Narrowing down to a list of ten has proven extremely difficult. For one thing, there are so many movies that may not reach greatness but are still good and worthy of praise, and I'm hoping that they are not forgotten about. Films like Enough Said, The Place Beyond the Pines and Dallas Buyers Club are all worth paying attention to, as are foreign dramas like Wadjda and The Hunt. And in terms of blockbuster entertainment, Hollywood managed to surprise me with Baz Luhrmann's surprisingly competent interpretation of The Great Gatsby, as did Evan Goldberg and Seth Rogen with their unpredictable and hilarious This is the End. The great films are certainly worth signaling out, but the good films are not worth forgetting. And even if we're only talking about great films, there were so many released over the course of the last year that having to leave some off the final list was an impossible challenge. So while these ten films are, in my opinion, the best of the 100 releases from 2013 I have seen, there are dozens of others that deserve to be seen. Don't forget to check those out too!
But, it's Oscar Sunday, so it's time to honor the very best. So, without further adieux...
HONORABLE MENTIONS
(the films that just barely missed the list)
Ain't Them Bodies Saints * American Hustle * August: Osage County * Before Midnight *
The Conjuring * Prisoners * Spring Breakers * The Way, Way Back
And here are the ten that made the cut...
10.) Inside Llewyn Davis (dir. Joel and Ethan Coen)
"Everything you touch turns to shit, you're like King Midas's idiot brother."
Anyone who has ever created- or has wanted to create- can relate to the struggles felt by the titular Llewyn Davis in the latest creation by the Coen Brothers. This darkly comedic trip to the 1960s Greenwich Village folk scene manages to both evoke the feeling of the period in which it is set and connect with the timeless emotion of just not being understood. While Oscar Issac's cat wielding hero isn't the most likable protagonist of the year, anyone who wants to make a living doing something they love, while still retaining artistic integrity will relate all too well with the many hardships he faces over the course of a week.
While Issac's performance is certainly one of the film's highlights- and his singing voice is pretty damn impressive- the cast of quirky characters that move in and out of the story help make the film special, and provide some of the best comedic beats of the year. The "Please Mr. Kennedy" sequence highlights glorious physical comedy from Adam Driver and Justin Timberlake, while John Goodman's dialogue is almost entirely made up of brilliant one liners. And the typically sweet Carey Mulligan nearly runs away with the whole film as a fire breathing dragon of a woman who has no problem ripping Llewyn to shreds with her words, even if there is a hint of softness in her eyes the whole time. While no one has anywhere near the amount of screen time as Oscar Issac, the ensemble is uniformly excellent and memorable.
There is a lot to love about Inside Llewyn Davis- big things, like the music, acting, and cinematography, as well as little things, like the way Llewyn hops from couch to couch and, of course, the cat. But with the film's humor comes a sense of sadness, and a climatic moment that makes you laugh and breaks your heart. The struggling artists in all of us can relate to Llewyn, even if we disagree with his behavior and attitudes, and the film- which many initially believed would be a lesser Coen film- easily stands out as one of the year's best.
9.) Gravity (dir. Alfonso Cuarón)
"Tell her mommy found her red shoe. She was so upset about that shoe Matt,
but tell her it was right under the bed."
Alfonso Cuarón's highly anticipated Gravity is a true technical marvel- the sort of film that pushes the limits to what a special effects picture can do. While some might argue that the themes and dialogue aren't all that new, it is still like nothing we have ever seen before. The way Cuarón's camera swoops in and around space is marvelous, and no film this year- and very few in general- have made me grasp an armrest so tightly.
The film is more than just an exercise in action, however, as Cuarón instills a surge of emotion through a powerful performance from Sandra Bullock. The themes being explored aren't necessarily anything innovative, but Bullock makes the experience feel genuine. Her terror, her sadness, and her strength all feel real- and being able to carry a film almost entirely by yourself is an impressive feat that very few actors are capable of. But Bullock's performance is also an admirable exercise in physical acting- it's easy to remind yourself that a film's environment is primarily constructed from CGI, but it's important to remember that Bullock still had to use her strength to make her character's movements and struggles believable. Prior to Gravity, I was not a fan of Bullock, but after this I'm interested in seeing what else she is capable of.
