At the Movie Blog, we strive to cover films and watch as many movies as possible. It was impossible to see everything from 2014. I attended a few film festivals this year and tried to attend as many screenings as possible. Of course, I watch all the screeners that the studios choose to send me. (I’m still surprised what movies are sent and aren’t sent to me, but oh well.) I didn’t have a chance to see to everything so this is the best assertion as to what was the best of movies in 2014. I hope time proves me correct.
10. GONE GIRL
David Fincher reveals the horrific truth of melodramatic marriages and unhealthy, bickering couples with gleeful confidence. He elevates Gillian Flynn’s complicated, toxic tale to another level that the material deserves. Most directors couldn’t accomplish this. Gone Girl’s biggest victim would be neglecting these strong female performances during awards season. Sociopaths play loved ones and society like a fiddle while broken promises and cable news manipulate. This spoke to the current condition of our relational brokenness and cynical devotion in the context of a ludicrous and tawdry thriller. Come for the crazy story. Stay for the haunting zeitgeist.
9. UNDER THE SKIN
A24 may have pushed A Most Violent Year for awards consideration, but their most memorable 2014 release will be Jonathan Grazer’s Under the Skin. The former is more Academy friendly for the moment, yet the latter leaves an impression after multiple viewings. This bizarrely hypnotic and sexually charged Kubrick-ian science fiction thriller with a moody, uncomfortable vibe and anomalously sensuous Scarlett Johansson lives up to the title. The Scotland filmed ambushed some of the guys who agreed to be picked up by this beautiful woman. The unsettling anxiety of impending doom for the men Johansson lures away lingers through out the score and sound effects. Under the Skin is a visionary, abstract masterpiece that will age well beyond 2014.
8. INHERENT VICE
Paul Thomas Anderson’s Inherent Vice is 2014’s most polarizing release demanding two viewings: one to process it and the other to experience it. The adaptation of Thomas Pynchon’s novel is a cosmic blast of a dense, multi-faceted, zany romp with kooky characters in an absurd situation involving big drugs, mental institutions, sketchy real estate moguls, chocolate bananas, and the infamous Golden Fang. This is the absurd, fun-loving 1970’s crime caper American Hustle could never be. Boasting a high caliber, all-star cast, the highlight is the eccentric Joaquin Phoenix and the straight-laced Josh Brolin. The tension between the two perfectly reflects the mood of this era, the culture clash of the dying hippie movement surviving in Reagan’s California.
7. BLUE RUIN
People aren’t talking about Blue Ruin at the end of 2014 like they did at the beginning and middle of the year, which is a disservice to Jeremy Saulnier’s gruesome revenge tale. What critics witnessed and audiences discovered was Mr. Saulnier becoming the next Coen Brothers or Tarantino for a younger generation. His dark and sarcastic brutality is on the verge of owning his own style. Winning a directing award at Cannes is something not to overlook either. And I couldn’t imagine Blue Ruin without Macon Blair in the lead. The jarring suspense builds because of the carefully crafted and concise editing.
6. THE GRAND BUDAPEST HOTEL
A typical Wes Anderson movie with his trademark characteristics his fans and film lovers adore: the deadpan delivery, consistent snappy dialogue, a cheeky tone & the talented cast were all elevated on a truly grandiose scale. While mixing timeless, old-fashioned American slapstick with an European setting and sensibility, Mr. Anderson crafted one of his best films to date (equally impressive that this was the follow up to Moonrise Kingdom). Worthy of an Academy Award Best Actor nomination, Ralph Fiennes is a live wire showcasing an auteur comedic one-man show we rarely see in cinema.
5. CALVARY
When Hollywood re-discovered the Bible with faith-based/themed films in 2014, Calvary was vastly superior encompassing the theological complexity of depravity, grace, and forgiveness. Filmmakers rarely explore this side with sacred reverence among jaded realism like John Michael McDonagh did. Others appease superficial audiences with serving Sunday school comfort food about “neo-conservative victimization as empowerment.” That lures believers into seats but leaves more to be desired. Confronting the Catholic sex abuse, Calvary‘s soulful, thought-provoking reflection was told in a delicate demeanor with some harsh edges dominated by a fiercely humble Brendan Gleeson in his best performance.
4. BIRDMAN
Michael Keaton’s superb comeback is intriguing in Alejandro Gonzalez Iñarritu’s best movie focuses on multiple themes: family strife, social media fame, reactionary criticism, Hollywood’s comic book obsession, and haunting celebrity demons. You are watching the exhilarating resemblance of a stage production, which is a daunting challenge for actors and filmmakers to accomplish. Practicing to nail perfection was the goal of these actors and Birdman succeeded. From the biting one-liners (some did feel rehearsed to flow naturally) to the dreary mood, the score and even the terrific acting, Birdman is furious, grim, and witty.
3. SELMA
Selma settling for number three feels like an insult. As a female African American filmmaker, Ava DuVernay provides a fresh perspective on the legacy of Martin Luther King, Jr. Her portrayal of white people was fascinating. David Oyelowo was a revelation as Martin Luther King, Jr. It goes beyond imitation and the greatest portrayal of the beloved reverend. Mr. Oyelowo has solidified himself as Ms. DuVernay’s muse, which is a powerful gender role reversal in male dominated Hollywood. Let Ava take the lead with bigger projects. She has proven herself with this low key Lincoln. It’s just as magnificent with exquisite political interactions. Americans watching a peaceful Christian leading inspiring a call for justice and equality is the movie this country desperately needs.
