Like an Australian End of Watch, a detective drama that shows cops as “just guys”, guys who get themselves into trouble by over-relying on the privileges of the job. In this case a brave and decent cop with a few drinks inside him, who knocks a kid off his bike on the way home and believes he can cover it up. But the kid ends up in a coma in hospital, and the cop is eaten up with remorse, guilt and indecision as to whether to fess up. Joel Edgerton plays the cop as a flawed tragic hero, and also wrote this flavoursome and complex script. He’s backed up by another blinding performance by Tom Wilkinson, complete with wandering Aussie accent, as the senior cop being encouraged to take down the errant knight by his chippy, ambitious subordinate (Jai Courtney). Edgerton hasn’t quite worked out if the film is about his character or Courtney’s and gives Wilkinson more screen time than the drama requires (though it’s always a pleasure) but it’s refreshing to see morality portrayed as a murky business, and Edgerton also remembers that this is a story, not a lecture on ethics, and throws in a few neat twists just when they’re needed.
The follow up to Monsters – which was more an indie remake of the 1934 rom-com It Happened One Night than a real monster movie. And writer/director Gareth Edwards at first tries to pull off the same trick – a monster movie masquerading as a romance, between Juliette Binoche and Bryan Cranston, then between their son (Aaron Taylor-Johnson) and Elizabeth Olsen. However, Godzilla, massive, impressive and with an awesome bellow, will keep getting in the way. In this film the humans – often in fetching old-school rubbery, rivetty nuclear-radiation suits that are a nod to the Toho Studios original – are there to look vulnerable, not heroic. Which gives Taylor-Johnson very little to do, Olsen even less, while Binoche and Cranston… I hope they were well paid. Godzilla is a triumph of really good special effects used intensely well; but even more so of intelligent sound design that knows how to impress. Watch it with the sound turned right up and blow out the speakers.
A documentary about two skateboarding brothers from Australia, Tas and Ben Pappas, who came from a fractured family background, but whose innate ability bussed them to the top of international skateboarding stardom. Or would have done, if their lack of preparedness for the big time hadn’t undone them. This is classic rags-and-back stuff, set against a backdrop of the 1990s, when Tony Hawk was king of the half-pipe and cocaine was the drug of choice. Or acid. Or booze. Tas Pappas, wild-eyed with natural gnarliness – “He was just a natural asshole” says one of his peers – is the talking head linking a lot of footage from back in the day. The Pappas story is well told, no excuses are made for their appalling, and eventually criminal conduct, though under it all is the tacit explanation as to why Hawk is still a name but the clearly more naturally talented Pappas boys barely register – they might have known kickflips backwards but they didn’t know how to play the game. Gripping.
Le Jour Se Lève (StudioCanal, cert PG, Blu-ray/DVD)
For its 75th anniversary, a restoration of Marcel Carné’s drama which was nominated at the 1939 Venice Film Festival for the Mussolini Cup – wonder what happened to that? Telling in flashbacks the story of a murderer (Jean Gabin) at bay, the two women in his life, and the efforts of cops to take the man dead or alive, it’s an astonishingly modern looking film, full of the sort of bravura camera shots which Orson Welles would make his own two years later in Citizen Kane. Gabin’s highly naturalistic performance as François, a sandblaster blown off course by the swish of a skirt, is brilliantly offset by Jules Berry’s exquisite confection of old world manners and stagecraft, as Monsieur Valentin, the ageing vaudeville dog trainer who becomes his nemesis. Any plot involving a sandblaster and a dog act has got to be worth a look, but you could happily also watch this film just for the clothes – Berry’s fabulous dogtooth overcoat, Gabin’s fashion-forward leather jacket, Jacqueline Laurent’s beautifully tailored white dress (she’s the good girl) as well as bad-girl Arietty’s “come up and see me” outfits. As for the restoration, it’s obvious when we move from first to second generation material, which happens not too often, because the image blurs away from total gorgeousness, with all the tones distinct and discrete, though I could do without what looks like faux grain, which seems to be a fashion. This film was in the top ten of Sight and Sound’s Best Films list when it was first compiled in 1952. Now it’s not even in the top 250. That can’t be right.