Every once in a while, there is a film that reminds us of how absorbing and powerful spectacle at the cinema can be. Gravity inherits the throne from Inception as the most impressive, feat in blockbuster filmmaking in recent memory. Even if the film can't totally recreate the magic at home, it provided a theater experience that I won't soon forget.
8.) Frozen (dir. Chris Buck & Jennifer Lee)
"Who marries a man they just met?"
Frozen is something of an animated instant classic. Disney has been slumming it for the past decade or so, churning out mildly entertaining but relatively uninspired animated films, and leaving most of the heavy lifting to Pixar. But with Pixar's latest offerings being major disappoints, and Tangled taking a step in the right direction for the Mouse House, Frozen entered theaters at the perfect time and seems to have stuck a chord with audiences. The film has all the makings of an essential Disney comedy- beautiful music, lovable characters, and a blend moments both heartwarming and entertaining. But, at the same time, Frozen marks a notable change for the princess movie sub genre, as Disney takes a step away from the world of damsels in distress and one note villains and into one where women can think for themselves and antagonists are more complex than they are evil.
Watching Frozen, I marveled not only at the story and the soundtrack, but the fact that I was actually watching a Disney princess movie where the female lead was not waiting for a prince to come save her- in fact, she instructed that her prince stay at home when she went out to save her kingdom. The film preaches the importance of familial, not romantic, love, and even mocks the idea that a woman should marry a man she just met- a plot device Disney has used countless times before. And with Elsa, audiences are introduced to a character who, in a lesser film, would be a ridiculous villain (and, in the original script, was one). But here, she is a complicated character and a clear symbol for "different" young girls & boys who are told their whole life to hide what makes them unique and are somewhat damaged because of it. Regardless of how you want to interpret the message of her story, it's clear- Disney is instilling valuable lessons into this movie, and making a more entertaining and well written story because of it.
But the film is also a complete joy to sit through. Husband and wife team Robert Lopez and Kristen Anderson-Lopez have created beautiful songs that warrant comparison to classics like "A Whole New World" and "Under the Sea." The voice work is stellar, particularly from Kristen Bell. The film even has one of the most satisfying action sequences of the year. There is so much to love about Frozen- a progressive little story wrapped up in the classic packaging Disney hasn't brought out since the 90s. The film- which, as of today, has grossed over $1 billion worldwide- is the sort of blockbuster success we should all get behind.
7.) Fruitvale Station (dir. Ryan Coogler)
"I'm good, I'm good, I'm gonna be good."
It's easy to claim that Fruitvale Station is a political story. It's sure to evoke passionate responses from people on both sides of a variety of hot button issues, ranging from police violence to gun control to racial profiling. And there certainly isn't anything wrong with a movie stirring discussion. But labeling Fruitvale Station a political movie is a disservice. This is a human story one that calls not for laws or attitudes to change, but for people to, simply, mourn a life that's been lost.
Following the last 24 hours of Oscar Grant's life as he encounters his friends, family, girlfriend and daughter, director Ryan Coogler builds a sense of community out of the various characters we encounter. Michael B. Jordan puts so much personality and emotion into his part that it's almost impossible to not become invested in this man's life, and Coogler deserves credit for not trying to sugar coat the negative aspects of Grant's personality. But for a film that runs only 85 minutes, and is only meant to encompass a single day, it's remarkable that we get to know and care for Grant so much. Watching him interact with his mother (Octavia Spencer) and girlfriend (the wholly underrated Melonie Diaz), we manage to learn so much about these characters and their lives together. It's not all spelt out onscreen, but the bonds these characters share feel genuine and effective.
All this, of course, makes the last twenty minutes of the film a terrifying and deeply upsetting experience. Coogler places us right in the middle of the action, suddenly reminding us of the fact that Grant- the man we've followed for an entire day- is not going to make it out of this story alive. The ending is a chaotic and intense scene, and the final shot is an absolute gut punch. Ryan Coogler is only 24 years old, and Michael B. Jordan is relatively new to Hollywood, but the fact that, together, they've made a film capable of garnering such a major emotional reaction is admirable. Don't go into this film looking for a political message- go into it open minded, and prepare for a deeply emotional experience.
