them. The typical worries that occupy most peoples' thought in a given week have been removed - gone are work, finance, disease etc. It's a fantastic opportunity to enjoy life, yet due to unforeseen events these people are completely miserable during their stay. Anyone who has ever had an unpleasant family vacation, honeymoon etc. will be able to relate to this film. I feel like it's tapping into something inherent about the human condition, and it's doing this in a way that's intelligent and also very funny. There are moments in this film that had me laughing out loud but also recognizing the very real complications that exist in daily life. Try as we might, relationships can be fragile. We're often victims of circumstances beyond our control.

[The Bad Guy]

9. Nightcrawler

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Some of my thoughts on Dan Gilroy's Nightcrawler are similar to Scorsese's The Wolf of Wall Street from 2013. Both films feature an unhinged and narcissistic protagonist who is willing to do whatever is necessary to get ahead. Both are social commentaries on American greed, even if neither is delving below the surface or saying anything profound. And, of course, they're two of the most immensely enjoyable films of their respective years.

It's surprising just how much fun I had watching Nightcrawler when you consider how dark it is. Unlike a lot of plots which start from some place of morality and steadily degrade from there, we're thrown immediately into a world where our protagonist has no moral qualms whatsoever. He begins the film as a petty thief who is aspirational and articulate, yet he cannot find gainful employment. A chance encounter with a camera crew filming a fatal car accident changes all of this, however, when he realizes that filming crime scenes for TV news might be his calling. He seems proud of his ambition and his methodology, never once appearing apologetic. Part of this is an indictment of the economic conditions he finds himself in, which would explain how most people actually find themselves rooting for. Regardless of what you may think of Lou Blossom (Jake Gyllenhaal), he's fighting against the odds of his environment and succeeding.

Regardless of what one may think about the film's other aspects, this is an absolutely riveting ride. I watch a ton of movies in a given year and unfortunately I can usually sense where they're going. When I was watching Nightcrawler I really had no idea where it was headed most of the time. When you combine that with the pacing and momentum of the film, this becomes a visceral and entertaining experience. There are numerous sequences which had my jaw on the floor, laughing out loud, or just nodding my head in approval. It spans a broad range of emotions, but it is never dull for a moment.

There are several strong performances in this film such as Rene Russo and and Riz Ahmend. But the real standout here is Jake Gyllenhaal, who in my opinion gives the best performance of the year. A lot of people are going to focus on the weight loss, which is often an easy way to garner attention for a role. It's just one of many factors working together that make Gyllenhaal unrecognizable in this movie. I was never conscious of the fact that it was him I was watching on screen - of course, logically I knew going in who the star of the film was. But this is similar to the willing suspension of disbelief I might experience when watching anything. When you completely lose track of the technical details in something and become absorbed into it that's always a hallmark of quality in my mind. Watching this deranged psychopath on screen was engrossing and truly frightening.

8. Boyhood

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Richard Linklater's Boyhood is in some ways incredibly ambitious, but in other ways low key. Anyone who is even vaguely familiar with the project knows that this was filmed over the course of 12 years in order to depict life from the ages of six to eighteen. While there's not a complete shortage of dramatic scenes in here, a lot of viewers were caught off guard at the juxtaposition of the project's scope and how mundane or ordinary much of the film felt. Some might criticize this as a gimmick that doesn't amount to much, but I strongly disagree with that sentiment.

What this film does right is that it captures the fleeting nature of life and memory. I can only speak for myself, but when I think back to own childhood (and my own past generally) it's interesting to me what I remember and what I can't. For example, I recall sitting on the rocks beside a lake at summer camp one morning with a childhood friend. I remember going to an Orioles baseball game with my family one night, even though I've never been a fan of the team or even baseball generally. I can still taste the cheesecake my mother made for me during family holidays. I remember those times I spent playing catch with my father in the backyard when he'd lob a football over the fenced pool. I remember my first date in high school. Yet these memories and all the other ones I can think of only encompass a tiny fraction of my life. Even momentous occasions in my own life and those close to me are sometimes only vaguely recalled. The first time I recognized this was when my mother passed away and I was - and still am - surprised that I can't remember more of my time with her. Thousands upon thousands of hours spent someplace or with someone and what do we take from it? Maybe we recall a hundred hours vividly, give or take? Where did the rest of that time go? Why do we remember what we do and forget so much else?