Soul Boys of the Western World (Metrodome, cert E, Blu-ray/DVD)
In the 1980s, if you were British and interested in pop music, you were either a Spandau Ballet or a Duran Duran fan. That’s the idea behind this revisionist history of the Spands that makes great claims for their legacy. We follow the band on the time-honoured path – the East End boys who made it big on about their third go, having embraced the pantaloons and jackboots of the New Romantic movement, then went on to ride the 1980s with a succession of hits, before drugs and disagreement over royalties sealed their doom. This, and their subsequent regrouping in 2009, is all told with miles of archive footage. And it’s this that is the great strength of George Hencken’s clear-headed, plainly structured movie – the guys’ often wooden voiceover hardly helping dispel the suspicion that the movie and the reunion are more about pension planning than a renewed passion for singing Gold, Through the Barricades and True.
Hide Your Smiling Faces (Matchbox, cert 15, Blu-ray/DVD)
Three lads deal with the fallout from a friend’s fatal run-in with a firearm in this River’s Edge-ish drama suffused with death imagery and set in the American backwoods. It’s had very good reviews, though to be honest I didn’t feel it. Maybe my sense of poetry is dead, because it is an intensely meditative film, all wind and rain and dogs barking in the distance, with a properly gloomy soundtrack to match. Ryan Jones is effective as the audience avatar, while Nathan Varnson and Thomas Cruz’s performances are slightly overshadowed by the fact that they look like loans from an Abercrombie and Fitch calendar – stars of the future, no doubt.
The 100-Year-Old Man Who Climbed Out the Window and Disappeared (StudioCanal, cert 15, Blu-ray/DVD/digital)
That’s the plot – a Swedish centenarian escapes from the old-folks home he has only recently been incarcerated in, and heads off on a semi-bewildered road-trip adventure, while the interwoven second strand of the film fills in his vital role in 20th century world history – meeting General Franco, President Truman, Stalin and Einstein, eventually becoming a double agent instrumental in ending the Cold War. The oldster looks like Benjamin Button when he was still a scrotal wrinkle, though the film is closer in tone to the idiot-abroad antics of Forrest Gump, though with an admixture of Amélie’s wilful kookiness. Robert Gustafsson, not quite 50 when this was made, is never a really convincing old guy, though he is a good deadpan, and without him I doubt I would have made it to the end. Whimsy makes me want to spit.
Of the 350+ films I saw this year, these are the best ones. Some of them were released last year and I’ve been a bit slow getting round to them. Some of them were released even longer ago. The criteria are – I watched them in 2014 and I liked them. That’s it.
Computer Chess (2013, dir: Andrew Bujalski)
Andrew Bujalski, inventor of mumblecore, proved there’s life in the old beast yet with this retro-verité drama about geeks meeting in the 1980s to pit their programs against a chess-playing computer. Shooting on original video cameras in fuzzy-edged boxellated black and white, Bujalski catches the moment when the let-it-all-hang-out era died and our brighter, geekier world was born.
In a World… (2013, dir: Lake Bell)
A comedy of modern manners strung onto a plot about voice artists vying for the throne of the newly dead king of the hill. The savviest, screwballiest Hollywood comedy in years came from left-field, from writer/director/star Lake Bell, playing the daughter of a famous voiceover artist trying to get out from under dad’s reputation. It’s sentimental in all the right ways too.
The Canyons (2013, dir: Paul Schrader)
The sensational Lindsay Lohan’s “right, I’m back” movie is also Paul Schrader’s best for decades, a turning over of the paving slab to see what low-lifes slither about beneath. It’s The Canyons, not The Hills, so don’t expect Hollywood to come out smelling of anything but bad drugs, mercenary sex and broken dreams.
Stranger by the Lake (2013, Alain Guiraudie)
Don’t watch if you can’t take the sight of gay male sex. If you can you get a remarkable French drama about a killer at large on a nudist beach where homosexual omerta guarantees him a free ride, in any way he fancies. It’s beautifully composed, dramatically as taut as you like and even the soundscape is a thing of wonder.
Under the Skin (2013, dir: Jonathan Glazer)
How odd that Scarlett Johansson suddenly cornered the female sci-fi market (with this, the Avengers movies, Her and Lucy). This is the best of the bunch, with ScarJo playing a killer (in every sense) alien who cruises round Glasgow, Scotland, enticing men into her white van and then taking them back to her lair. Shot painstakingly with real, unsuspecting Glaswegians picked up off the street playing the dupes, it’s a triumphant return to movies for writer/director Jonathan (Sexy Beast) Glazer.
