It's year number five for the annual Y's Guys Top 10 Films List and 2014 has delivered some great flicks. My goal each year is to try see at least 30 movies at the cinema in order to have a decent pool to choose from. Was slightly off that this year (with around 27), but it was enough to compile a selection below for my half-dozen dedicated readership.
It was a fairly good year for cinema looking back. Without dwelling on the thought, I'll get straight into it.
It was a fairly good year for cinema looking back. Without dwelling on the thought, I'll get straight into it.
10. WHAT WE DO IN THE SHADOWS
Was fortunate enough to attend the London premier outdoor screening of this (along with about 500 other Kiwis), and had a hell of a good time. I love my comedies, but laughs of good quality in cinema these days, are few and far between. The premise of the film is one that could've been hatched up between beers, late on a Sunday afternoon. A secret society of vampires, living in contemporary Wellington. Simple but amusing. What elevates this to another level are the performances of Clement and Waititi, and it's geeky commitment and mission to send up all the tropes of myth-vampire, against a collision of Kiwi culture. Rhys Darby's cameo and irresistibly quotable delivery of "We're Werewolves, not Swear-wolves" justifies inclusion in my Top 10 alone.
Was fortunate enough to attend the London premier outdoor screening of this (along with about 500 other Kiwis), and had a hell of a good time. I love my comedies, but laughs of good quality in cinema these days, are few and far between. The premise of the film is one that could've been hatched up between beers, late on a Sunday afternoon. A secret society of vampires, living in contemporary Wellington. Simple but amusing. What elevates this to another level are the performances of Clement and Waititi, and it's geeky commitment and mission to send up all the tropes of myth-vampire, against a collision of Kiwi culture. Rhys Darby's cameo and irresistibly quotable delivery of "We're Werewolves, not Swear-wolves" justifies inclusion in my Top 10 alone.
This intense and violent British film follows a troubled young convict and his struggles in the new environment of a hostile London prison. Threat aplenty looms from fellow prisoners and corrupt wardens, a bleak situation complicated by the fact that his estranged gangster father, also serves time in the same institution. Informed from real-life experiences, this grim outing is made all the more chilling by the raw and visceral performance of it's lead, Jack O'Connell (soon to be seen in Angelina Jolie's 'Unbroken'). His primal rage, anxiety, fear and energy in this film make it all the more terrifying, and all the more worth watching.
I more or less dismissed this Palme D'Or winner after seeing it, disappointed it hadn't lived up to what I considered the hype to be. But, in the weeks that followed, and in consideration of this list, I realised the film had stuck with me a little more than I originally thought it had. The relationship it examines between the two girls is done so at quite some length (179 mins), and asks a lot of its viewer. Their relationship is an assault on the senses as the two lead actresses throw everything into their roles with the most emotionally committed performances I'd seen in a long time. They fully expose their own vulnerable sensitivity, which leaves you doing the same as the story arc unfolds.
7. INTERSTELLAR
Christopher Nolan has been a little hit and miss for me in the past, critiquing at my harshest, but Interstellar for me was a big hit. The thing is, I'm a sci-fi nerd. Give me spaceships, robots, worm/black holes etc, and I'm won over easy. Without spoiling the plot, this film heads in an even more sci-fi direction (especially in the last act), and the less nerdy amongst you might find that a little bit much. The cynical may even cry "cop-out!" having started from an intriguing and topical story setup, but like I said, I was fine with it. I liked the fact that it was a "save ourselves" plot as opposed to a "save the planet" story (more accurately describes human behaviour anyway), and with enough thrills and spills along the way it was easily the best blockbuster I saw all year.
6. CITIZENFOUR
A behind-the-scenes look into what unravelled as the biggest story of the decade. That is what you get with informed, deeply troubling, and effective documentary, Citizenfour. The film starts off with espionage like storytelling as director Laura Poitras sets the scene, but the bulk of the film focuses on Snowden, the whistleblower himself, with fly-on-the-wall footage of the week they spent together in the Hong Kong hotel as all was revealed to the world. It works as a sort of expose retrospective, with everything you know, or think you know, amplified. The ingestion of it all actually makes it become quite scary, and you'll be second guessing the use of your phone, emails, social media, bank cards, and more over the course of its running time. The writing of this positive review probably get's me on their "watchlist" (the film explains), and you too for reading! And I'm not even joking!..
