There was a lot to talk about in 2014. I say this for two
reasons: there were a number of terrific films released that were worthy of
praise. And, it seemed to me at least, that this year was filmed with riveting
conversation about film. Critics and
casual filmgoers put racism, sexism and homophobia under a microscope, taking
the time to examine the industry itself and various releases from the past few
months. Discussing film, in any capacity, has always been my passion of mine,
but the scope of the average conversation broadened and, while it was certainly
frustrating at times, it was awfully engaging.
As I made
my Top 10 list for the year (always a difficult task), I couldn’t help but
notice that all of these films ignited a conversation in my life about the
state of film and representation. I can’t think of a better thing for films to
provide. Additionally, all ten of these films are, obviously, quite well made
and awfully entertaining. By my count, I’ve watched 124 films from 2014 since
last February. I don’t even want to calculate how much time that was
(especially when you consider that I watched around 250 other films in that same amount of time). But I don’t regret a
second of it.
So, let’s look back at 2014…
THE WORST of 2014
Let’s start with the bad ones:
I guess
it’s a good thing that I didn’t see enough bad films to truly contemplate
making a Worst of 2014 list. But, if you watch 124 bad films, you’re bound to
see a few blunders.
It feels
too easy to say that Transformers: Age of
Extinction was the worst film of 2014. But it probably was. At a punishing
165 minutes, the film is offensive to anyone with taste and/or anyone who isn’t
a Conservative white male. Michael Bay’s penchant for ethnic stereotypes,
scantily clad woman and noisy explosions is becoming more and more obnoxious
with each film, and I think I may have reached my breaking point. I can’t
possibly imagine anyone anticipating another one of these messes, but I don’t
think I’ll be seeing it.
Elsewhere,
we have Sin City: A Dame to Kill For,
which came about 9 years too late and brought absolutely nothing new to the
table. Its predecessor has earned its status as a cult classic, but after
nearly a decade of waiting for a follow-up, Miller & Rodriquez seemed to
have little to no passion for the material and just tried to re-do everything
that worked in the original. It was an absolute waste of time. 2014 also
brought us Let’s Be Cops, a comedy
about the abuse of police power that came out at just about the worst time
imaginable. Still, regardless of the political climate, it’s hard to imagine
anyone being won over by this obnoxious comedy that makes two very funny men
unbearable comedic presences. There isn’t a laugh to be had in the whole runtime.
And, no matter what your opinions may be of American
Sniper, it is most certainly not Clint Eastwood’s worst film of 2014. That
would be Jersey Boys, a clumsily
written musical that showcases some atrocious acting and bland set design. If
you enjoy listening to overdone Jersey accents, or really love this music, you might enjoy it. If not, look elsewhere.
Also worth
noting: 2014 brought us some terrific female characters, and films that took
misogyny to task. But there were still some aggressively sexist movies. Most
upsetting is Jason Reitman’s Men, Women
and Children. Not only is the drama an examination of modern technology
that feels like it was written by an 80 year old, but its gender politics are
disgusting. Just look at the way it treats virginity: a man being unable to
lose his virginity is something to be mourned. But if a woman does it, it’s the
first domino struck down in their long downward spiral. When a man screws up:
all is forgiven. When a woman screws up: she must seek forgiveness from her
husband. After this and last year’s Labor
Day, I’m starting to wonder if Jason Reitman’s good films were accidents.
Zach Braff’s Wish I Was Here was also
fairly questionable with its depiction of women, its obsessive focus on White
People Problems, and the way it laughs off sexual harassment. But, outside of
those issues, it also has a ridiculous premise and cringe-worthy performances.
So, nothing to see there. Finally, we come to Filth, a film that’s moderately interesting for some of its
runtime, but mistakes offensive humor for just being offensive. No minority
group is safe from this disgusting film, which left me feeling dirty.
THE DOCUMENTARIES of 2014
I don’t
think its fair to hold documentaries on the same level as narrative features,
so I’ll devote some space here for the films that I definitely think are worth
seeking out. Unfortunately, I was not able to see the most celebrated
documentary of the year, Citizenfour.