It would have been very easy for this film to have given in to the dramatic. One person I spoke to believed that a reckless driving scene was sure to result in a catastrophic accident, perhaps because we've been conditioned to think that way in terms of how movies operate. Thankfully, Boyhood takes a different approach. That's not to say the movie is drama free, of course, but it's consistent with reasonable expectations of drama within any child's life. Instead, Boyhood chooses to focus on a mixture of smaller moments and more significant ones. In doing so, this story taps into something that I feel is deeply human. This restraint and understanding is what gives the film its cumulative power and what makes it so emotionally resonant.


7. Interstellar

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It seems as though Christopher Nolan may be the most controversial filmmaker working today. Cinephiles and critics seem to react to his works with gushing admiration or absolute revulsion depending on who you talk to. His latest film, the sci-fi epic Interstellar, is arguably the most polarizing movie of 2014.

David Brooks of The New York Times had a piece about Interstellar entitled 'Love and Gravity'. In it, he writes that the film is revolutionary in its approach and something of a cultural event. It is about love, Brooks says, but not in the way movies traditionally are. There is almost no romantic love in Nolan's film, but rather a generational love between family members across space and time. In addition, there's the attenuated love our species has for the unborn in the form of frozen embryos, who may one day carry on humanity's legacy in a distant galaxy. Nolan wants us to see the magnetic forces behind these connections and its connection to quantum theory, such as the principle of entanglement - that two particles that have interacted can react similarly regardless of spacial distance or time.

There are religious and philosophical overtones to Interstellar, but it's a movie that mostly exists within scientific parameters. Largely because our understanding of the natural universe is ever evolving, we are uncovering perplexing realities that challenge our very notion of what it is to exist or what is to be conscious. The film explores relatively in terms of the gravitational bending of time, for instance. And if entanglement theory is correct that means that the world around us is communicating in ways that defy common understanding. In such a world one doesn't need faith to consider extreme possibilities like the ones in this film, only an understanding of modern science and a creative imagination. While this is definitely science fiction it's refreshing to see such a blockbuster grounded in real physics. Kip Thorne, who collaborated on the project, has a book out about the science of Interstellar. Even Neil DeGrasse Tyson, who is often very critical of films for their falsehoods, gives Interstellar top marks for basing so much on known science.

It should also be noted that this is a riveting sci-fi adventure with far more heart than you'd expect from a Nolan movie. Often criticized for being emotionally distant in his execution, many people actually shed tears during this film. There are moments of sheer awe that tap into primal fears or the joy of scientific exploration. Even if you're completely uninterested in looking at this from a scientific or philosophical angle, this is worth watching as a visceral treat. There are moments which, juxtaposed with Hans Zimmer's very loud score, are simply brilliant. There are more casual moments of space travel that look incredible in IMAX 70mm, and there are incredibly tense sequences such as a docking scene and the one in the screen capture above which are worth the price of admission by themselves.

One of the major criticisms of Interstellar and Nolan's films generally is how the complex plots are presented to a wider audience. Many bemoan the fact that there is expository dialogue or that complex notions of quantum entanglement or the soul are reduced to populist words like "love" time and again. I'm of two minds about this, because on the one hand it does detract some from my experience when I see two of NASA's brightest minds talking about what a wormhole is moments before entering it. However, I also recognize that this is a calculated choice that exists for a reason. If Cooper had explained this to his younger daughter Murph 30 minutes earlier, much of the audience that presumably has no notion of astrophysics would be completely lost or wouldn't recognize the significance of the moment. Indeed, almost half of the criticism of this film is from people that say it is too confusing or didn't explain enough, even if so much criticism is coming from people who claim that Nolan needs to learn 'show don't tell'. There really isn't a balance that will please everyone, but I respect what is Nolan is doing here. He is making compromises to communicate ambitious ideas to a large audience.

[The Bad Guy]

6. Whiplash

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Written and directed by Damien Chazelle, Whiplash looks like the kind of movie that you've seen before. The poster features Miles Teller sitting at a drum set, accompanied by short blurbs from critics such as "Astounding!" and "Electrifying!" and it has the type of crowd-pleasing rating in the high 90s on the tomato meter that you might expect from an uplifting movie about an aspiring musician. So it's with a bit of surprise that this turned out to be one of the most disturbing and challenging movies of the year.