6.) Her (dir. Spike Jonze)
"How would you touch me?"
Spike Jonze has made a career out of instilling relatable emotions into the strange and quirky. Being John Malkovich takes a story about a portal into the mind of the titular actor and shapes it into an exploration about unhappiness, existentialism and the quest for true happiness. And Adaptation., starts of a relatively normal comedy and slowly becomes zany exploration of self doubt and meaningful existence. Enter Her, a film that should have been one of the strangest movies of the year and, in the end, is one of Jonze's most straightforward works. Her is a love story- and a fairly straightforward one at that.
Within minutes of being introduced, Jonze wisely doesn't focus on the fact that our hero, Theodore, is a human and that Samantha, his love interest, is an operating system. We are instructed to believe their relationship and, somehow, Jonze makes everything- from their dates to their deep conversations to their sex life- completely believable. But credit has to be given to Joaquin Phoenix and Scarlett Johansson who, without ever sharing the screen, create a bond so believable and so wonderful that their love is not some strange concept we have to stretch our imagination to accept. Phoenix brings a sense of sadness to Theodore that anyone who has ever felt lonely can connect with, and Johansson instills more life into her character than she's ever been able (or allowed) to do with her other performances. There is no Her without Phoenix and Johansson- as great as Jonze's script is, it's one that requires great actors to sell it, and his stars are more than up to the challenge.
Despite its outlandish premise, Her feels like Jonze's most personal film and, like Malkvoich and Adaptation, he ends the film on a powerful note. It's the sort of film that makes you reflect on your past and present romances, and makes you think about how you view relationships as a whole. Coupled with subtle but beautiful set design, a brilliant score and one of the powerful sex scenes in recent memory, Her is a creative and impressive must see.
5.) Blue is the Warmest Color (dir. Abdellatif Kechiche)
"But I have infinite tenderness for you. I always will. All my life long."
Blue is the Warmest Color is unlike most teenage romances. Not because of the sexual orientations of the lead characters, and not because of the notoriously graphic sex scenes they share. It's because the film is much more than a coming of age story, much more than a coming out tale and much more than a traditional love story. There is so much going on under the surface of this film, and so many different themes to analyze. A three hour runtime for a film of this genre may feel like a pretentious waste of time, but Blue is the Warmest Color more than justifies its length.
From the beginning, director Abdellatif Keciche places the audience right in the center of the life of our protagonist, Adéle. The camera constantly focuses on her, almost uncomfortably so, and the scenes of her everyday life play out for a longer amount of time than they would in a normal coming of age tale. The French title- roughly translated to "The Life of Adele"- feels much more appropriate, as Kechiche and his young star, Adéle Exarchopolous, create a palpable sense of realism and turn the protagonist into a vessel for the audience to experience the movie in the most intimate way possible. And when Lea Seydoux's blue haired Emma enters the scene, we too fall under her spell. There is no character from 2013 we get to know quite as much as we get to know Adéle, which is fortunate as the film hinges almost entirely on whether or not we can connect with her. Luckily, both Exarchopolous and Keciche ensure that the film feels both real and relatable.
But underneath the love story, are themes worthy of discussion. The differences in social class- from Adéle's blue collar parents and traditional friends to Emma's upper class, free thinking family and fellow artists- plays a major part in the story, without ever explicitly being mentioned. And the color blue clearly serves as a symbol throughout this epic tale. But, most importantly, the film makes every single second of its runtime count, and demands to be re-watched almost immediately as the credits start to roll.
4.) Nebraska (dir. Alexander Payne)
"This is my parents' room. I'd get whipped if they found me in here.
Guess nobody's going to whip me now."
Nebraska is yet another tragicomedy from Alexander Payne, whose career is filled with funny movies tinged with heartbreaking moments. The sadness in the film can be seen in Bruce Dern's face and eyes- few performances this year are as understated as his, but few are also as powerful. Woody Grant is a man of few words, but Dern makes every single syllable count, and the film slowly chips at your heart.
