'2014 year in film' please take a bow, you were amazing. It was a year where so many diverse genres had significant and critically applauded films. From science fiction to dark comedies to complex thrillers. Richard Linklater and Wes Anderson were finally embraced as major players on the awards circuit. First time directors became instant names to follow for years to come. And one particular director decided to take a turn and go all comedic. I really think the Best Picture Oscar race between
Boyhood and
Birdman perfectly illustrated how strong the year was. Despite
Boyhood being seen as a underdog to
Birdman, I feel both of those films in most other recent years would be have been seen as too different. Too challenging. Yet despite the race still being plauged with 'Oscar-bait films', the more independent films were simply too strong to be overpowered (as opposed to recent years). I hope you enjoy the following list.
15. Interstellar
Big, smart and complex. That's generally what you hear when Nolan's films are discussed. And for good reason. I'm sure most blockbusters attempt to be large scale films grounded with personal stories. However, Nolan actually achieved this. Hans Zimmer's work here was my favourite score for 2014. Days after my initial screening I could not let go of that grand organ from my mind and the emotion associated with it and the film. Matched by amazing cinematography from Hotye van Hoytema (coming off 2013's Her). I had no idea what the underlying physics of the film were, but I was fully aware I was watching one of the best blockbusters of the decade.
14. The Lego Movie
I'll be honest, I don't watch a whole lot of animated films. I only see a pixar film if its considered to be the studio at their peak form (more
Nemo than
Brave). But this has to be the film from 2014 I have re-watched the most since release, and each time it held up really well (surprisingly). The jokes were quick and good. The lines forever quotable. Although many of the voice actors had appeared in other animated productions previously, it seemed this film was the perfect one for each of them. Directors Phil Lord and Chris Miller (as they usually do) fully embraced the notion that making a film about Lego was absurd and by doing so achieved a smart referential film. Everything about it was, well, awesome.
Living in Australia, I did not get a chance to see (or even hear) about this film until I stumbled upon this through Netflix. The film follows a young man who is forced to take care of his estranged sister's daughter for one night, all the while trying to deal with his own personal turmoil. In New York City. That synopsis sounds like it has Hollywood cliche written all over it. Yet I was immediately impressed with the distinct take on the story. Based on the Oscar-winning short film Curfew, Shawn Chirtsitensen almost perfectly executes this (as the lead actor, director, writer and producer no less) with a balance of style, raw emotion and humour. Just wish it got more of audience upon release.
12. Foxcatcher
I only managed to catch this film on a plane, through a small screen struggling to cancel the background noise. Yet despite the unappealing circumstances, the film really got to me. Carell, Ruffalo and Tatum are quite extraordinary in this slow yet absorbing piece. The film transitions in its focus from one character to the next, with each one as dark and captivating as the other, yet for different reasons. They don't make sports movies like this very often. But then again, this isn't a sports movie.
11. Frank
I have always been a fan of Micahel Fassbender, whether it was his Steve McQueens films (especially
Shame) or other but this was easily my favourite perfomrmance from the Irish actor. Despite him spending the film wearing a paper mache head throughout, he was able to demonstrate such hilarity and desolation. Yet Fassbender's contribution is only one of a myriad of fantastic characters, as the film follows a young wanna-be-musician who joins an experimental band. One one level it is a light humorous film, on a another deeper level its a sombre (and enlightening) one about mental wellbeing.
A film about one guy driving in his car for a few hours. As good as an actor Tom Hardy is, it can't be that entertaining right? How I was wrong. From the opening minutes to closing seconds, I was encapsulated watching one mans life unravel over the phone while driving in his car. It was a true accomplishment of Hardy and writer/director Steven Knight that they could construct such perfectly timed and executed dialogue. It had me laughing, close to tears and on the edge of my seat all the while he sat for 2 hours.
9. Palo Alto
How I want to be a member of the Coppola family tree. To name only a few there is Francis Ford, Sofia, Roman, Thomas Mars (lead singer of one of my favourite bands Phoenix, married to Sofia). Not to mention cousins like Jason Schwartzman and Nic Cage (yes I know, but he kind of gets a pass from me having done Adaptation and Bring out the Dead and nearly The Wrestler). And now Gia Coppola (granddaughter of Francis Ford) makes her director debut from a short stories collection book written by James Franco (who acts as producer and actor for the film itself). From the opening scene, you are immediately taken into the world angst and troubled adolesensce. A beautiful composition follows throughout the film, with fantastic performances from Emma Roberts, Jack Kilmer, Nat Wolff and Zoe Levin. Musical contribution from Dev Hynes (best known as Blood Orange) and Robert Schwartzman too successfully amplify the audience to the world of Palo Alto and the fragmented narrative. Despite being made so differently and having characters and environments in quite a juxtaposition to other landmarks films such as Kids (Larry Clark, 1995), it still managed to come close to an authentic and truly interesting study of adolescence.