The story is about a drummer named Andrew Neyman (Miles Teller) and his jazz teacher Terrence Fletcher (J.K. Simmons). Neyman is a very talented young man who is committed to becoming a great player, but he's stuck practicing in obscurity and accompanying a second rate band. That is until Fletcher begins to take an interest in him, giving him the opportunity of a lifetime to earn his way into the top band in the school. But Fletcher is a man as well known for his ruthless methods as much as his accolades as a brilliant teacher, and the already driven Neyman is pushed to his breaking point as he is asked to sacrifice everything and risk losing his sanity in pursuit of greatness. What follows as an emotionally intense journey that goes to some dark places, raising provocative questions along the way.

Perhaps the most interesting thing about Whiplash is how it deals with the topic of leadership. The character of Fletcher is ruthless in his methodology, believing that there is no limit to how far you can push a student. At one point he says that there are no two words more harmful in the English language than "good job", and he believes that someone like a Charlie Parker never would have let anyone or anything stand in the way of greatness. In a world of participation trophies and overprotective parents, this approach will strike many people as insane. Yet in some ways Fletcher's approach has merit. It's often alluded to in the film that his jazz orchestra is considered to be the best in the country. Neyman, as a result of being broken down by his teacher, pushes himself to places that he might never have gone to without that pressure. There are coaches like Dick Vermeil who love their players like family, adopting a tough but fair approach as they try to balance the personal and the professional. There are also coaches like Bob Knight who will line their players up and risk harm by throwing basketballs at them as hard as possible to make sure they catch it in a game. The question of whether Vermeil or Knight's approach is better, or whether there is some more ideal middle ground, is very much up for debate.

There's a lot else going for this film other than a spirited debate about where the line should be drawn. This is a brilliantly edited film that follows its own unique rhythmic quality that really draws the viewer in. For my money this is also one of the best acted films of 2014. I've been a big fan of Miles Teller ever since I saw him in a bit role in the film Rabbit Hole years back, and while he hasn't received major acting jobs since then I thought he was brilliant in The Spectacular Now. This film continues the trend of top-notch performances by him and I hope he goes on to have a very successful career. But J.K. Simmons in many ways is the star of the film, giving an iconic performance that is probably the best of his career. Some might argue that his character is over the top, but I think that's the point. He is so committed to the character of Fletcher that it elevates the film, becoming the center around which everything else operates.

5. The Guest

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Adam Wingard is best known for making a few of the VHS segments and the home invasion film You're Next. Personally, I wasn't a huge fan of his previous work, although I thought You're Next was alright. His latest directorial effort The Guest is a revelation, though. It's just an immensely entertaining and stylish movie from start to finish.

The story wastes no time getting started, as a mysterious young man named David (Dan Stevens) shows up at a family's doorstep. He tells them he was a friend of their son and that he served alongside him in combat overseas. David informs the family that he was with their son Caleb when he died, and that his final wish was for David to check in on the family and tell him that he loved them. Any suspicions they may have had are quickly dispelled by David's polite demeanor, as well as his presence alongside Caleb in a photograph that hangs over the family fireplace. David begins taking an interest in each member of the family and they begin to open up to him. However, as time goes by some mysterious events begin taking place, as David's past begins to have a way of catching up to him. That's about as much as I can say without delving into spoiler territory. So much of the fun of the movie is finding out exactly what's going on and watching the events play out piece by piece.

Set amidst the backdrop of Halloween for no real reason and featuring an 80s synth soundtrack, The Guest is a genre tribute movie that plays by its own rules and doesn't give a crap. It's working off a lot of different genre elements, but it's utilizing them in ways that are so exciting and multi-tiered. There are obvious differences, but the one movie it reminds me most of is Nicolas Winding Refn's Drive. A lot of that is due to the heavily stylized look of the movies, the 80s vibe from the excellent soundtracks, the quality of the editing, as well as a mysterious protagonist who takes an interest in a family's welfare. I'm not saying that The Guest is a better movie than Drive, or even that people who are fans of one will necessarily be fans of the other. In fact, I imagine a lot of folks who found Drive boring will actually like this one.

