OSCAR WARM-UP: My Top Ten Favorite Movies of 2014

#10 The Rover

Over time I've developed more of an appreciation for the setting of films. I love Australia as a cinematic backdrop, specifically the outback. It's beautiful on the big screen. I think I first noticed the photogenic land down under while watching Rabbit-Proof Fence (2002), the true story about three "half-caste" Aboriginal girls who were kidnapped and taken to a government settlement for such girls and then make the 1200-mile trek back home across the vast countryside. The terrain seemed endless and frightening and strangely gorgeous. In The Rover, although the plot is quite different, the scenery is the same. It's desolate and dangerous, yet it's difficult not to feel attracted to the magnetic golden tint emitting from the massive canvas that is Australia's untamed country. The film is set in the near future after an obvious economic crash of some sort. Guy Pearce is a loner whose car has been stolen by a group of postmodern thugs. The theft has nothing to do with Pearce's character but is done more so out of necessity for the thieves. This is irrelevant to Pearce, however, for a car is more vital than ever in this apocalyptic world, his car especially. The robbers leave behind one of their own, the Edward kid from the Twilight series. From that point, Pearce uses Twilight guy to track down Twilight's crew and the stolen vehicle. This movie isn't for everyone. Its critics argue that the film isn't about anything. Initially I was stumped as well and could offer no retort. But after much consideration, I'd argue that the film is about so much. At its heart is someone trying to hold on to just a shred of decency, of something familiar and right in an otherwise barbaric world. Again it's not for everyone, but it's easy on the eyes, and Pearce is great as usual. Surprisingly enough so is Robert Pattinson. Truth be told, I didn't even recognize the guy until after the movie. Most importantly is probably the notion that this film could potentially offer so much more on repeat viewings, which is as essential to great movies as a car is in an Australian wasteland.

#9 Calvary

Like the number ten movie on this list, number nine benefits from stunning ambiance. But where The Rover may lack somewhat in regards to plot, Calvary is strong, offering engaging interactions and dialogue among various intriguing characters, and I mean characters in every sense of the word. Brendan Gleeson is the priest in a small coastal Irish town (hence the ambiance). The film opens with him in a confessional with an anonymous member of his congregation. The confessor informs the father that he plans to kill him at the end of the week. We don't see him, nor are we sure how much the father knows about the man threatening his life. Gleeson's character spends most of the rest of the film going about his normal “shepherdly” duties, tending to his flock and their problems, and counting the days. Still the audience is never sure whether he knows which member wants to kill him, or even how seriously we should take the threat. It sounds dark and it is at times. But there’s plenty of comic relief as well. The townspeople are fantastic. Hilariously weird and off-kilt, collectively they almost act as one supporting role. Even the father manages to show his lighter side despite his disturbing, unusual situation. Gleeson is masterful in showing us all facets of his character, from the film's  uncomfortable first few moments to the highly-anticipated final shot.

#8 Interstellar

I feel the need to see this again before giving any in-depth insight. As it stands, Interstellar gets major points for swinging for the fences. Foreign planets and black holes?!?! I completely bought into Nolan's interpretation of the final frontier. Nationally renowned dentist and newly crowned fantasy football champion Jason Beck wrote that most people would leave Interstellar in awe of the visual spectacle. He went on to argue for the film's story, suggesting that its themes of emotion and time are equally awe-inspiring and deserving of the same attention as the stunning images. I'm not ready to buy the effectiveness of the story argument, (again, a second viewing is in order), but I'm completely sold on the visuals. Since seeing the movie, I doubt there's a been a clear night while walking my dog that I haven't peered up at the stars and wondered what was up there beyond our limited knowledge of such an incomprehensible space, wondered what it looked like. That's all attributed Nolan and his other-worldly vision.

