The Best Films I Saw in 2013

The cast of You Ain't Seen Nothing Yet
Updated 2013-12-30

 

Here they are, the best films I saw in 2013. It’s a Top Ten job with the best in no particular order, followed by a list of films that made the top ten at some point in the year, then got bounced. This is not a Best of 2013, let me quickly point out, just the best films I’ve seen this year. So a film everyone else has seen but I haven’t won’t be here (I’ve not seen American Hustle yet, f’rinstance). And there might be stragglers from 2012 in here which caught up with late. It really is “the best films I have seen this year”. If you’re wondering what to do with that Amazon voucher and your tastes generally aren’t multiplex, this might be a useful place to start.

 

1. You Ain’t Seen Nothing Yet (2012, dir: Alain Resnais)

Alain Resnais, now in his nineties, proves there’s life in the new wave dog yet with an amazingly convoluted meta-drama based on two Anouilh plays, thick with formal experiment and managing to weld classical theatre to 21st century techniques. Amazing, and you can bet it made both Lars Von Trier and Todd Solondz chuckle too.

 

2. Aurora (2010, dir: Cristi Puiu)

The Romanian Cristi Puiu made The Death of Mr Lazarescu and also stars in what might be considered a follow-up, a film that tells a story while also running an audit on the current state of the homeland. The story: a very odd one, following what must the dourest hitman (Puiu) through concrete-coloured Bucharest as he goes about his often incredibly mundane business. Shot in long takes, in blue light, in the most unprepossessing of locations, with many shots half through doorways and focusing on the main character and him alone, it’s unique, remarkable and often quite baffling.

 

3. The Heat (2013, dir: Paul Feig)

Because no one is funnier than Melissa McCarthy right now, a buddy-cop comedy in which Sandra Bullock plays the uptight FBI agent reluctantly partnering a wildcat local cop (McCarthy). The plot is slender, but is just enough for Bridesmaids director Paul Feig to hang a few funny set pieces off. Better than that it gives a chance for the two actors to riff rude, with McCarthy inevitably getting the better of Bullock when it comes to being the swearier and more prepared to make herself look a fool. Fancy Bullock being in the best comedy of the year and its most popular sci-fi (which is not on my list because I haven’t seen it yet, for shame).

 

4. Angel & Tony (2010, dir: Alix Delaporte)

Big aah, a simple, short love story about a troubled beautiful young woman and the shy, fat middle-aged fisherman she rather unexpectedly hooks up with. Rather simply, this one’s all about the transformative power of love and is about as bloody lovely as films get.

 

5. I Wish  (2011, dir: Hirokazu Koreeda)

Hirokazu Koreeda’s drama is ostensibly about a kid who wants to make a wish, and believes that by making it at the exact point where two bullet trains’ paths cross, it is sure to come true. In fact he’s just the starting point for a whole series of lightly interconnected transgenerational stories, which the writer/director joins and rejoins. Everything about this film shouts genius – the placing of the camera, the casting, the acting, the editing. It’s also one of the sweetest films, so full of hope and life, I’ve ever seen.

 

6. The Kings of Summer (2013, Jordan Vogt-Roberts)

A coming-of-ager that has the raucous “fuck you” comic edge of Superbad and the elemental undertow of Stand By Me, The Kings of Summer is about a group of boys who head off to the woods one summer, mostly to escape their obnoxious, bullying, clever-clever parents, but partly just to do a bit of growing up. There they trap animals (or make out that they do), grow facial hair, invite girls over and get their hearts broken. It’s strange to find a film that intercuts comedy and heartache so well, that catches that great feeling of freedom that total irresponsibility allows, and which punctuates these switches between the two ends of the dramatic spectrum with contemplative “Ozu shots” of prairies and water and flowers, set to a soundtrack that manages to be both familiar and leftfield.