It's hard to convey just how much fun I had watching this 1980s style movie. David is such a ridiculous character that you can't wait to see what this insanely intelligent and skilled man is going to do next, whether it's addressing a bullying issue with the younger son at school or attending a party with the daughter's social circle. There are some interactions in here that had me giddy with excitement or laughing out loud. At no point during this film was I even slightly disinterested with what was happening, as each successive scene had my undivided attention. I've already seen this movie several times and I would love to watch it again. It's such a blast that you owe it to yourself to check it out.

4. The Raid 2: Berandal

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The Raid was an unapologetic action film with about ten minutes of plot and the remaining run time consisting of people getting shot in the face or engaging in epic martial arts battles. A lot of people championed the first film for having very little script other than plagiarizing the highrise premise from Dredd's script. I was a big fan of that approach and the original film generally. In the sequel, however, we're taken deeper into the criminal underworld. That means a meatier script with a lot more complexity than we got the first time around, as well as a much lengthier running time.

It's not difficult to point out a lot of the flaws in Gareth Evans newest martial arts flick. The different approach with the script opens it to a lot of legitimate criticisms about gangster film cliches, acting merits, character development etc. which isn't to say that the script is outright bad, but it's certainly not the selling point here. It's a serviceable plot that mostly serves to set up action set pieces and establish plausible scenarios for the fighting to take place in various locations. The first film didn't need all of that because the entire film took place in the same location. The sequel is far more ambitious when it comes to using its environments to its advantage, such as a muddy prison brawl or one of the most jaw-dropping car chase sequences ever put on film.

There are times where I feel like people get too caught up in what something isn't that they lose sight of what makes it valuable in the first place. When the characters in this film start fighting... wow. There are so many spectacular action sequences in this movie that a lot of the consensus all-time best action films pale in comparison here. You could make the argument that this movie has raised the bar to a new level that other films must now strive to achieve. The only movies I can think of in recent history that are comparable would be Takashi Miike's 13 Assassins and the original The Raid: Redemption. I remember leaving the theater with a couple friends, both of whom had until then been praising the new Captain America film for having really good action. One of the first questions they asked me after seeing Berandal was if I had gotten around to seeing Winter Soldier yet. When I told them no, they both informed that I wasn't going to like it now. Nothing, they explained, was going to live up to the action we'd just seen.

If you are in any way a fan of action movies this is essential viewing. The last twenty minutes alone are some of the most impressive action I've ever seen anywhere, even raising the bar on the already crazy standards established earlier in the movie. Those sorts of sequences make this one of the best movies of 2014 and very much in the discussion of greatest action movies ever.

[dreamdead]

Lots of films here that are due to be seen, but haven't happened yet.

I think one of my problems with Interstellar is that it's too neat emotionally. By that, I mean to suggest that Matthew McConaughey's character doesn't suffer physically enough. A lot of the tension from the film comes from his emotional suffering and estrangement from his family, but the film elides any sense of him suffering permanent physical harm. A lot of the film's weaknesses would go away if Nolan had the courage to position McConaughey's character as one who dies in the fifth dimension. If the film was willing to showcase self-sacrifice that wasn't self-defeating (because he, like Batman in TDKR, survives the ostensible destruction) then Interstellar would have been able to angle for some of the grandeur of 2001, where we focus on the majesty of space rather than man.

The Guest is great b-film. While it's a script that is a little too reliant on mismatched genre tropes rather than actual exploration of character (see the dad's dismissing of Monroe's criticisms about Stevens's story when they've known him for, y'know, only three days), it has an ending that is legitimately fun, silly, quirky, and all the things we thought were awesome when we watched Carpenter films too young.

I'm halfway through God Help the Girl, and note that thus far, I'm coming down on Winston's side.

[The Bad Guy]

Lots of films here that are due to be seen, but haven't happened yet.

I think one of my problems with Interstellar is that it's too neat emotionally. By that, I mean to suggest that Matthew McConaughey's character doesn't suffer physically enough. A lot of the tension from the film comes from his emotional suffering and estrangement from his family, but the film elides any sense of him suffering permanent physical harm. A lot of the film's weaknesses would go away if Nolan had the courage to position McConaughey's character as one who dies in the fifth dimension. If the film was willing to showcase self-sacrifice that wasn't self-defeating (because he, like Batman in TDKR, survives the ostensible destruction) then Interstellar would have been able to angle for some of the grandeur of 2001, where we focus on the majesty of space rather than man.