5. MR. TURNER
The most beautifully shot film I saw all year includes one of the best performances with Timothy Spall as the title character, J.M.W. Turner, the British artist known as the "painter of light". Mike Leigh's biopic is a character study of the man and his personal/professional relationships as opposed to an essay, deconstructing his artistic expressions. The character never explains himself in that way, nor of his inspirations, but we do see him in method and work which as a device, is more resounding. Every element of the film feels so thoroughly researched and precisely executed that we ultimately have everything we need from it as a text. An extremely well crafted film.
4. 12 YEARS A SLAVE
One of the most difficult films I've had to endure in a long time, 12 Years a Slave, could justifiably be much higher on my list. Powerful and harrowing, the film puts you through one man's struggle, and an enormity of injustice during a shameful period of human history. Last year, Lincoln made us feel good about the abolition of slavery. This one highlights the disgrace that it was, with no half-measures taken anywhere. There's nothing to fault in the filmmaking here from Steve McQueen but I can only put a film that makes me suffer so much, as high as this.
The most beautifully shot film I saw all year includes one of the best performances with Timothy Spall as the title character, J.M.W. Turner, the British artist known as the "painter of light". Mike Leigh's biopic is a character study of the man and his personal/professional relationships as opposed to an essay, deconstructing his artistic expressions. The character never explains himself in that way, nor of his inspirations, but we do see him in method and work which as a device, is more resounding. Every element of the film feels so thoroughly researched and precisely executed that we ultimately have everything we need from it as a text. An extremely well crafted film.
4. 12 YEARS A SLAVE
One of the most difficult films I've had to endure in a long time, 12 Years a Slave, could justifiably be much higher on my list. Powerful and harrowing, the film puts you through one man's struggle, and an enormity of injustice during a shameful period of human history. Last year, Lincoln made us feel good about the abolition of slavery. This one highlights the disgrace that it was, with no half-measures taken anywhere. There's nothing to fault in the filmmaking here from Steve McQueen but I can only put a film that makes me suffer so much, as high as this.
3. UNDER THE SKIN
Haha! This film really creeped me out. I mean really creeped me out! If you don't know the plot, Scarlett Johansson plays an alien in disguise whose purpose is to lure unsuspecting Scotsmen to their doom (in Edinburgh I think), using her seductive talents. Sounds simple yes, but there's more going on here that can be described without tainting the experience. Johansson's performance contributes much to the effect of the film with her extremes of friendly "human" demeanor, to vacant and calculating menace particularly disturbing. But the film also has a unique style of it's own, improvised to a certain extent, appearing less like a construction and more like actual occurrences onscreen, adding to its creepiness. It does remarkably well without a production value to boast (Johansson aside), and shows what can be done with a bit of technique and talent. Some really nice touches in this one too.
Haha! This film really creeped me out. I mean really creeped me out! If you don't know the plot, Scarlett Johansson plays an alien in disguise whose purpose is to lure unsuspecting Scotsmen to their doom (in Edinburgh I think), using her seductive talents. Sounds simple yes, but there's more going on here that can be described without tainting the experience. Johansson's performance contributes much to the effect of the film with her extremes of friendly "human" demeanor, to vacant and calculating menace particularly disturbing. But the film also has a unique style of it's own, improvised to a certain extent, appearing less like a construction and more like actual occurrences onscreen, adding to its creepiness. It does remarkably well without a production value to boast (Johansson aside), and shows what can be done with a bit of technique and talent. Some really nice touches in this one too.
