The Best Films of 2014

Scarlett Johansson in Under the Skin

 

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.

 

 

 

The Best

 

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.

 

 

 

 

 

Honourable mentions

 

Gary Bond sinks a beer in Wake in Fright
Gary Bond sinks a beer in Wake in Fright

 

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.

 

 

 

 

The Underrated

 

Antonia Campbell-Hughes and Julian Morris in Kelly + Victor
Antonia Campbell-Hughes and Julian Morris in Kelly + Victor

 

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.

 

 

 

The Overrated

 

Emile Hirsch and Paul Rudd in Prince Avalanche
Emile Hirsch and Paul Rudd in Prince Avalanche

 

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!

 

© Steve Morrissey 2014

 

 

 

10 February 2014-02-10

James McAvoy builds bridges in the community in Filth

Out in the UK this week

 

Filth (Lionsgate, cert 18, Blu-ray/DVD)

An adaptation of Irvine Welsh’s novel about a member of her majesty’s constabulary – aka the Filth – and his glorious, drug-fuelled, wretched, sweary stumble towards the abyss. For anyone who has only seen James McAvoy as a lean-limbed X-Man superhero this badger-rough portrayal of a whisky-breathed Scottish cop will be a revelation. As it will for anyone not used to Welsh’s basic MO (see Trainspotting). Filth is a real film of two halves. There’s a big, chest-beating and vividly debauched Rabelaisian part one – with McAvoy’s Bruce Robertson smarter, faster, more aggressive than any of his more politically correct fellows. But after the party of scamming, shagging, drugging and boozing comes the hangover, which is where director Jon S Baird struggles slightly to keep up the energy and wit as Robertson suffers payback for his monstrousness. Don’t be put off though, it’s well worth it for the obnoxiously funny and much longer first part and the cast has real breadth and depth – Imogen Poots, Jim Broadbent, Jamie Bell, loads and loads more.

Filth – at Amazon

 

 

Captain Phillips (Sony, cert 12, Blu-ray/DVD)

I saw A Hijacking last year – a Danish film about a container ship hijacked by mad-eyed Somali pirates – and the temptation with this American film about a container ship hijacked by mad-eyed Somali pirates is to compare the two. So let’s not. Instead I’ll say that Captain Phillips is a tense, nerve-wracking film that reminds us how remarkable Tom Hanks is (he’s the titular captain), able to combine seeming opposites – the usual everyman qualities that Hanks is famous for with the stickler, broom-up-ass rigidity of this character he’s playing. Apart from Hanks, three things are really notable about this big budget number – that someone has seen Contraband (or the Icelandic original, Reykjavik-Rotterdam) and has realised what a fascinating warren-like location a container ship is for a thriller; that whoever is hiring guys to do pirate turns is really hitting the mark (the Somalis in both this and A Hijacking are entirely believable and terrifying); and that the decision to hire director Paul Greengrass was a good one, except that the back half of the film appears to have been re-written to add more Bourne-style “get me the President” dialogue and procedural hoo-hah, and Hanks and the Somalis are so good that the film really doesn’t need it. As for the “don’t fuck with the USA” finish, hello Hollywood.

Captain Phillips – at Amazon

 

 

Seduced and Abandoned (Soda, cert 15, DVD)

So what we have here is old mates actor Alec Baldwin and director James Toback schmoozing their way around Cannes trying to finance a remake of Last Tango in Paris set in Iraq and called Last Tango in Tikrit. Ostensibly. In fact the whole thing is a feint, a ploy to talk to the people who actually matter in the movies – the money men – plus a few name directors (Scorsese, Coppola, Polanski, Bertolucci) and a few A-list stars about the business of making movies. And it works excellently, because both guys have made their name, have nothing to prove and have enough self-respect not to kiss ass. They’re having fun. And they actually know the people they’re talking to. So we actually get interviews with actors – Ryan Gosling, James Caan and Jessica Chastain notably – that aren’t pre-digested PR guff, Gosling being particularly insightful about the process of acting, Caan fatalistic about the fact that his best days are behind him, Chastain on how reliant she is on directors. The money men are less refined but more self-contained, most of them “what can I say” Hollywood Jewish guys of a certain age who are courteous but dismissive of Baldwin’s chances of opening a film (he’s too TV) or of the film’s ability to raise finance if Neve Campbell remains as the star (we can throw her under a bus, muses one money guy, only half-jokingly). At the end, Toback, who is no spring chicken himself, asks everyone – stars, directors, producers – about their thoughts on dying. It’s a wild card moment in a film that has veered wildly between mock-doc, semi-serious exposé, fan-fiction and gossip sheet, and been entirely entertaining at every turn.