2. WHIPLASH
Loud, intense, and scrappy, Damien Chazelle commands every aspect of Whiplash into the most impressive cinematic breakthrough from an emerging director. There is so much potential considering this is Mr. Chazelle’s second movie! J.K. Simmons was perfect as the sadistic mentor to the jazz band who plays the Miles Tellar character like a fiddle. Whiplash is so strong, this bombastic supporting performance (poised to clean up all the awards) distracts from the larger strengths of the movie: the wily screenplay, the calculated editing, the disciplined direction, and the pitch perfect sound editing/mixing. Relentless in its satisfaction, Whiplash is the insane and vibrant ode to musicians and the art of perfection that engrosses the audience to uncomfortable levels. And yet, it is jaw dropping that Whiplash wasn’t 2014’s best movie!
1. BOYHOOD
Richard Linklater’s bold, unforgettable and masterful epic Boyhood is the ultimate coming of age film flawlessly embraced innovative storytelling. Linklater filmed this over 12 years. The result was near perfection. This felt like a legendary celebration of life even if the director may not intend for it to come across that way. Ellar Coltrane transforms before our eyes in an overlooked performance that the art of film has never captured. Patricia Arquette is stunning. In this era of super hero comic movies with reboots and sequels focused on fantasy, it is refreshing to watch something both original and grounded in reality succeed. Linklater re-enforces the values of American independent cinema. There wasn’t anything like Boyhood from 2014. It could even define the decade.
Honorable Mention
AMERICAN SNIPER
Clint Eastwood’s harrowing and riveting American Sniper features a fiery and zealous performance from Bradley Cooper. Though propped up for heroics, the damanged American psyche from Middle Eastern violence is the causality of war transported home.
BOOK OF LIFE
2014’s best-animated movie didn’t have Legos. The Book of Life is a magical and captivating feast of Mexican culture where devotion to loving family, reverence to spirituality, and a pride of tradition flourishes alive. The lavish colors, vivid scenery, and wholesome story all were a majestic experience.
DAWN OF THE PLANET OF THE APES
Who knew a CGI-infused, summer blockbuster could be so emotionally charged and politically resonate alongside being action packed. This wasn’t Dawn of the Contrived Sequel to the Unnecessary Reboot I was dreading from the trailer. Now will the Academy ever evolve to recognize Andy Serkis’ computer effects performance talent?
DEAR WHITE PEOPLE
Justin Simien’s subversive race relations satire Dear White People was set in a college and appropriately schooled many filmmakers / comedians afraid to discuss the issue. The biting and wicked script and the all-star cast provides African American moviegoers with a new generation of actors accompanied by the next voice in black filmmaking.
FOXCATCHER
Bennett Miller’s cold, slow burn tragedy Foxcatcher exposes the wealthy elite with their corrupt behavior and creepy fetishes seeking meaning with real success and legitimate intimacy. The monumental performances from Steve Carrell, Channing Tatum, and, the best, Mark Ruffalo was a towering and overlooked achievement of ensemble acting.
IDA
Pawel Pawlikowski’s breathless black and white Ida is the tale of a nun discovering her family heritage. Soothing and poetic, it says everything it needs to by barely saying anything. Agata Trzebuchowska calmly resonates with spiritual revelations alongside marvelous cinematography.
INTERSTELLAR
Massive in scope and vision, Christopher Nolan’s Interstellar requires multiple viewings and audience debate. It was a challenging science fiction/adventure movie about the core of humanity: relationships. The visually overwhelming and emotionally exhausting was arresting to watch on IMAX bringing relevance to film.
NOAH
With lavish cinematography, glorious enchantment, and taking liberties with the Old Testament, there’s much to admire and discuss in Darren Aronofsky’s Noah. Stunning flashback sequences involving the creation story to the “evolution-of-a-solider” montage was spellbinding cinema. The conservative backlash affirms its challenging greatness.
OBVIOUS CHILD
A24’s very funny and very brave “abortion comedy” Obvious Child provided much needed confidence for young, single American women in the age of burdensome Tinder insecurities. Writer / director Gillian Robespierre and actress Jenny Slate were the perfect feminine blend.
THE SKELETON TWINS
Bill Hader and Kristen Wigg were depressed siblings with a complicated relationship in this Waldo Screenwriting award winner, which went from hot Sundance title to a specialty fall sleeper. This bleak and melancholy comedic drama offered a glimmer of hope with redemption through the pain with some awkwardly humorous moments.
TOP FIVE
Chris Rock’s Top Five assembled an outstanding cast talent plus his chemistry with Rosario Dawson was dynamic! Scott Rudin with JayZ and Kanye West balanced the adult skewing, sophisticated indie feel crossed with the behind the scenes look of the glamorous and famous media-savvy celebrity life flawlessly.
X-MEN: DAYS OF FUTURE PAST
I complain about too many comic book movies, but I am guilty of loving the X-Men series. The latest from Matthew Vaughn and Bryan Singer was a riveting and dazzling time at the movies with thrilling effects and biting social commentary. Quicksilver racing around a room controlling time was the best individual scene from any more all year!
Cya at the movies in 2015. What movies did you like?