The Guest is great b-film. While it's a script that is a little too reliant on mismatched genre tropes rather than actual exploration of character (see the dad's dismissing of Monroe's criticisms about Stevens's story when they've known him for, y'know, only three days), it has an ending that is legitimately fun, silly, quirky, and all the things we thought were awesome when we watched Carpenter films too young.

I'm halfway through God Help the Girl, and note that thus far, I'm coming down on Winston's side.

*INTERSTELLER ENDING SPOILERS* I had problems with the ending of TDKR, but not with Interstellar. The film really couldn't have ended any other way, considering all the explicit thematic buildup that went into it. It's the convergence of cutting edge science like quantum theory and entanglement with the subjective experience of human love and consciousness. If particles that have interacted can still communicate with each other a million light years away, then perhaps there can be something at play in a higher dimension when it comes to the interaction of a father and his daughter etc. Also, as Neil deGrasse Tyson mentions in his explanation, that higher dimension might free us of our fourth dimensional constraints in the sense that ordinary questions no longer apply. When was I born? You're always being born. When did I die? You're always dying. Time could open up at this plain of existence in a way that our three dimensional spatial relations are open to us in everyday life. Of course, this is science fiction, but it's all grounded in our modern understanding of the world and doesn't upend any scientific understanding we have to date. *END SPOILERS*

Glad to hear that you enjoyed The Guest's genre fun despite the minor critiques. I had a blast watching it and can't wait to see it again.

Too bad to hear you're not enjoying God Help the Girl... that's always a bit of a challenge when I write these lists. I try to stay as resolute as possible when it comes to giving my honest opinion and not looking at it as a recommendations list. If I took the latter approach, GHtG probably wouldn't be in my top 30, since I know that it's a very polarizing movie that has a lot of folks shrugging their shoulders. Those that love it like I do think that it's great, but we might be a minority amidst the vast sea of people who are either lukewarm or cold towards it. I'll stand by it as a really good film, of course, but I don't begrudge anyone who has a different opinion.

[The Bad Guy]

3. Why Don't You Play in Hell?

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Sion Sono tends to make movies that defy conventional explanation. He's a bit of a mad genius / lunatic director that makes some of the most ambitious and eccentric movies anywhere. Sometimes I get the sense that he's talented enough to do anything, but he chooses to make these truly eccentric and wonderful films. He's not always easily accessible, but I think he's one of the best filmmakers working today. His 2013/2014 effort Why Don't You Play in Hell? may actually have the most mainstream appeal of movie I've seen from him. It's a little less challenging and more humorous than something like Love Exposure or Cold Fish. You could make the argument that, for Sono, this is almost a bit restrained by his usual standards. That's not to say this movie isn't a mad blast of decadence and over-the-top insanity, but it's just so damn funny that I think someone who has never seen Sono's work or Yakuza films could jump right into it and have a good time.

Why Don't You Play in Hell? features two simultaneous narratives. The first involves some young and aspiring filmmakers who call themselves the 'Fuck Bombers'. They've been pursuing their dream with a single minded obsession, but fast forward ten years and they have little to show for it. They're starting to wonder if their dreams of making a great movie will ever come true, or whether it's time to hang it up. Meanwhile, the tension between Muto's gang and the Ikegami has been bubbling for a decade. A series of ridiculously contrived events involving the two warring Yakuza clans and a toothpaste commercial from ten years ago (it makes sense in the context of the movie, I promise) finally give the Fuck Bombers the break they've been looking for. They will film the warring mafia clans, complete with a serious budget and 35mm cameras. The only catch is they'll have to film a lot of people getting killed, but this doesn't seem to phase anyone in their group.

It's incredibly funny and deranged, but it's also one of the best movies I've seen about making movies. I was reminded of all sorts of similarly themed projects while watching it, ranging from Fellini's 8 1/2 to Carax's Holy Motors. Obviously, this movie is its own beast and in many ways, but it's such a thrill to see a visionary director craft a love letter to movies. Why Don't You Play in Hell is an ode to Yakuza films and it's definitely pandering to film fans, since there are nods to things like 35mm and Bruce Lee track suits throughout. You don't have to be a cinephile to enjoy this, but it certainly helps.