Filmed in beautiful black and white, with an understated score and an endlessly quirky ensemble, Nebraska is a bittersweet look at the disconnect between generations and the hardships that define our life. Cast against type, Will Forte wisely keeps it understated, and makes an excellent combination with Dern, believably portraying a son who is both desperate to please his father and saddened by his past actions. The whole film sits almost entirely on their shoulders, and they both become such well developed characters without ever really saying all that much. Everything from their small talk to their huge dysfunctions feel believable, can be read into, and compels the audience to care about them.
But if any film can be boiled down to one defining moment, it's the sequence in which Dern shows his childhood home to the family. Without the scene, Nebraska is a good film, but with it the movie becomes great. There is so much emotion on display, but no one is begging for you to feel anything. The movie earns every single emotional beat. Payne's filmography is filled with stories of families struggling to get through hard times and flawed men faced with problems they have caused, and Nebraska ties together both these themes into a powerful experience.
3.) Short Term 12 (dir. Destin Cretton)
"Again? Again? Sell it again? Bitch, I'm 10. Let me go outside and function with my friends."
There is a rawness to Short Term 12 that few films can achieve. In lesser hands, Short Term 12 would be melodrama more appropriate for an after school special or a Lifetime movie. But Destin Cretton brings a sense of authenticity that allows the drama to pack a punch.
Despite the content, Short Term 12 is not an "issues" movie, calling for audiences to try and do something about the children from abusive families dealing with their problems in group homes. Instead, Cretton makes the film about human beings, showcasing the benefits and problems foster homes but letting the movie focus on the characters and there issues. At the heart of the film is Brie Larson, whose portrayal of Grace is wonderfully realized. Her character is tough, warm, flawed, and easy to care for, and watching her interact with the children under her care is awfully compelling. The children we get to spend brief moments with- namely Keith Stanfield's Marcus, an abused young man who is on the verge of being kicked out of the system- are all wonderfully portrayed by children who aren't told to be cute, precocious or sympathetic, but are simply directed to be as realistic as possible. They are all bright stars with huge futures in Hollywood.
The universe created by Cretton is one I wanted to stay in for longer than the film allowed. Even when things became brutally sad and difficult to watch, the film had a warmth and beauty to it that made the pain worth sitting through. Sadly ignored by a majority of critics, audiences, and award shows, Short Term 12 is a film that demands to be seen. Don't let this one slip through the cracks.
Despite the content, Short Term 12 is not an "issues" movie, calling for audiences to try and do something about the children from abusive families dealing with their problems in group homes. Instead, Cretton makes the film about human beings, showcasing the benefits and problems foster homes but letting the movie focus on the characters and there issues. At the heart of the film is Brie Larson, whose portrayal of Grace is wonderfully realized. Her character is tough, warm, flawed, and easy to care for, and watching her interact with the children under her care is awfully compelling. The children we get to spend brief moments with- namely Keith Stanfield's Marcus, an abused young man who is on the verge of being kicked out of the system- are all wonderfully portrayed by children who aren't told to be cute, precocious or sympathetic, but are simply directed to be as realistic as possible. They are all bright stars with huge futures in Hollywood.
The universe created by Cretton is one I wanted to stay in for longer than the film allowed. Even when things became brutally sad and difficult to watch, the film had a warmth and beauty to it that made the pain worth sitting through. Sadly ignored by a majority of critics, audiences, and award shows, Short Term 12 is a film that demands to be seen. Don't let this one slip through the cracks.
2.) The Wolf of Wall Street (dir. Martin Scorsese)
"Let me tell you something. There's no nobility in poverty.
I've been a poor man, and I've been a rich man. And I choose rich every fucking time."
Very few directors have, or ever will have, a career as prolific as Martin Scorsese's. But perhaps the bad thing about having a handful of classics to your name is the fact that expectations are always so high that when your films fail to live up to the standard previously set they are somehow labeled as "disappointments." And the past decade has been a year of films ranging from "standard" to "disappointing" for Scorsese. Enter: The Wolf of Wall Street- Scorsese's most energetic film in ages, and a sort of white-collar spiritual successor to Goodfellas. The film marks a true high point for Scorsese- it's the best of his collaborations with Leonardo DiCaprio, and maybe even his best film since the classic 1990 gangster flick.