8. Force Majeure
The Swedish film that perfectly examines the notions of self preservation, ideals and actions. As serious as that may sound, this film was laced with great humour and engrossing sequences. The way it would set up a scene and just slowly let it play was a joy to watch. The film follows the consequences of a fathers immediate action when he and his family are faced with potential disaster. A film about the family trip to the snow this is not. It was a real tragedy that this missed out on a Best Foreign Film Oscar nomination (none was more shocked
than these guys).
7. Nightcrawler
A thrilling and merciless ride of a film that follows Lou Bloom's way into the world of capturing the night crime of Los Angeles. Forget that Fast and the Furious franchise, this film had one of the most riveting car chases captured on screen. Dan Gilroy constructs a film with a character not necessarily on a path of redemption but one of obsession for success. Jake Gyllenhaal in career best form. Fantastic work from Riz Ahmed too, as the desperate young assistant Rick.
David Fincher, you have done it again. He turns a seemingly B-grade piece into an exceptional film, about modern societal expectations all the while being exciting, shocking and hilarious. The Trent Reznor/Atticus Ross and Fincher collaboration once again demonstrates what a truely significant relationship this is of the modern era. To say this was a breakout role for Rosemend Pike would be a bloody (sorry) understatement. But even comedic actors like Tyler Perry and Neil Patrick Harris were perfect in their roles. In a way, the film can be viewed as two parts, with each one as intriguing and elaborate as the other.
5. The Double
Richard Ayoade again demonstrates himself as a director to be hailed (after the brilliant 2010 Submarine). Jesse Eisenberg plays an office worker who's life is altered after a doppleganger of himself appears as a new co-worker. The whole cast were astonishing (its worth noting that Mia Wasikowska has worked with so many extraordinary directors in recent years its quite incredible). One of the funniest and original films of the year. Minimalistic set designs and complex storytelling matched with an encapsulating score demonstrated a true artistic vision of the Fyodor Dostoevsky's novel (of the same name).
4. Enemy
Another film based on a novel tiled
The Double (this time by author Jose Saramago), yet sitting in great contrast to Ayoade's film. Enemy plays like a film to be watched multiple times. There are recurring motifs and symbols throughout. Jake Gyllenhaal again proves how good his last few years have been, playing a college professor who stumbles upon an actor that looks ideational to him. What I love so much about the film is that it requires you to make your own interpretations of the events and conclusions. And my interpretation of the film is that it is sensational. Director Denis Villeneuve further implements himself one of the smartest filmmakers working today.
The most thrilling film of the year was surprisingly about a young musician on his pursuit to greatness. Winner of 3 academy awards (and nearly an adapted screenplay Oscar too) this was brilliantly executed by writer/director Damien Chazelle. The glorious editing and sound mixing transported this film to one of pulsating excitement. Yet it wasn't just the frantic scenes but also the solitary ones with Miles Teller that really captivated me. Chazelle wrote the draft in a matter of days and you really get a sense of a simplistic yet raw story of characters within such a vulnerable climate. Not only were Teller and J.K Simmons great in their roles, but so too were Paul Reiser and Melissa Benoist (as the father and love-interest, respectively).
2. Birdman
Alejandro Gonzalez Inarritu's film is a technical marvel and a whole lot more.
Birman follows Riggan Thompon (Michael Keaton) in his search to reestablishing fame and/or success against his ego, as he struggles to create a Broadway adaptation. Everything about it was so expertly done, such as the daring cinematography (from none other than Emmanuel Lubezki) as it is not only constructed to act like one long take but also literally narrows in closer as the audience gets deeper within Riggan's head (the backstage hallway). Yet it wasn't just from a technical standout that impressed me. It was one of those rare films where in the last hour I kept expecting it to end scene after scene, yet it relentlessly embraced the absurdity of the story and keep going and going. Even though many films have been made about or situated within the entertainment industry, this story and execution felt so incredibly distinct. Easily my funniest and funnest film of the year. It was a little disappointing that Keaton didn't win an Oscar given the success it had in so many other categories (Best Picture, Director, Original Screenplay and Cinematography) as his performance was so central to the film. A remarkable brilliant blend of satire, vivd characters and ingenuity.
A truly moving and original peace of work despite being so mundane in its approach. Filmed over 12 years intermittently from 2003-12, we watch childhood and adolescence being captured in front of our very eyes. Yet it is the way those 12 years were encapsulated on the screen that lies the true marvel of the film. Writer/director Richard Linklater focuses on the more genuine and realistic aspects of our lives, not so much the graduation ceremonies, first times or proms that we are more like extras to in our own lives. The transition from year to year is not forced, there isn't even an overplaying score. We are taken on the journey of Mason (Ellar Coltrane) as the son from age six, as well as his struggling mother, imperfect father and sister (played Linklater's real-life daughter Lorelei). Yet, like our own life, our family becomes less a part of our lives as we grow older, yet still remaining significant to us. I have never felt such a connection to the scenes and characters of a film, despite not actually experiencing many of them throughout my childhood. We aren't necessary left with satisfaction for our characters throughout, yet we know are witnesses realism and authenticity. And thats why I love it. We witness a moment of time, of life, being captured. Subtly blended with story.