2. BOYHOOD
If there's some sort of OBE type achievement thing for Americans, give it to Linklater now, because Boyhood is one of those films that warrants such recognition in its ambition alone. A film 12 years in the making, it is a truly remarkable feat. And I'm not just praising the fact that it's a long-term project. It's the way in which it all comes together as a film over its 165 minutes. Linklater's understanding, foresight, and willingness to attempt (from my knowledge) a cinematic first, executing his plans so perfectly, creating something very special. The film itself is like a time capsule of real life, so compelling, it becomes hyper-real in your mind. With each chapter that passes, we see all the characters age and develop naturally, completely sucking you in. Your investment becomes exponentially entrenched the longer the film plays out, so much so that by the end finale, you're literally on the edge of your seat with every movement and action, treating this kid and characters as your own. Linklater toys with this gleefully, and good on him. Again I say I don't like to spoil, but he achieves an important and honest film, fully deserved of all the praise he'll get.
This was a magnificent film and might be the best of the year. Up until the end, and I mean the very end, it was my Number 1. And then I saw...
If there's some sort of OBE type achievement thing for Americans, give it to Linklater now, because Boyhood is one of those films that warrants such recognition in its ambition alone. A film 12 years in the making, it is a truly remarkable feat. And I'm not just praising the fact that it's a long-term project. It's the way in which it all comes together as a film over its 165 minutes. Linklater's understanding, foresight, and willingness to attempt (from my knowledge) a cinematic first, executing his plans so perfectly, creating something very special. The film itself is like a time capsule of real life, so compelling, it becomes hyper-real in your mind. With each chapter that passes, we see all the characters age and develop naturally, completely sucking you in. Your investment becomes exponentially entrenched the longer the film plays out, so much so that by the end finale, you're literally on the edge of your seat with every movement and action, treating this kid and characters as your own. Linklater toys with this gleefully, and good on him. Again I say I don't like to spoil, but he achieves an important and honest film, fully deserved of all the praise he'll get.
This was a magnificent film and might be the best of the year. Up until the end, and I mean the very end, it was my Number 1. And then I saw...
1. BIRDMAN
When putting these lists together, I've always had a soft-spot, I bias towards films which I find fun, and effect me on a multitude of levels. I saw Birdman, by Mexican director Alejandro González Iñárritu, just a few days ago and I'm still buzzing from it. So much so, I'm not even sure where to really begin with this. It was such a refreshing way to cap off the year, as soon as I left the cinema, I knew it had to be my Number 1.
Okay some structure... Let's start with the premise. Birdman (in a nutshell) is a film about Riggan, a washed-up Hollywood blockbuster star of past glory, whose ambition is to win over the critical elite via the theatre. Micheal Keaton plays the protagonist which in itself is the first bit of genius, not just because he's brilliant in the role, but because it parallels with his own life having starred in Tim Burton's Batman films (the fact that it is called 'Birdman' is no accident I think in relation to this). But that's just the start of it. There is more.
It's an unusual film, but unusual in a good way. The narrative is linear and easy enough to follow but it has a surrealist quality to it which reminded me a bit like Dennis Potter's 'The Singing Detective'. Riggan, suffers particular hallucinations that assume the form of 'Birdman' (his role of notoriety), as he struggles with all facets of his current life situation. The Birdman acts a bit like the devil in his ear and lends to some very funny exchanges, often motivating Riggan into action. Yes, it's a big-part comedy with parody, bizarre set-pieces and much hilarity, but again there is more to the film than that.
What struck me whilst watching, were the different tones it was able to set and achieve. There are some genuine moments of tenderness and heart here, in and around all the chaos. The supporting cast help with this and are very good, the likes of Naomi Watts, Emma Stone and Edward Norton adding some real emotional weight at times when required. The central themes of the story about the need to feel relevant in a world of cacophony, the social commentary on what we laud and value, act as extra layers to film that makes us think about ourselves in similar ways. And you do (well at least I did). So closely are we tied alongside these characters (Riggan in particular) you question what effect, what significance you have on anything? What would you risk to achieve it?