Seduced and Abandoned – at Amazon

 

 

 

How I Live Now (E One, cert 15, DVD)

Actress-of-the-moment Saoirse Ronan’s roster of self-absorbed characters swells by one with her portrayal of a moody, withdrawn and almost entirely up-herself American who pitches up in the sort of rural bohemian middle-class family of Land Rovers, dogs and long bracing walks that Richard Curtis would recognise. And just as she is slowly learning to uncoil a little, enjoy the sun-dappled bucolic idyll, easy-going life and the attentions of her handsome cousin (George MacKay), this up-till-now beautifully drawn drama throws a wrench in the works with a nuclear explosion that puts the entire country onto a war footing, martial law, forced labour, and so on. And oddly it’s around this point that director Kevin Macdonald – whose My Enemy’s Enemy, The Last King of Scotland and even The Eagle show that he’s no stranger to films with a martial slant – loses control of his material. Things suddenly start moving at bewildering speed – she’s in the family home, hauled off by the military, billeted with some folks we never meet, escaped, and on it goes, none of it registering or meaning anything until what is clearly a movie for young adults that’s been given the wrong certificate (that 15 is mysterious, but this isn’t the place to discuss it) dribbles to a “and that’s how I live now” pffft.

How I Live Now – at Amazon

 

 

 

Le Week-End (Curzon, cert 15, Blu-ray/DVD)

The last of a trio of film written by Hanif Kureishi and directed by Roger Michell which all deal with love as it affects older folk. In The Mother ageing Anne Reid was taken in rough Chatterley-esque manner by young buck Daniel Craig. In Venus, old goat Peter O’Toole gazed impotently at the tender flesh of cocktease Jodie Whittaker. This time it’s oldie meets oldie as Jim Broadbent and Lindsay Duncan head off to Paris for a weekend spent recapturing the heady days of their youth, a time when they didn’t take each other for granted or bitch all the time. “Can I touch you?” asks Broadbent dolefully. “What for?” replies Duncan in the half-teasing, half-reproachful tone she uses to control his boisterousness throughout. An actorly film, which isn’t to say it isn’t well observed by Kureishi, who is now old enough to be writing about relationships of his own that have hit a kind of coping, 12-step stasis. And though it threatens to continue just like this – he advances, she repels – Kureishi saves two redeeming scenes right for the end. One, at a party thrown by mad old roué Jeff Goldblum (doing his bug-eyed Goldblum thing) when Broadbent blows a fuse spectacularly. Two, the final scene, when it’s revealed that long journeys make for deep relationships. A happy ending to a journey worth taking.

Le Week-End – at Amazon

 

 

Enough Said (Fox, cert 12, Blu-ray/DVD/DTO)

Like The Hours recently, a decent thriller impossible to watch without awareness of the fact that Paul Walker was now dead, the adult romance Enough Said is full of the “what ifs” of James Gandolfini, who plays a divorced slob who starts up a relationship with a masseuse (Julia Louis-Dreyfus). He’s a beautiful sad presence in a film that’s actually really all about her – what the masseuse doesn’t realise instantly is that another of her clients, karmic though poisonous poet Catherine Keener is the man’s ex wife, and that the slob Keener keeps bad-mouthing is none other than… you guessed it. But it’s when the penny does drops and the masseuse chooses to stay shtumm that things get interesting. In some hands this would be the starting point for farce, but with Nicole Holofcener as writer and director – see Lovely & Amazing and Friends with Money – the territory is more your angst-filled middle class semi-comedy complete with trademark Holofcener scene set in a restaurant where characters drink wine and laugh showily while a subtext ricochets around the room. Look for sighs rather than laughs and you won’t be disappointed, and if Louis-Dreyfus never quite escapes from an acting style that might be called Seinfeld Declamatory, Gandolfini is usually on hand to show her quietly how it’s done.

Enough Said – at Amazon

 

 

Prince Avalanche (Metrodome, cert 15, Blu-ray/DVD)

Paul Rudd and Emile Hirsch play two guys who paint lines on a remote road, spend all their time in each other’s company and fill up the long stretches of the day with blank silence, or conversations about stuff that’s profoundly inane, or vice versa. David Gordon Green’s latest film is Waiting for Godot, American style, in other words. Rudd and Hirsch gimp gamely as the two numbnuts stuck on the road to nowhere, with only the odd intervention by an old truck driver who hands out a shit-talking bunch of wise-assery along with the moonshine, and is an absurdist god figure if there ever was one. Rudd gets the best end of it as the tortured almost-bright boss, with Hirsch coming across as a Jack Black-lite character of doofus amiability. It’s probably the nearest thing George Washington, his debut, that Green has made and Prince Avalanche has similar 1970s visuals by DP Tim Orr – lens flare, sideways light, chickens running about. Green’s inclusion of nature itself as an almost present character is another Washington echo, as is the faint feeling that there’s some missing ingredient that is keeping it from greatness.

Prince Avalanche – at Amazon

 

 

 

© Steve Morrissey 2014