Some have criticized the obviously contrived buildup to the finale, as it takes a while to tie all the different plots together. I never once found this to be a problem and would assure viewers that once the pieces come together the payoff is fantastic. However, I'll just give fair warning that there's a jingle from a toothpaste commercial in this movie that is re-played constantly. Good luck trying to remove it from your memory.

2. A Girl Walks Home Alone at Night

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Ana Lily Amirpour, an Iranian American making her feature film debut here, gets my vote for best director of last year. She's obviously smart and talented enough to draw on some of the best influences. I got hints of everything from Wong Kar Wai to Quentin Tarantino in this movie, which shouldn't be surprising considering that she's constantly wearing shirts with gigantic imprints of her idols - Alejandro Jodorowsky, David Lynch, Bruce Lee, Notrious BIG etc. Amirpour was interviewed on NPR not too long ago and (I'm paraphrasing) suggested that when given the opportunity to make a film, you might as well just go all out. Why not have it be filled to the brim with things you love? She's certainly doing that by drawing on the best elements of various genres and styles, yet the end product feels like a wholly unique vision.

A Girl Walks Home Alone at Night could be described as a Western Iranian Vampire movie. The story takes place in Bad City, a middle eastern ghost town filled with all manner of debauchery and sin. Arash (Arash Marandi) lives here, looking after his junkie degenerate father, who finds himself in debt to the local pimp/dealer. Dissatisfied with the father's lack of payment, he takes Arash's Thunderbird car instead. Meanwhile, walking among the clubbers and criminals is The Girl (Sheila Vand), pacing around at night wearing a dark chador and a striped sailor t-shirt, hungry for her next victim. Without giving too much away, Arash and The Girl find their paths intersecting on more than one occasion. Arash begins to take an interest in the mysterious young woman, but considering the logistical and supernatural circumstances that surround their relationship, can they really be together?

Amirpour's script is bold and the execution is fantastic on every level. It's an absolutely gorgeous film to look at, with stunning cinematography that is often juxtaposed with a mesmerizing soundtrack. The way one scene is shot or edited may be very different from the following one. It can also shift from creepy to humorous or from psychedelic to dramatic, but it doesn't feel like a scatter-shot production. Everything feels like it fits in this dark and stylish film. There are a lot of little things to love about this film. When Sheila Vand and Ana Amirpour were preparing for the film, they watched a lot of nature videos on predators. They saw that a lot of the hunters would mimic the actions of their prey, so they were clever enough to incorporate that into the character of The Girl. Things that would normally be unimportant in most films get blended in to great effect, whether it's the exhaustive casting used to find the right cat or the creative use of a young boy's skateboard.

Although it's in Farsi, it should come as no surprise that this wasn't shot in Iran. I can't imagine the ayatollahs would take too kindly to this film, even if it's not in any way political. Bad City is actually shot in the sprawl of California and the actors are people who are from Iran but do not live there. Amirpour doesn't believe that she could have ever become the director she did if her family had stayed in the country, but she and others involved with the project still find that their experiences there helped shape their identity. It's possible this may be the only Farsi movie she makes, as her next film is set to take place in Texas. It's a story about a community of cannibals, which prompted one interviewer to ask a serious question about whether there was some thematic theme at play here with vampires in one movie and cannibals in the next. Amirpour responded that she didn't really know why she chose cannibals, but she thought it would be cool. That's more or less how A Girl Walks Home Alone at Night operates. It may not be some profound insight into the human condition, but it is ridiculously good.

[The Bad Guy]

1. The Tale of the Princess Kaguya

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Isao Takahata's The Tale of the Princess Kaguya is my favorite animated film. That's saying a lot considering how many great works have come out of Studio Ghibli alone, but it's the truth.