Of Horses and Men (2013, dir: Benedikt Erlingsson)
There are scenes in this elemental Icelandic movie that you will never have seen before, some hilarious, others just jaw-droppingly wha? It’s a unique rural drama that seems to suggest that people are at their happiest and least stressed when they behave most like animals. Watch that young woman swish her tail when the visiting Spaniard shakes his mane. Brilliant.
Norte, The End of History (2013, dir: Lav Diaz)
A four hour epic shot in long continuous beautifully framed takes, about a rich young law student and the poor street-pedlar woman whose life he affects maximally without even realising what he’s done. Wait two hours for the first “what the hell just happened” moment, and then another 90 minutes for the second, while a new (to me) master Lav Diaz casts his spell.
Only Lovers Left Alive (2013, dir: Jim Jarmusch)
If you were going to cast the supercoolest vampire film ever, you’d want Tilda Swinton and Tom Hiddleston in it. And you’d want Jim Jarmusch to direct it, wouldn’t you? That’s exactly what you get with this aching paean to immortal hipsterism shot in crumbling Detroit and labyrinthine old Tangier. No one ever says “I feel so very very tired,” as they do in cornier movies, but that’s the spirit. Plus jokes, hipster jokes.
Goodbye to Language (2014, dir: Jean-Luc Godard)
At one level Jean-Luc Godard’s boy-meets-girl drama of collaged visual styles and overlapping dialogue looks like the result of using every preset on Final Cut Pro software; at another it’s a brilliant exercise in trying to reformulate film syntax. Genius.
Edge of Tomorrow (2014, dir: Doug Liman)
Tom Cruise as a soldier repeatedly being killed, each time back to life a little bit tougher, sharper, wiser in Doug Liman’s sci-fi extravaganza that looks, feels, smells like something Arnold Schwarzenegger would have graced in the 1980s.
Welcome to New York (2014, dir: Abel Ferrara)
Abel Ferrara’s drama about/not about Dominic Strauss Khan and his sexual escapades in New York looks like it was shot entirely on one camera, stars Gérard Depardieu and Jacqueline Bisset and suggests obliquely that the people who run the planet are sociopaths.
Wake in Fright (1971, dir: Ted Kotcheff)
A restored 1971 Australian classic about a nice schoolteacher having a wild weekend of up-close Ocker masculinity out in the Outback of the Outback.
Blue Is the Warmest Colour (2013, dir: Abdellatif Kechiche)
Lesbian sex was its big sell but it’s the acting that’s the thing in this slow (as in Slow Food slow) French drama about a young girl’s sentimental education.
Klown (2010, dir: Mikkel Nørgaard)
The Danes do comedy in this road movie about two inadequate blokes and a ten-year-old boy on a “tour de pussy”. Inappropriate comedy fans, this is for you.
All Is Lost (2013, dir: JC Chandor)
Robert Redford is all at sea on a sinking yacht in the virtually wordless thriller from JC Chandor, who made the banking business sexy with Margin Call and proves lightning does strike twice here.
Fossil (2014, dir: Alex Walker)
A British couple in trouble are befriended by a lovey-dovey twosome in this four-hander that looks good, hits a few deep notes and goes as badly whacked-out as outsider-couple dramas generally do.
Back to the Garden (2013, dir: Jon Sanders)
Really? A film set in Kent (the “Garden of England”) and made for nothing? Yes, and you won’t find a better recent film about confronting that moment when you realise your parents’ generation are dead and your lot are next.
Dallas Buyers Club (2013, Jean-Marc Vallée)
Part of the McConaissance, with Matthew McC as the homo-hating cowpuncher who discovers he’s HIV+ and breaks the law to fix himself. A brilliant exercise in Hollywood storytelling economy.
The Past (2013, dir: Asghar Farhadi)
Asghar Farhadi casts The Artist’s Bérénice Bejo as the woman about to marry for the third time, to a man with a wife in coma. How the wife ended up in the coma is what this subversive, complexly plotted drama is all about.
The Lunchbox (2013, dir: Ritesh Batra)
A Mumbai desk jockey gets the wrong lunchbox at work and starts up a relationship with the neglected wife who prepared it. Life-changes all round in this lovely romance made with a very light touch.
An Episode in the Life of an Iron Picker (2013, dir: Danis Tanovic)
A dirt-poor Roma man tries to get medical help for his pregnant wife in this immensely sweet drama that comes with this seal of authenticity – it really happened, and to this lovely couple.
The Lego Movie (2014, dir: Phil Lord, Christopher Miller)
The incredibly smart Lego people got Phil Lord and Christopher Miller of 21 Jump Street to script/direct their movie, a fast-moving Star Wars-y affair with Liam Neeson and Will Ferrell its standout voices. Four viewings necessary.