#7 Ida

No other movie on this list has grown on me since I first saw it more than Ida.  The black and white Polish film set post WWII focuses on an aspiring nun who takes a reprieve from the monastery to search out her aunt, her only living relative. That synopsis isn’t going to blow anyone’s socks off, but the acting, cinematography and family secrets they dig up just might.  I read where director Pawel Pawlikowski said he wanted to make a historical piece that didn’t feel historical.  Mission accomplished!  There’s nothing about Ida that feels dated, a difficult feat considering how authentic it is.  There have been countless films set in the same WWII and post war era.  Ida separates itself from such films by boasting two strong and complex female leading and supporting characters played perfectly by Polish actresses Agata Trzebuchowska and Agata Kulesza respectively.  (Actually, in that regard, I guess it separates itself from most films in general.)  Keep in mind that it’s a foreign film, so it’s not everyone’s cup of tea.  But for the true cinephiles and those looking to broaden their cinematic repertoire, Ida is undoubtedly one of the best picks of 2014.

#6 Selma

When I first saw its trailer I wrote Selma off as your run-of-the-mill, clichéd historical biopic (i.e. 42 and The Butler). I had zero interest in seeing it. It felt like a movie I'd seen before, like in school or on PBS. But the universal praise (98% on Rotten Tomatoes and the number 3 best reviewed movie of 2014 on Metacritic) was just too high to ignore. So I blessed it with a coveted spot on my birthday movie day*. I tried to avoid the political and social buzz surrounding American Sniper.  I'll do the same here and focus on the film itself. The only thing about Selma that resembles the previously mentioned garden-variety historical biopics is the fact that it's historical. I don't even consider it a biopic. This is not a film about King but about Selma and the events that took place there that would change the civil rights landscape for the country. Obviously King played a major role in those events and is featured in the film. But what's refreshing about Selma is its focus on the surrounding personalities that contributed, either positively or negatively, to this pivotal time in our nation's history. King is even off screen for a considerable amount of time, usually unheard of in biopics, yet the movie never slows. We don't even miss him despite how strong David Oyelowo's performance is. I loved the fly-on-the-wall perspective of the all the inner dealings, conversations and negotiations from both sides. And although there were great people associated with this particular movement, no character is defined as being great alone. They all have their flaws. In fact this is the only film I can remember seeing that depicted King as a less than perfect man. There's a scene where Coretta confronts him about his infidelity where King is as vulnerable as a young boy who's been caught shoplifting a pack of gum by his mother.  Kudos for making such iconic historical figures seem a little more human. I wrote that American Sniper may fuel the patriotic flames of the masses better than any other. Still I want to argue for the patriotism of Selma. It's not an obvious choice for that sort of label, but it's hard to deny the feeling of pride you have in your country, and more specifically the incredible people in it, when leaving the theater.

* Seven years ago my wonderful wife came up with an idea for a birthday celebration that would once again get me excited about and looking forward to my special day. Every year since then we've spent the day at the theater watching several movies, enjoying intermission at some of my favorite eateries. Often times friends drop in for some surprise cameos to add to the grandeur of the day. Thanks to my wife, it's now one of my most anticipated days of the year.

#5 Snowpiercer

Snowpiercer is the most unique movie I saw in 2014.  It snatches up the recent run of sci-fi, dystopia movies like Hunger Games (which I like) and Divergent (which I didn’t see) by their metaphorical ponytails, devours them, and squats them out into a long winding life-sustaining state-of-the-art train that is the lone setting of this fantastic film. Although Snowpiercer is more post-apocalyptic, some images can’t help but conjure up visions of what these films could have been.  Seventeen years ago the powers that be decided it would be a good idea to fight global warming by spraying a coolant into the atmosphere.  As a direct result, the earth froze.  The only people who survived were the ones who managed to board this ultramodern passenger train that circumnavigates the globe.  The train is an obvious metaphor for most advanced societies in that the passengers with money or power or social status dwell in the front, while those who are less prosperous in these areas are confined to the rear.  And like most societies ever so often the bottom revolts against the top.  Except in Snowpierecer the revolution takes place on a train…..a big, fancy, futuristic train.  The possibilities are endless, and I think the movie explores them all.  At its core Snowpiercer is a celebration of the cinematic experience and deserves its own more reflective, extensive review.  It’s as funny as it is dark, at times frightening and always gorgeous.  Not to mention it may have the best performance of Tilda Swinton’s career.  This was the most fun I had at the theater in a while.  You can’t see it there anymore, but you can still gather up a group of friends with which you wouldn’t mind surviving the end of the world and enjoy the snow.