 

 7. She Monkeys (2011, dir: Lisa Aschan)

A Swedish drama that’s all about girls, power, sex and equestrian vaulting. Expect no fluffy bunnies in this one – in one of its twin-track stories we have a five-year-old girl sexually grooming her older babysitting cousin; in the other a butter-wouldn’t-melt blonde making a sumo-style All About Eve assault on a rival. Cool, unusual, brilliant.

 

8. Sightseers (2012, dir: Ben Wheatley)

A pair of incredibly dim British caravan enthusiasts set off on a tour of esoteric sites of special interest – museums dedicated to pencils or trams etc – and indulge in increasingly psychotic episodes of murder for light relief. A deadpan Natural Born Killers that will have you snorting liquid down your nose.

 

9. The Gatekeepers (2012, dir: Dror Moreh)

The best documentary I saw this year comes from director Dror Moreh, who somehow managed to get all the surviving former heads of the Israeli security agency Shin Bet to talk to him. What he have is little more than a series of talking heads explaining to Moreh how Shin Bet operates. But it is the way that Moreh structures the entirely stereotype-busting revelations dropping from these guys’ mouths – and they each look like a Bond villain of one sort or another – that makes this “jaw to the floor” viewing.

 

10. Silver Linings Playbook (2012, dir: David O Russell)

David O Russell’s sweet but never cute drama about a guy fresh from the funny farm (Bradley Cooper) and his burgeoning relationship with brassy fellow medicatee (Jennifer Lawrence). Underneath the warty carapace this is perfect Hollywood – everyone gets what they deserve, big lessons are learned, there’s silver linings all round, in fact. Or you could just watch it for the performances – Lawrence so good that she forces Robert De Niro to act. Even Chris Tucker puts in a great performance.

 

 

The “Nearly” List

The Sapphires (2012, dir: Wayne Blair)

We keep being told about the revival of the musical (clinkers like Chicago usually), so how come this one about a girl group of aborigine soul singers on a tour of 1960s Vietnam isn’t better known? It’s got songs, jokes, a bit of love and a standout Chris O’Dowd in the lead role. And it’s a true story.

 

Thale (2012, dir: Aleksander Nordaas)

Made for nothing yet looking like it cost millions, this Norwegian horror fantasy about a couple of police clean-up guys who find a mythical creature out in the cellar of a shack in the woods has plot, characters, looks, tension and, a few seconds of ropey CGI apart, is almost perfect.

 

Elena (2011, dir: Andrey Svyagintsev)

Andrey Svyagintsev’s throttled-back thriller about a woman in Russia, her boorish rich husband to whom she’s little more than a nurse, and her Soviet-throwback son and his family, a bunch of layabouts living out in the tower blocks.

 

Mama (2013, dir: Andrés Muschietti)

One of the seven thousand films Jessica Chastain made in the last year or so, Mama is a superior horror film that welds together the haunted house and malevolent-child genres and then throws a lot of switched sympathies into the mix. Watchable as an exercise in genre manipulation alone, or as an out-and-out horror movie, or as a bravura exercise in visual effects, this is one of the best mainstream horror films in years.

 

Mea Maxima Culpa: Silence in the House of God (2012, dir: Alex Gibney)

Close to The Gatekeepers for “well stap my vitals” revelations is Alex Gibney’s remarkable documentary about paedophilia in the Roman Catholic church, how the organisation has been aware for at least 1,700 years that the vows of celibacy and chastity tend either to attract weirdos or make people weird. And that the Church has, by virtue of its institutional power, been able to subvert secular legal systems. This is a gobsmacking documentary of the old-fashioned pavement-pounding sort whose conclusions are that, lovely Pope Francis or no, in terms of moral authority the Catholic church is a busted flush.