But there was no shortage of great documentaries.
Some other
highlights: Finding Vivian Maier is a
fascinating look at a woman whose life was made for the movies. It’s best to go
in somewhat blind, but at a brisk 84 minutes, it’s very easy to get swept up in
the unique story. As for more serious matters, The Overnighters is a thought-provoking examination of one pastor’s
quest to help the unemployed. It deals with a lot of controversial issues, but
puts a human face on them all, forcing the viewer to reconsider their beliefs
at multiple points. Rich Hill is a
devastating, occasionally aimless look at three teens living in poverty. It’s a
tad bit exploitative, but it’s certainly compelling. And cinephiles will likely
enjoy Jordorowsky’s Dune, which
offers a chance to see an amazingly ambitious film that never made it to the
big screen.
THE FILMS THAT ALMOST MADE THE LIST
2014 was a
year filled with films worth praising, and it’s always upsetting to see great
films get left off the list. But, at the same time, being forced to leave films
off the list means you watched more great films than you can count on both
hands. So I guess it’s a good thing? Anyway:
The most
egregious snub from my personal Top 10 is Birdman,
which is undeniably well made and wonderfully acted. It kills me to not include
it on the list, but there just aren’t enough slots. I’m equally upset that
James Gray’s woefully under seen The
Immigrant had to be left off, especially since I’m still haunted by some of
its imagery and deeply upsetting moments. Despite not making the list, they are
both amongst the best of the year.
Also: while
they may not be the most serious films of 2014, Guardians of the Galaxy and X-Men:
Days of Future Past were both hugely entertaining blockbusters, as was the
South Korean import Snowpiercer. It’s
also worth noting that How to Train Your
Dragon 2 was my favorite animated film of 2014.
Anyway, without further adieux…
THE 10 BEST FILMS of 2014
10.) Wild (dir. Jean-Marc Vallée)
An empowering experience, as well as a hugely absorbing
drama, Wild is the earthly, feminist
version of Gravity that I didn’t know
I wanted. Deglamorizing oneself is one of the oldest tricks in the “Give Me An
Oscar, Dammit” handbook, but something about Witherspoon’s performance here
feels completely genuine and powerful. This is brave work for an A-list star,
forcing her to bare all both literally and figuratively for the camera. The
smart script by Nick Hornby, as well as some astonishing editing, frames the
story in an interesting way, and providing more than a few well-earned
emotional moments. After the well-acted by blandly directed Dallas Buyers Club, Vallée emerges as a
filmmaker worth paying attention to. But this is Witherspoon’s show. After
initiating the “McConaugheissance” last year, hopefully Vallée made this the
first page of Reese’s Reformation.
9.) Pride (dir. Matthew Warchus)
At 120 minutes, Pride doesn’t
waste a minute of its runtime being anything but a lovable drama. As hilarious
as it is heartbreaking, Matthew Warchus’ relatively under-seen gay-rights drama
has one thesis: the violation of someone’s rights, for any reason, is an issue for everyone.
Thanks to an intelligent script and committed ensemble, Pride is almost ridiculously entertaining, weaving together many
different but equally compelling characters into a story that’s worth cheering
for. Few films about hot-button issues are as comfortable in their own shoes as
this one, which embodies the old adage, “kill them with kindness.” It’s
difficult to imagine anyone walking away from this without a smile on their
face. And, even if a great script and terrific actors isn’t your thing, this
film has a scene where one-time Oscar nominee Imelda Staunton waves an
oversized dildo in the air. And that’s something we should all celebrate.