The script is based on a 10th century Japanese folktale known as 'The Tale of the Bamboo Cutter', a title that is symptomatic of the patriarchal world that existed at that time. Takahata's title rightly puts the focus where it belongs, on our spirited young heroine. Born of supernatural origin, Kaguya sprouts from a bamboo stalk in a mountain forest. An old bamboo cutter and his wife discover the mysterious child and choose to raise her as their own, believing that heaven has blessed them. The girl grows quickly and befriends the children of her village, sharing in their daily adventures and forging an emotional connection with her peers, particularly a young boy named Sutemaru. Theirs is a simple life of poverty and hard work, yet Kaguya seems perfectly content as she's enamored with the beauty and wonder of the natural world. However, when a second bamboo shoot discovered to have a bounty of gold, he believes that heaven has commanded him to take the young princess away from their humble lives and bring her to the city. Sparing no expense to make her a proper princess, she is thrown into a life of opulent luxury and suitors begin lining up to court the mysterious princess. Yet despite her enviable circumstances she finds herself ill-at-ease with her new life, longing for those lost days of her youth.

With few exceptions, the story is very faithful to the thousand-year-old tale. As a result, the film feels quite different from many modern stories that follow a three act structure. Adding to this sense of ancient storytelling is the film's unique use of animation. It's drawn with watercolors and sketches, giving it the appearance of a story scroll or even concept art stretched over a two hour running time. There are moments of transcendent beauty in here that seem traditional in their approach, but there are also times when the style breaks with convention in order to subvert reality. For instance, there is one scene in particular when the film takes a darker turn and Kaguya is overcome with emotion. She crashes through the sliding doors, running away into the night as fast as she can, her garments flying off her as she sprints back to the moonlit countryside. The animation in this scene is so untamed and fantastical that it is unlike anything I've ever seen before. These artistic choices are very fitting for the film and give it a distinct feel that no other anime has. There's the expression of "every frame a painting" and in that is quite literally the case here. Just about any shot from this film is something I'd feel comfortable having framed and put on my wall.

As you might expect from the man who directed Grave of the Fireflies, this is an emotional film with some heavy themes. It has a PG rating, but it doesn't shy away from the more honest or tragic elements of the story, making it a film that will resonate much more with adults than with children. What stood out most for me was the notion of being true to oneself and how challenging that can be. The world of ancient Japan may be alien to us, but every society throughout history has had its own set of cultural norms and pressures. Society's vision of the perfect life may not be consistent with one's own, and this becomes abundantly clear when we view Kaguya's world with over a thousand years of historical hindsight. There is also the notion of how the world is filled with grief and suffering, yet this is in many ways preferable to an insulated life without spontaneity or the full range of human experience. It's a similar idea to what the Savage talks about in the novel Brave New World, in which he claims the right to be unhappy. I won't delve into the specific scenes that highlight this for risk of spoiling them, but there are moments in here that are deeply emotional and at times profoundly sad.

It is the longest Ghibli film ever made at 137 minutes, but it honestly feels like it's too short. This is especially true when you consider that this is likely to be Isao Takahata's last film and could potentially be one of the last films by Studio Ghibli. When he was at TIFF, Takahata confirmed that the studio was running into major financial problems. So despite having so many other ideas that they're excited for, the 79-year-old admitted that he didn't know whether any of them would come to fruition. That's a damn shame because Ghibli hasn't just made some of the best animated movies of all time, they've made some of the best movies period. If this is, God forbid, the last movie that Studio Ghibli ever makes it would at least be a fitting end to their legacy. I can't imagine going out on a higher note than this one.

[Spinal]

I saw a lot fewer films than you did last year. But that one was my favorite as well. Such a delight.

[Melville]

Nice list.


*INTERSTELLER ENDING SPOILERS* I had problems with the ending of TDKR, but not with Interstellar. The film really couldn't have ended any other way, considering all the explicit thematic buildup that went into it. It's the convergence of cutting edge science like quantum theory and entanglement with the subjective experience of human love and consciousness. If particles that have interacted can still communicate with each other a million light years away, then perhaps there can be something at play in a higher dimension when it comes to the interaction of a father and his daughter etc. Also, as Neil deGrasse Tyson mentions in his explanation, that higher dimension might free us of our fourth dimensional constraints in the sense that ordinary questions no longer apply. When was I born? You're always being born. When did I die? You're always dying. Time could open up at this plain of existence in a way that our three dimensional spatial relations are open to us in everyday life. Of course, this is science fiction, but it's all grounded in our modern understanding of the world and doesn't upend any scientific understanding we have to date. *END SPOILERS*
I liked the movie a lot, but I thought the ending was its major weak point. Everything you say here would still be true if he died at the end. You get all the thematic impact just from him saving humanity through the bookcase; you don't need him to survive. The amazing moment of sacrifice and of love transcending time and space is diluted by the needless few minutes of schmaltz after the tesseract collapses.