Starred Up (2013, dir: David Mackenzie)
The best British jail drama since Scum, all those years ago, with a starry turn by Jack O’Connell as the new lag running into all the usual bad stuff inside. Spectacular.
Locke (2013, dir: Steven Knight)
Tom Hardy sitting inside a car for 90 minutes and making phone calls. That’s all there is to this super-high-concept drama that screws more tension out of the situation than you could imagine possible.
Blue Ruin (2013, dir: Jeremy Saulnier)
A hillbilly milquetoast is forced into an unlikely revenge-driven killing spree in a drama that grips from the first second and holds you there till the grisly end.
The Counselor (2013, dir: Ridley Scott)
Ridley Scott and Cormac McCarthy’s loquacious drama about a high-flying lawyer who hasn’t realised he’s swimming with the sharks (Javier Bardem, Brad Pitt). A sleek, ratchet-like thriller of pitiless inevitability.
Sofia’s Last Ambulance (2012, dir: Ilian Metev)
So simple, so effective, a documentary that follows a Bulgarian ambulance team and focuses entirely on them, never the people they’re treating. Tight, unusual, very humane.
X-Men: Days of Future Past (2014, dir: Bryan Singer)
The best of the X-Men movies gains a position in this list because of director Bryan Singer’s sheer ability to keep so many stories, characters and settings constantly in play. And his observation that the 1970s might as well now be an alien universe is interesting too.
Kelly + Victor (2012, dir: Kieran Evans)
A nice lad falls for a totally fucked up girl in this brilliantly acted, nicely observed Liverpool drama about a boy, a girl and a lot of bondage gear. No “ferry across the fucking Mersey” (the director’s words) visible. Hoo-fucking-ray.
Seduced and Abandoned (2013, dir: James Toback)
An exquisite and slyly clever documentary that’s not really a documentary at all, about old mates Alec Baldwin and James Toback talking to the movie world’s money men at Cannes. Fascinating, proper inside-Hollywood reveals.
Bad Grandpa (2013, dir: Jeff Tremaine)
Johnny Knoxville deserves the Sacha Baron Cohen award for bravery for the audacious stunts he pulls off as the titular grandpa, and Jackson Nicoll – what, 10-years-old maybe? – even more for his turn as the grandson. Yes, it’s a Jackass movie and that ship has sailed, but it’s also a very funny, one-of-a-kind affair.
Metro Manila (2013, dir: Sean Ellis)
A poor Filipino family moves to the big bad city and what looks like a drama about the innocent getting monstered turns into one of the best heist films of the year. Brilliantly made, brilliantly acted.
Safety Not Guaranteed (2012, dir: Colin Trevorrow)
Aubrey Plaza, one of those girls who can go from hot to not in the blink of an acting eye, dominates this no-budget smartly written mumblecore sci-fi about a rookie journalist chasing down a pudgy middle age guy who claims to have built a time machine. Fabulous.
Oldboy (2013, dir: Spike Lee)
Hated because a) it’s not as good as the original and b) people like to kick Spike Lee, who proves here he’s an intelligent, accomplished gun for hire, while Josh Brolin excels as the asshole incarcerated by person(s) unknown for 20 years and now wanting payback.
The Secret Life of Walter Mitty (2013, dir: Ben Stiller)
Ben Stiller’s brilliantly crafted reworking of the story that Danny Kaye made a hit film with in 1947 – about a geek whose rich fantasy life starts to invade his real one – is too unclassifiable to hit the “best of” lists.
8 Minutes Idle (2012, dir: Mark Simon Hewis)
A simple British comedy about a Bristol call centre that’s clearly been written by someone who’s worked in one – the cameraderie of the drones is palpable, their maddened boredom too. And star Tom Hughes is great as a post-Uni slacker working out what to do next.
The Monuments Men (2014, dir: George Clooney)
OK, so it’s not a Tarantino movie. But George Clooney’s amiable comedy about a crack team saving art before the Nazis destroy it isn’t meant to be. It’s meant to be Von Ryan’s Express/Hogan Heroes reimagined. Job very much achieved.
The Invisible Woman (2013, dir: Ralph Fiennes)
Felicity Jones is surely going to get an Oscar one day, but this film actually belongs to Ralph Fiennes (who also directs) playing her lover, Charles Dickens, as the world’s first media celeb. It’s a sweet film about love, in the end, with intelligent digressions.