8.) Inherent Vice (dir. Paul Thomas
Anderson)
Inherent Vice
won’t be everyone’s cup of tea. But then again, hippie culture isn’t everyone’s
cup of tea. Neither is marijuana. And this film has both of those in spades. I
don’t think Paul Thomas Anderson tried to make a film for everyone here and, honestly,
we’re all better off for it. Despite claims to the contrary, Inherent Vice really isn’t a confusing
film. It’s just a film that tells a rather simple story in the most
complicated, convoluted way possible. And while it might be a mystery, it sure
doesn’t feel that way. Inherent Vice is
one of the funniest films of the year, constantly surprising the audience with
eccentric characters and outlandish plot developments. It’s also, at times, a
beautiful love story and a sad drama. It might even have a deeper subtext to
it. But, regardless, it’s the type of film that only Paul Thomas Anderson can
make. And it has both his trademarks: a sprawling ensemble of talented actors
and the seamless blend of genres. Above
all things, Inherent Vice is a
reminder as to why he’s one of the best, if not the best, directors
working today.
7.) Obvious Child (dir. Gillian
Robespierre)
For a film that centers almost entirely on the endlessly
debated topic of abortion, Obvious Child is
shockingly apolitical. While an abortion may be the propelling force to the
entire plot, it does not once call its heroine’s actions into question.
Instead, it uses its story as a method of giving women a voice. Much like our
protagonist, Donna, uses her stand-up comedy as a way to discuss her problems
with the world, Obvious Child is a
comedy that wants its readers to think as they laugh. And they certainly do
both in equal measure. Jenny Slate, whose finally given a chance to shine as
the protagonist, is absolutely hilarious. And a smart screenplay lets Obvious Child be an unusual twist on the
romantic comedy genre, as well as a look at the problems women face today and
the huge strives forward they’ve taken already. Many comedies from 2014 will
make you laugh, but few will make you think as much as this one does.
6.) Selma (dir. Ava DuVernay)
With Selma, Ava
DuVernay emerges as a new voice in film that’s worth paying attention to. A
combination of Spielberg and Spike Lee, but without each of their negative
qualities, DuVernay takes what could have been a stuffy biopic and makes it one
of the year’s more powerful cinematic experiences. While she doesn’t put Martin
Luther King Jr. on a pedestal, and focuses almost entirely on the strategies
employed during the Selma marches, DuVernay doesn’t forget to bring a wallop of
emotional intensity to the big screen. Her filmmaking is loud, vibrant and
energetic, with a handful of sequences being amongst the best of the year. The
face of the film, David Oyelowo, is also someone to watch out for: his transformation
into King is not just commendable, but almost scarily convincing. Much like
2012’s Lincoln, Selma is a political drama that offers a comprehensive look at a
particular moment in history. It is not to be missed.
5.) Nightcrawler (dir. Dan Gilroy)
In 1976, Sidney Lumet’s Network
predicted a world where TV stations were more concerned with ratings than
they were with journalistic efforts, let alone basic human decency. In 2014,
Dan Gilroy’s Nightcrawler shows that
many of those predictions have come true. This is a film that’s so creepy and unsettling
that it just leaves you feeling dirty. Yet, I wouldn’t argue if you called it a
comedy. Gilroy transports you into the mind of a psychopath, played wonderfully
by Jake Gyllenhaal, and leaves you no option but to revel in it. At this
psycho’s side is Rene Russo’s equally fascinating Nina, a woman who is
victimized by our “protagonist”, but plays along with his twisted tactics for
career success. This is the film about modern journalism the world needed, and
by making it so damn entertaining, Gilroy proves how desensitized we’ve already
become to unethical reporting.
4.) The Grand Budapest Hotel (dir. Wes
Anderson)
Wes Anderson has the unusual ability to make unique films
each and every time he gets behind a camera. His style is so unique, almost to
the point of parody, that his shtick should have gotten tiring three movies
ago. Yet, he constantly finds a way to reenergize his style and craft a
compelling film. Grand Budapest Hotel is,
like all his films, colorful, humorous, zany and oddly sad. But it’s also just
an example of great filmmaking in every possible regard. The costumes, sets,
cinematography, score and make-up are amongst the best of 2014, if not the
best. The story is also beautiful and original. And Ralph Fiennes, as the
film’s incredibly strange protagonist, delivers one of my favorite performances
of the year. He’s a comedic tour de force. Watching Grand Budapest Hotel made me realize: it’s in sheer filmmaking
ability that Anderson makes his films different. He’s such a talented
filmmaker, and his movies are so good, that their individuality cannot be
denied. It reminded me that I know what to expect when I watch an Anderson
film: a damn good film.