(Aside: quantum theory and entanglement aren't cutting-edge science. Quantum theory is nearly a century old, and it's the most precisely tested theory there is. Entanglement is a standard, defining feature of quantum theory, not only verified but routinely used as a tool in simple tabletop experiments. Also, entangled particles don't communicate.)

[The Bad Guy]

I saw a lot fewer films than you did last year. But that one was my favorite as well. Such a delight.

I figured you might feel the same way. You do have that lovely avatar, after all...


Nice list.

I liked the movie a lot, but I thought the ending was its major weak point. Everything you say here would still be true if he died at the end. You get all the thematic impact just from him saving humanity through the bookcase; you don't need him to survive. The amazing moment of sacrifice and of love transcending time and space is diluted by the needless few minutes of schmaltz after the tesseract collapses.

(Aside: quantum theory and entanglement aren't cutting-edge science. Quantum theory is nearly a century old, and it's the most precisely tested theory there is. Entanglement is a standard, defining feature of quantum theory, not only verified but routinely used as a tool in simple tabletop experiments. Also, entangled particles don't communicate.)

I would have been fine with having that character die. I was initially off-put by the transition to the hospital on my first viewing, but I quickly got over it before the credits rolled.

The way they did it does at least explain the retroactive journey (more or less). I also felt like the final five minutes or so were a highlight of the film.

As far as quantum theory goes, I still think that's cutting edge science regardless of when the study originated. If mankind had a full grasp of quantum we'd likely be far ahead of where we are now. Acknowledging that it exists is merely the first step in a centuries long process of comprehending it and utilizing it. As some people have said "if you think you understand quantum theory then you don't understand quantum theory".

The word "communicate" was a poor choice. I didn't mean to say that entanglement defies all laws of physics or the speed of light. I just meant that if theories like entanglement are valid then it means the Universe itself is interacting in ways that a lot of people are unaware of and that defy what we'd term common sense.

[Melville]

As far as quantum theory goes, I still think that's cutting edge science regardless of when the study originated. If mankind had a full grasp of quantum we'd likely be far ahead of where we are now. Acknowledging that it exists is merely the first step in a centuries long process of comprehending it and utilizing it. As some people have said "if you think you understand quantum theory then you don't understand quantum theory".
I guess it's just semantics, but if completely standard science can be cutting edge, then "cutting edge" doesn't mean much. Although quantum mechanics is deeply strange and certainly defies common sense, it really is completely standard. It's used as a standard tool in most areas of physics, and anyone past the first couple years of a physics degree is expected to be able to use it. Not only is it the most precisely tested theory we have, but it has been routinely utilized in technology, from nuclear power to material science to microscopy to timekeeping, almost since its inception. All modern chemistry, even what's taught at the high school level, was derived from quantum mechanical principles.

Some applications of quantum theory, like quantum computing, are definitely cutting edge, but you seem to be talking about the more metaphysical mysteriousness of the theory. To me that seems divorced from whether or not the theory is at the forefront of science. As a set of rules to generate physical predictions, quantum theory is very well understood by any decent physicist, and that's all a scientific theory really needs. And I'd go so far as to say that in a meaningful sense, working physicists understand quantum physics as well as they do classical physics. Classical physics often relies on abstract (some would say metaphysical) concepts like electromagnetic fields. We say we understand these concepts because we can think of the fields in analogy with everyday things we see—we can "picture" the fields. But the analogical understanding is a shortcut to another kind of understanding: being able to intuit what the field does, how it will behave in different circumstances, what effects it will produce. And while we have trouble understanding quantum theory in the first sense—since analogies with everyday experiences completely fail—we nevertheless understand it at the second level: a working physicist develops the same kind of intuition for the behavior of a quantum state as for the behavior of a classical field, being able to intuit how it will behave, what effects it will produce, etc.