  

#4 Nightcrawler

Okay I know what I said about Ida growing on me more than any other movie, but let me reconsider.  I really like Ida; I think I may love Nightcrawler.  Part of it is Los Angeles.  Similar to what I wrote about Australia and The Rover, I tend to really enjoy films set in L.A: Heat, Chinatown, Swingers, Point Break, Sunset Boulevard, Boyz N the Hood, The Player, Collateral, L.A. Confidential.  I could go on.  The varying landscape is easy on the eyes and I dig the culture.  Nightcrawler is also a unique take on the effect a struggling economy has on Joe Blow, or in this case Lou Bloom.  Lou is an intelligent, if socially awkward, young man who is in desperate need of a job.  He’s very driven in his search for a consistent and worthwhile paycheck, tenacious to the point of being pushy or rude at times, unintended as it may be.  Lou quickly learns that there’s money to be made as an amateur crime journalist, filming newsworthy stories happening around the city then attempting to sell them to the local TV news stations.  If he’s willing to put in the work, this could be a very lucrative venture for our hero.  But it’s not dedication that Lou lacks, but maybe the means to recognize the moment when dedication becomes obsession.  Jake Gyllenhaal plays Bloom and it is the best performance I saw all year.  I’ll take it a step further.  I think we’re seeing a transcendent performance, one that will eventually parallel De Niro’s Travis Bickle in style as well as reverence.  Gyllenhaal is a tour de force and maybe the perfect agitator for this Network/Taxi Driver hybrid instant classic.

#3 Whiplash

It's important to keep in mind that this is a list of my favorite movies of 2014. It's reflective of my personal taste, and therefore, I would not necessarily recommend every film on the list to everybody. Take The Rover for example. I really liked it but it ain't for everyone. It probably ain't even for most. I have no such concern with Whiplash. Please, by all means, go see it. I'd feel comfortable recommending it to anyone. In fact I'd be surprised if anyone didn’t like it. Dubbed the "Full Metal Jacket of jazz," Whiplash is about young aspiring drummer Andrew Neyman and his desire to be remembered as one of the best to ever do it. During his time at a prestigious musical conservatory he encounters Terence Fletcher, the most renowned instructor at the school. Fletcher is played by J.K. Simmons and undoubtedly the reason for the comparisons to Stanley Kubrick's legendary war flick.  He’s ruthless and fantastic, one of cinema’s great jackasses.  It’s the kind of role by which we’ll all remember him, no matter what impressive work he’ll continue to do in the future.  I don’t actually care for the likening to Full Metal Jacket since it basically marginalizes Whiplash’s greatness to Simmons’s performance, and it’s much more than that.  The movie illustrates the cost of greatness better than any I’ve seen in recent memory.  I listen to a lot of sports talk radio, and it’s a topic discussed often in that forum.  Yet it’s still difficult for most to grasp the concept that many greats, in order to be the subject of dinner table conversations years after they’ve gone, probably sacrificed a lot of things we would never dream of doing without.  You know, little things like…..relationships.  Whiplash uses jazz as the backdrop to make the concept as engaging as ever.  And please don’t let the jazz element deter you from catching this little indie gem.  The last twenty minutes had me wringing my hands like I’d just played the drum solo of my life. 