DiCaprio's career seems to be divided into two segments: the teen heartthrob phase, and the tortured hero phase. And while DiCaprio is certainly a talented actor worthy of his celebrity status, I'm not a huge fan of watching actors repeat their usual shtick. But with The Wolf, DiCaprio turns in the performance of his career. He brings an extreme energy to every single scene, giving the film 110% time and time again. But an actor is nothing without his costars, and DiCaprio's two partners in crime are the standouts in a stellar supporting ensemble. Scorsese brings out a side of Jonah Hill we've never seen before- beneath the hilariously big teeth, the strange haircut and the plastic penis lies one of the creepiest characters of the year, and one of the most unlikable characters in a cast filled with horrible people. Hill is hilarious, but there is an understated darkness to his work here that proves he's no longer the funny fat kid from Judd Apatow productions. Newcomer Margot Robbie also makes a huge impression as DiCaprio's onscreen wife, in a loud, passionate performance. Robbie is given the chance to take the "sexy trophy wife" cliché, roll with it for a while, and then slowly deconstruct it in front of the audience. Watching her go toe-to-toe with DiCaprio in two separate scenes- one comedic, and one disturbing- it's clear that Robbie is much more than a hot body and a pretty face. She'll have a long career in Hollywood if she picks her roles carefully.
But most impressive about The Wolf of Wall Street is how unafraid Scorsese is to entertain the audience. His willingness to infuse comedy and entertaining depravity is brave, and has led to some uncalled for criticisms. The film is vile, offensive, crude and misogynistic- but so are its main characters, and anyone with half a conscious knows that we shouldn't aspire to be Jordan Belfort. But after asking the audience to laugh at horrible people doing horrible things to innocent people, Scorsese turns the camera on the audience and asks, "if given the option... wouldn't you want to be like Jordan Belfort?"And that leaves the audience with a bitter taste in their mouth. And that bitter taste makes this film all the more special.
1.) 12 Years a Slave (dir. Steve McQueen)
"I apologize for my appearance. But I have had a difficult time these past several years."
It's too early to call any film from 2013 a masterpiece. Masterpieces stand the test of time and hold up on repeat viewings over the course of numerous years. So, calling 12 Years a Slave a "masterpiece" feels like a bit of an overstatement. But if any film from 2013 is going to be called a masterpiece years from now, I would guess that it would be 12 Years a Slave. Steve McQueen has crafted a film that's as brutal as it is powerful- a rare film that avoids melodrama but stabs you in the heart from the very beginning and slowly twists the knife over and over again for two hours. It is mandatory viewing.
There is a scene near the end of the movie that shows Solomon Northrup staring out at the screen for an unsettling amount of time. This sequence symbolizes what makes the movie so powerful- McQueen is forcing the audience to look, unblinkingly, at the horrors of slavery that Hollywood has forgotten. It's not that Hollywood has avoided the subject of slavery altogether, but these films have scarified realism and historical accuracy in order to make audiences more comfortable. 12 Years a Slave does no such thing- the horrid abuse of thousands of men, women and children are depicted in all its horror. This is the definitive slavery movie- there has never been a film like this before, and it's doubtful that there will ever be another one as shocking or innovative.
But the film is more than just an important history lesson, thanks to McQueen's stunning abilities as a director and the talented ensemble at his disposal. The craftsmanship on screen is astonishing, as everything comes together time and time again to make a collection of sequences that are impressive on all fronts. The cast- particularly the film's four principals- all turn in performances worthy of major praise. And while the film's violence makes us want to turn away from the screen time and time again, John Ridley's dialogue keeps our ears at attention at all times. The dialogue is almost poetic, and allows the film to be more than just a collection of shocking scenes. Despite what some detractors would try to have you believe, 12 Years a Slave is not torture porn disguised as a history lesson, and it is most certainly not a "white guilt movie." Yes, in terms of cinema history, the film is an important landmark covering a dark period in American history. The film is a true work of art on every level- it is the most disturbing film of the year, the most effectively made film of the year, and the best film of the year.
Thanks for reading! Here are some lists to other end of year lists-
Your Best 10 list is awesome! You have 5 of mine. Good for you for including Short Term 12, Fruitvale Station, Blue Is The Warmest Color, and Inside Llewyn Davis
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