 

Shell (2012, dir: Scott Graham)

A star is born, in the shape (the face, mostly) of Chloe Pirrie, the focus of this lugubrious drama about a girl who works in an out-of-the-way petrol station owned by her father. Shell is the girl’s name, it’s the name of a petrol company too, a passing customer jokily quips to the girl, who responds with a deep lack of engagement. Which is what the film is about  – is she going to engage? With Adam, a guy in a hot hatch? With a passing travelling salesman? Possibly with her own father? God forbid. But on this slender “who?” and “when?” director Scott Graham hangs a powerful film as austere and dour as a low church chapel.

 

In the House (2012, dir: François Ozon)

François Ozon doesn’t make dumb films, and in In the House he’s made a film that on one level is about a superbright, sexually precocious, unsettlingly androgynous schoolboy (Ernst Umhauer) who starts writing increasingly personal stories for his teacher (the brilliantly disconcerted Fabrice Luchini). Before long the teacher is hooked, the boy has become a cuckoo in the nest, the wife (Kristin Scott Thomas) is discombobulated, and Ozon has crafted a drama of the sort you can imagine Jacques Derrida and fellow post-structuralists enjoying with beer and a pizza.

 

Byzantium (2012, dir: Neil Jordan)

Neil Jordan does something excellent with the vampire movie in Byzantium. He manages to weld the lush overheated velvet of the Hammer horror, all heaving bosoms and the male gaze, to the austere IKEA ambience of Let the Right One In. As two (possible) sisters of competing vampiric sensibilities we have Gemma Arterton (the busty, Hammer lust-bucket) and Saoirse Ronan (self-assembly vampiric waiflet). Add an abandoned seaside hotel in off season, a few luckless male victims, a couple of bounders and rotters who arrive from the girls’ past to help deliver a rousing Hollywood ending, and you’ve got a film that grips by the throat, teases, entertains and beguiles.

 

8 ½ (1963, dir: Federico Fellini)

This restoration of one of Fellini’s most famous films reminds us what a clever man he was, as well as a consummate film-maker. Taking as its starting point the non-starting Fellini after he had finished La Dolce Vita, it tells the story of a blocked director who hasn’t got the faintest idea what to do next. Which all sounds very indulgent and unnecessarily arthouse, until you actually watch as Fellini slowly starts to spin his on-screen phalanx of actors, make-up people, producers, the director’s diversions, dreams and fantasies into something elaborate, fantastical and even at times funny. Marcello Mastroianni is the Fellini stand-in, and the film is really helped by the presence of Claudia Cardinale and Anouk Aimée, about the hottest women on the planet back in 1963.

 

The Wall (2012, dir: Julian Pölsler)

A weird and wonderful re-imagining of Robinson Crusoe. But instead of a man, it’s a woman (Martina Gedeck). Instead of an island it’s the landlocked country of Austria, inside which a woman on a bit of a weekend break, or something, suddenly discovers that she’s locked inside her rural idyll by an invisible wall. And there she stays for years, making friends with various stray animals, writing her diaries, musing on what it is to be human, alone. A deceptively simple but wonderfully told story, which raises the question of how any of us might cope if suddenly cut off completely from civilisation. And Austria looks pretty fantastic too.

 

Broken Circle Breakdown (2012, dir: Felix Van Groeningen)

Bluegrass music in Belgium provides the sweetener for what looks for one awful moment like it’s going to be a film about a child getting a terminal disease and dying. A child does actually get a terminal disease but that isn’t really what this artfully shot, pungently written drama – about a much-tattooed beauty (Veerle Baetens) striking up a relationship with an ex-punk (Johan Heldenburgh) and becoming a singer in his bluegrass outfit – is about. And god can she sing.

 

Fireworks Wednesday (2006, dir: Asghar Farhadi)

Finally finding its way to some sort of release off the back of the Oscar success of his A Separation, Asghar Farhadi’s 2006 drama patrols a similar border, the one between traditional Islam and the blandishments of the West, and doesn’t so much wag his finger as point out the areas that are going to chafe. A simple story about a naive young girl who finds herself working for a family who seem to have adultery issues – and she’s about to get married herself – it is so well written, well cast and unobtrusively shot that it feels less like watching a movie more like eavesdropping.