#2 Life Itself

This film’s spot may be the result of my sentimental side at work, or it may be because the movie is just great.  The documentary about the late Roger Ebert evokes many emotional responses while showing that Ebert’s life was a full one and about much more than movies.  Like so many other film enthusiasts Ebert was one of the very first, if not the first, movie critic I remember reading consistently.  So many times today a new film will come out, and I still want to head over to his site to digest his thoughts.  Luckily his archive is available so I can always read him when I’m catching up on an oldie but goodie.  As one would expect the documentary does give significant attention to Ebert’s relationship with longtime friend and “At the Movies” co-host Gene Siskel.  The footage of them together, especially when off the air, is comic gold.  But Life Itself focuses even more heavily on Ebert as a family man, and what a beautiful and unique family it is.  Most film fans will assuredly find happiness in this manifesto for great movies, but everyone will appreciate that the true heart of the film lies with “the only thing Roger loved more than movies.”  And that is life itself.

                                            

#1 Chef

This movie takes a run-of-the-mill redemption story and flat out NAILS it! Too many times feel-good movies seem contrived and cheesy. Director/star Jon Favreau navigates the cliché’ script beautifully. It’s a heartwarming, funny, entertaining film anchored by pitch-perfect performances from an all-star cast. An absolute must for anyone with an appreciation for the culinary arts, the succulent Chef is not to be seen on an empty stomach.  My love for Chef is well-documented. I’ve seen it three times, and it’s lost none of its original charm and likeability. I’ll add that John Leguizamo is just fantastic here, literally as good as he’s ever been. Bobby Cannavale is hilarious as well and one of the movie’s many perfect complements. It’s predictable and the script is about as formulaic as it gets. But it just works, a credit to the talented actors and Favreau’s direction. From Robert Downey, Jr. and Dustin Hoffman to Scarlett Johansson and the young revelation that is Emjay Anthony, these people are doing what they love and it shows. That passion is absolutely infectious to its viewers as it’s one of the most enjoyable films in the past five years.

Whitey: United States of America vs. James J. Bulger

This is the third movie I've seen from the CNN Films family and they're batting a thousand.  Blackfish earned an honorable mention on my personal list two years ago, and Life Itself was my second favorite movie of 2014.  All three have been technically sound, well done films.  Whitey may be the least of the trio, though it may haveprobably has the most fascinating subject. 

James "Whitey" Bulger ran the city of Boston for decades as the head of a local organized crime syndicate known as the Winter Hill Gang.  At one point Bulger was #2 on the FBI's most wanted list behind only Osama Bin Laden.  After over fifteen years on the lam, Bulger was finally apprehended.  The documentary focuses on his trial that took place in 2013.  Whitey does well to present varying testimonies in a story so complicated and full of deceit that it seems custom made for the big screen.

If all of this sounds familiar then you may have seen Martin Scorsese's The Departed, the 2006 thrill ride that was based loosely on Bulger's reign.  Jack Nicholson played Frank Costello, a character undoubtedly created in the mold of Whitey himself.  It's worth mentioning here that Scorsese's incredibly entertaining take is a must-see if you haven't done so and an ideal companion to the more serious documentary.  

It's a little disquieting, to say the least, to think that a character as vicious as Costello could actually exist.  And while there are some chilling accounts of Bulger's many deeds of extortion, violence and murder, the film's most disturbing aspect is its implications that the FBI may have enabled those heinous acts, an idea only flirted with in the aforementioned Departed.  There are accusations of Bulger being an FBI informant and rebutted by Bulger's claim that he had FBI officials on his payroll, not the other way around.  Eventually the trial sees constituents, associates and friends all rolling over on one another, creating "a nation of rats" as Ray Winstone's Mr French so eloquently put it in Scorsese's film.  Conversely the "rat" theme is one explored in depth by The Departed, so it's intriguing to see how intricate the web of lies is in reality. 

The extent of the corruption seems immense but can only be  speculated, which the film does often and masterfully.  There's a clever observation by the brother of one of Bulger's victims who comments that an entrance to the courthouse resembled a "mouse hole," suitable for all the rats.  There's even a key witness that ends up being murdered during the trial.  An investigation finds that the incident is unrelated to the case, but the coincidental nature of it coupled with the betrayal-laden testimonies lead to a justifiable skepticism. 