Felony (2013, dir: Matthew Saville)
A gritty Oz cop melodrama written by its star, Joel Edgerton, the supercop who fucks up one night and spends the rest of the film getting further and further in the shit as he tries to wriggle free. Tom Wilkinson contributes another of his sneakily intelligent peformances as Edgerton’s superior.
All This Mayhem (2014, dir: Eddie Martin)
If you’ve never heard of the Pappas brothers, Ben and Tas, this excellent and shocking documentary about their 1990s rise and fall is well worth the ride, even if you’ve no interest whatsoever in skateboarding.
God Help the Girl (2014, dir: Stuart Murdoch)
A strangely 1960s-ish and intensely cute love letter by Belle and Sebastian frontman/director Stuart Murdoch to his star, Emily Browning, here fetishised in a boy-meets-girl Scottish musical recalling – if you’re fanciful – The Umbrellas of Cherbourg.
Chef (2014, dir: Jon Favreau)
Jon Favreau is one of the great under-revered directors of our era, and Chef – a road movie about a celebrity chef getting his mojo back – is exactly the sort of easy-looking, effortlessly digestible charmer he seems to be able to knock out at will.
Mystery Road (2013, dir: Ivan Sen)
An Aborigine cop tries to find out who killed an Aborigine girl – with stone-faced resistance from his white co-workers – in a beautifully shot Down Under cowboy thriller with one of the best shootout finales ever committed to film.
The Congress (2013, dir: Ari Folman)
Waltz with Bashir director Ari Folman pushes animation even further this time, with a psychedelic meditation on fantasy and reality starring Robin Wright as an actress who is digitised and inserted into any set-up the imagineers fancy. Highly highly unusual.
Prince Avalanche (2013, dir: David Gordon Green)
Two guys paint a road and David Gordon Green swerves back into George Washington territory in a film that’s Waiting for Godot with Girl Trouble. Tim Orr’s camera is lovely, 1970s and sun-dappled, but there’s a hole where the meaning should be.
Blue Jasmine (2013, dir: Woody Allen)
Another of Woody Allen’s overhyped “returns to form”, this time featuring a relentlessly over-acting Cate Blanchett as a super-entitled bitch whose ship has sailed. Watch instead Sally Hawkins.
Thor: The Dark World (2013, dir: Alan Taylor)
Everything that’s wrong with bad superhero films in one film – too many characters, too much gobbledegook, a lack of humour, though Tom Hiddleston’s Loki remains a fun watch. More to come (sigh).
The Butler (2013, dir: Lee Daniels)
Lee Daniels’s epic about the black butler (Forest Whitaker) to a whole bunch of POTUSes attempts to square the radical tradition with the gradualist conservative move towards black civil rights. Proficient, nothing more.
Saving Mr Banks (2013, dir: John Lee Hancock)
How Walt Disney (Tom Hanks) strongarmed PL Travers (Emma Thompson) into letting him film her Mary Poppins. The leads are genuinely fabulous and brilliant, but all that Travers backstory? Really?
Frozen (2013, dir: Chris Buck, Jennifer Lee)
On my own here, I know, a triumph for lovers of adenoidal singing of the sort of Broadway songs that Eric Idle spoofed so brilliantly with his Song That Goes Like This. The snowman and reindeer are funny but the central characters, what utter drips.
The Grand Budapest Hotel (2014, dir: Wes Anderson)
It still hasn’t sunk into Wes Anderson’s head that a) a little whimsy goes a long way and b) it has to be in the service of something, if only a good story. Here, though Ralph Fiennes is joyously funny as a devious owner of an old Mitteleuropean hotel, as a film it’s Sachertorte with cream, then more cream.
The Amazing Spider-Man 2 (2014, dir: Marc Webb)
Marc Webb’s second pop at Spider-Man is immeasurably worse than the first, fails to weld live-action into increasingly cartoonish set-ups, has too many villains, and feels like little more than a franchise placeholder or a sop to fanboys who will buy any old crap.
22 Jump Street (2014, dir: Phil Lord, Christopher Miller)
The jokes were all done in 21 Jump Street – and Phil Lord and Christopher Miller’s extensive running gag in the closing credits, in which they trail the franchise’s development all the way to 34 Jump Street: Return of the Ghost – shows they know it. Jonah Hill, Channing Tatum remain a hot combo though.
And if you want to watch or buy any of the films, this Amazon link will allow you to do just that – enjoy!