 

Child’s Pose (2013, dir: Calin Peter Netzer)

Romania continues to come up with brilliant films, such as this dour drama about a horrible entitled mother trying to get her horrible ungrateful son off the charge of killing a poor child by dangerous driving. As much a portrait of the haves and have-nots of Romania and how justice is entirely in the service of only one of them (guess which), it is also a remarkable drama that withholds its true intentions. Hold on for the extended final sequence, when the mother goes to visit the dead child’s grieving parents, while the son waits out in the car, and remember to keep breathing.

 

The House I Live In (2012, dir: Eugene Jarecki)

Eugene Jarecki’s documentary about the sheer mess of US drugs policy points out the government has spent $1 trillion on the “war against drugs” since President Nixon initiated it, with the result that recreational drug use has changed not a jot. A well researched doc with the right talking heads, attitudinal but never strident.

 

Small Town Murder Songs (2010, dir: Ed Gass-Donnelly)

A drama that asks us to look at the character of an upstanding cop in a Mennonite community and divine the man he used to be – and it isn’t pretty. Peter Stormare’s hangdog features and impassive thousand yard stare make this hellish unusual type of film even more enjoyable.

 

The Queen of Versailles (2012, dir: Lauren Greenfield)

The documentary that asked us to feel billionaire pain, and succeeded. Starting out simply as a film about the building of the biggest private residence in the US, the enterprise somehow became something much more incisive – a story about financial mess we’ve all been going through, seen from the most rarefied of positions. Entirely fascinating.

 

Rust and Bone (2012, dir: Jacques Audiard)

Always making a bad film (Nine, Public Enemies) bearable and a good film (Inception, Contagion) better, Marion Cotillard is on absolute white hot form in this potentially blubbery drama about a woman who loses her legs and the bouncer (equally remarkable Matthias Schoenaearts) who gives her back her taste for life.

 

 

© Steve Morrissey 2013

 

 

11 February 2013-02-11

Out in the UK This Week

 

 

 

 

 

Beasts of the Southern Wild (StudioCanal, cert 12, Blu-ray/DVD)

It’s generated a gazillion column inches, tweets and web-posts, and you are now pretty much obliged to see what is effectively a 21st century Huckleberry Finn story, set in the entirely atmospheric waterworld of the bayou below the levees where hardscrabble folk scratch out an existence, preferring near poverty in the Gulf of Mexico to destitution in the big city. Realism and magic realism aren’t natural stylistic partners – scenes of incoming storms ravaging the bayou sit alongside shots of the mythical beast the aurochs – but director Benh Zeitlin gets them to dance using six-year-old Quvenzhané Wallis as a bridge. Her performance is Oscar-tipped, though at least 50 per cent of it is clever editing – it’s not really acting when she’s not reacting to another person, is it? Old-bugger carping aside, the acting is super-believable in this poignant one-off of a film, so good in fact that it’s fed all that “poverty porn” criticism, little more than trolling by people who can’t spot the difference between reality and stuff that’s been made up.

Beasts of the Southern Wild – at Amazon

 

The House I Live In (Dogwoof, cert E, DVD)

“Kill the poor – that’s what the war on drugs has become.” Former journalist David Simon, creator of The Wire, is one knowledgeable, erudite talking head among many in Eugene Jarecki’s US-focused, sober, well researched, thoughtful and opinionated documentary that should be compulsory viewing for governments the world over. Whether you buy the central thesis – that drug laws have always been about keeping certain racial groups in check – is immaterial. When the film gets down to the human nitty gritty such as the guy who’s doing life without parole for 3oz of meth (“I fucked up. But I don’t think I should die for it.”) it’s hard not to be convinced, if you weren’t already, that something is seriously wrong with US government policy. And that of the rest of the world, incidentally, since nearly everyone toes the same line.