3.) Boyhood (dir. Richard Linklater)
Boyhood and all
those involved with it have already cemented themselves into film history. It
goes without saying that Richard Linklater’s twelve-year experiment is unlike
anything we’ve seen before, framing a coming-of-age story in real time that
feels both invested in its own era as well as timeless. But judged purely as a
film, Linklater’s Boyhood is a really
beautiful, compelling story about the moments that actually shape our life. The
film doesn’t focus on the big moments, like birthdays or graduations or deaths,
but the little, quiet exchanges that leave a lasting impression. The most
dramatic moments almost always take place off screen. And, while Boyhood is the quintessential
coming-of-age story, it’s about how developing as a person goes far beyond childhood. Just look at the way Linklater mirrors young Mason’s upbringing with his mother’s quest to
make a better life for herself and, more importantly, her children. The film is
a love letter to growing up and a salute to single mothers everywhere. Mason’s
life may be filled with unique details, but this is a story that everyone can
find a little bit of themselves in.
2.) Gone Girl (dir. David Fincher)
About twenty-five years ago, Glenn Close struck fear into
the hearts of men when she boiled Michael Douglass’ bunny. For years, Fatal Attraction was the “marriage
thriller”: it reminded men to stay faithful to their wives, or else some crazy
woman might try to kill his family. And while Fatal Attraction may be a good film, the message always rubbed me
the wrong way: why does Douglass escape the film scotch free? After all, he did
cheat on his wife. Why is he the hero? This year, David Fincher attempted to
become the new “marriage thriller”, and his take on the subgenre is far more
progressive. Gone Girl is both a twist-filled
mystery and a Rorschach test about how we feel about gender roles. The film
takes us all to talks for perpetuating a culture that tells women they must be
perfect for their men, while also telling men that they’re entitled to a great
life with a trophy wife by their side. Gillian Flynn’s ingenious screenplay
(based on her equally fascinating novel), coupled with David Fincher’s
meticulous direction, makes Gone Girl as
entertaining as it is thought provoking. And, for what it’s worth, Rosamund
Pike’s Amy is far more compelling than Glenn Close’s one-dimensional
villainess.
1.)
Whiplash (dir. Damien Chazelle)
In terms of sheer filmmaking, the choice of the year’s best
film is, to me, undeniable. Whiplash is
one of the most exciting films of the year. It’s also a stunning debut for 29-year-old
Damien Chazelle. I can only imagine what treasures the rest of his career will
bring. With Whiplash, Chazelle uses
drumming solos as action scenes, creating a knot in the viewer’s stomach that
tightens as they proceed. Its foul-mouthed, exhilarating screenplay is both
hugely entertaining and dark. The ending, which is easily the best final
sequence of the year, can be seen in one of two ways: either it’s a complete
blast, or incredibly depressing. The script is deceptively simple, using its
plot as an allegory for the quest to success. In a year filled with exciting
cinematic conversation, Whiplash offers
a chilling question: how far is too far when it comes to finding success? It
blows my mind that someone so young and inexperienced could make a film so
beautifully made. It’s just a brilliant piece of filmmaking. Every year, I look
for one film that I think will truly stand the test of time and constantly
recreate the feeling of exhilaration I had when first experiencing it. This
year, there were many possibilities, but my top choice seemed easy. Whiplash is the film I’m most passionate
about this year. It is, to me, the best film of 2014.
It’s been quite a year. And it’s nice to know that the
second the 87th Best Picture winner is announced, a whole new year
of great movies begins. I look forward to becoming passionate about a whole new
batch of stunning films.
Thanks for reading. See you at the movies!
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