By the end of the movie, like the loved ones left behind by the victims, we're left wanting answers to many of the questions we started with along with some new ones.  And as much as we may wish it was a another fictional, sensationalized telling of organized crime, those family members remind us that it's an all too real tragedy in Boston's history, and one that may never be fully resolved.  

Thoughts on Sniper

American Sniper’s biggest critics would have you to believe that it’s nothing more than propaganda, that it glorifies war and makes no real effort to show the ill-effects of taking hundreds of other human lives.  It’s not.  Its biggest supporters say that it’s a great movie, wonderfully made and among the best military movies of all time.  It’s not. 

Sniper is a good, maybe even very good, war biopic.  Unfortunately it follows much of the same formulaic mishaps that make so many biopics bland, unoriginal and repetitive.  For example, too many films of this genre can’t seem to narrow their focus, wanting to cover too much material instead of concentrating on a specific moment or time in their subject’s life. And though Eastwood does well in keeping the spotlight mostly on Chris Kyle’s military tours, he can’t help himself from flashing back to Kyle’s past.  Mercifully, the director hurries through Chris’s earlier life, from a young boy to his eventual wedding.  Yes SOME of that material is essential to the film’s story.  And while I thank Clint for being so expeditious with the narrative, it still feels rushed and forced and at times unnecessary.  Not to mention, some of the underlying messages in those scenes are about as subtle as a sledgehammer (another biopic blunder). Cue the dinner table scene. 

However, unlike others of its kind, the subject matter and content here are interesting enough to take the film beyond where lesser biopics would fall short. Kyle’s story is an incredible and compelling one, at times causing even the harshest biopic antagonists to inch ever so close to the edge of their seats.  Some great moments come to mind: Kyle’s “first kill” and his subdued yet emotional reaction.   His restrained horror and internal quandry when a young boy tries to pick up and handle a rocket launcher.  Nothing new here, but this is probably Bradley Cooper’s best work.  He’s really good.  The more I think about it, the more I appreciate his work here.  He carries the movie, a lot.  He has to.  

Unfortunately the other characters lack any real substance and depth (biopic botch).  Kyle’s wife is about as one-dimensional as it gets, and we know little of his fellow soldiers so the impact lessens when they’re gone.  Recently while accepting the SAG award for Best Supporting Actor, J. K. Simmons spoke about how vital peripheral characters are to the success of a film.  Just before he thanked all 49 other actors that appear onscreen in “Whiplash,” he said, “Each of us is essential, completely crucial to the story. Because if there’s one false moment the train comes off the rails and our willing suspension of disbelief is gone, and we have to earn it back.”  In his attempt to legitimize the role of secondary characters, Simmons also illustrates where Sniper falls a little short for me.  

Contrary to the naysayers, the movie does attempt to show the psychological repercussions of war.  Cooper does his best with what he’s given, but there’s just not enough material there. Or what is there is only scratching the surface of someone like Chris Kyle, whose internal struggle with demons surely lies far beyond the reach of any words I can come up with to describe it.  I just don’t think the PTSD stuff is very effective, especially when compared to the effectiveness of most of the sniper and battle scenes. The film lacks balance in that aspect.  But there’s enough in the movie to argue against any accusations of pro-war propaganda.  Chris’s brother, for instance. The movie tries to be sympathetic towards his disdain for war, as opposed to mocking him for it. And it’s obvious that Cooper isn’t “enjoying” himself when in battle.

I understand why so many people love this movie, and of course no one is wrong for doing so. In addition to possibly some of the best trailers and TV spots I’ve ever seen, Sniper may fuel the patriotic flames of the masses better than any other.  

Having said all that, sometimes any reservations one may have with a particular film can be summed up with a statement as simple as “It just didn’t click for me.”  That may be my biggest qualm, to a certain degree.  I liked it.  Just probably not as much as you.