The House I Live In – at Amazon

 

Elena (New Wave, cert 12, Blu-ray/DVD)

The great Russian director Andrey Zvyagintsev specialises in thrillers that look and feel like anything but. Elena, coming after 2003’s The Return and 2007’s The Banishment, is the latest, a completely gripping story of a former nurse, now the patronised wife of a rich older guy, and her entirely feckless son and grandson back in the Stalin-era tower blocks. If this sounds like the set-up to an allegory about the Soviet and post-Soviet state, you’re not wrong. But there’s absolutely no need to engage at that level at all if you don’t want to. Instead sit back and be entertained by Zvyagintsev’s expressive long shots and frugal, crystalline story-telling.

Elena – at Amazon

 

Stitches (Kaleidoscope, cert 18, Blu-ray/DVD)

Here’s a low-budget teen slasher movie full of Irish irreverence, played for laughs, and really benefiting from the presence of Ross Noble – a comedian whose surreal, stream-of-consciousness shtick can wear thin after a while. But not here, in fact Noble’s energy is vital in the role of the extremely unpleasant clown back from the dead and out for payback from the kids (now lairy teenagers) who accidentally caused his death some years before. Lots of yuks, most of them very funny, with the slo-mo inevitability and ingenuity of the Final Destination franchise at its best – though I don’t remember anyone in those films having his intestines unravelled like strings of pink sausages. As I say, very funny.

Stitches – at Amazon

 

 

Ginger & Rosa (Artificial Eye, cert 12, Blu-ray/DVD)

Such is the prestige of director Sally Potter that she can haul in Annette Bening and Christina Hendricks, Oliver Platt and Timothy Spall to fill in tiny supporting roles in a small quiet film that really doesn’t need them. And very off-putting they are too. But once you’ve adjusted the polarising filter on your star goggles, this drama set in the bohemian 1960s London of duffel coats, Dave Brubeck and “Ban the Bomb” marches really takes hold. Elle Fanning and Alice Englert are the titular Ginger and Rosa, a pair of teenagers who have been friends since birth, each now being tugged a different way by politics and hormones. But Alessandro Nivola is the pivot of the drama, playing a 1960s chancer working the zeitgeist entirely for his own shifty ends. It’s a truly excellent performance. But then so are those by Fanning and Englert (and, alright, Bening, Hendricks, Platt and Spall).

Ginger & Rosa – at Amazon

 

The Perks of Being a Wallflower (Entertainment One, cert 12, Blu-ray/DVD)

Like a throwback to those John Hughes teenage comedies full of smart dialogue and with a soundtrack to match, The Breakfast Club, say, this charming coming-of-age-in-the-80s drama is about clever teenagers learning about, you know, stuff. Pretty in Pink isn’t on the soundtrack but all the rest (Smiths, Bowie, Cocteaus, Dexys doing “Come on Eileen”) are present and correct. Logan Lerman stars as the geeky guy in the yadda yadda plot but the cultural antenna will be twitching as Emma Watson steps out in her first post-Potter role, playing someone on the cute side of out-and-out bitch. Which she does tentatively, ably, perhaps afraid to let rip in case people confuse actor and role. Am I being kind?

The Perks of Being a Wallflower – at Amazon

 

 

Sinister (Momentum, cert 15, Blu-ray/DVD/Download)

Ethan Hawke lends some glitter to this very familiar though undeniably upscale horror – haunted house meets Spanish gothic – about a true-crime writer swallowed by the story he’s working on, in the house where the brutal murder of an entire family took place. There’s a nice shot of the family, sacks over their heads, their legs flailing like beetles’, dying as the opening credits roll. Shot on what’s meant to be Super 8 (which features heavily) it’s a tasty opener for a film that isn’t that frightening (OK, a couple of jumps) but does know all about atmosphere.

Sinister – at Amazon

 

© Steve Morrissey 2013