Which leads me to my final point in how it gets you to this point, and probably the aspect of the film I appreciated the most. Le technique, specifically Iñárritu's utilisation of the continuous shot. Bravo good sir! This is what filmmaking is about! Pushing the boundaries of form to its limits to achieve real results. The film could've been filmed in a conventional way and still been very good, but this artistic choice elevates it to a height of its own. I've seen a similar thing done in Gasper Noé's 'Enter the Void' which was done initially in first person, and then as ghost-cam, but here the effect is different. The effect I found with Birdman was the way in which it drew me in and made me feel present as part of the film itself, side by side with the characters, seamlessly in the drama. It is a great illusion that keeps the pace of the film, traps you within the psychosis of Riggan, maintains tension, and allows scenes to linger long after they have passed.
In summary, Birdman for me was one of those rare finds that delivered on many fronts. In experience, form, message, thought and feeling, there were triumphs all along the way. There were some other truly superb films this year, but this one was definitely the right fit for me, and I'm very happy to declare Birdman my Top Film for 2014!
When putting these lists together, I've always had a soft-spot, I bias towards films which I find fun, and effect me on a multitude of levels. I saw Birdman, by Mexican director Alejandro González Iñárritu, just a few days ago and I'm still buzzing from it. So much so, I'm not even sure where to really begin with this. It was such a refreshing way to cap off the year, as soon as I left the cinema, I knew it had to be my Number 1.
Okay some structure... Let's start with the premise. Birdman (in a nutshell) is a film about Riggan, a washed-up Hollywood blockbuster star of past glory, whose ambition is to win over the critical elite via the theatre. Micheal Keaton plays the protagonist which in itself is the first bit of genius, not just because he's brilliant in the role, but because it parallels with his own life having starred in Tim Burton's Batman films (the fact that it is called 'Birdman' is no accident I think in relation to this). But that's just the start of it. There is more.
It's an unusual film, but unusual in a good way. The narrative is linear and easy enough to follow but it has a surrealist quality to it which reminded me a bit like Dennis Potter's 'The Singing Detective'. Riggan, suffers particular hallucinations that assume the form of 'Birdman' (his role of notoriety), as he struggles with all facets of his current life situation. The Birdman acts a bit like the devil in his ear and lends to some very funny exchanges, often motivating Riggan into action. Yes, it's a big-part comedy with parody, bizarre set-pieces and much hilarity, but again there is more to the film than that.
What struck me whilst watching, were the different tones it was able to set and achieve. There are some genuine moments of tenderness and heart here, in and around all the chaos. The supporting cast help with this and are very good, the likes of Naomi Watts, Emma Stone and Edward Norton adding some real emotional weight at times when required. The central themes of the story about the need to feel relevant in a world of cacophony, the social commentary on what we laud and value, act as extra layers to film that makes us think about ourselves in similar ways. And you do (well at least I did). So closely are we tied alongside these characters (Riggan in particular) you question what effect, what significance you have on anything? What would you risk to achieve it?
Which leads me to my final point in how it gets you to this point, and probably the aspect of the film I appreciated the most. Le technique, specifically Iñárritu's utilisation of the continuous shot. Bravo good sir! This is what filmmaking is about! Pushing the boundaries of form to its limits to achieve real results. The film could've been filmed in a conventional way and still been very good, but this artistic choice elevates it to a height of its own. I've seen a similar thing done in Gasper Noé's 'Enter the Void' which was done initially in first person, and then as ghost-cam, but here the effect is different. The effect I found with Birdman was the way in which it drew me in and made me feel present as part of the film itself, side by side with the characters, seamlessly in the drama. It is a great illusion that keeps the pace of the film, traps you within the psychosis of Riggan, maintains tension, and allows scenes to linger long after they have passed.
In summary, Birdman for me was one of those rare finds that delivered on many fronts. In experience, form, message, thought and feeling, there were triumphs all along the way. There were some other truly superb films this year, but this one was definitely the right fit for me, and I'm very happy to declare Birdman my Top Film for 2014!
