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




4 August 2014-08-04

Josh Brolin and Kate Winslet in Labor Day



Out in the UK This Week




Starred Up (Fox, cert 18, DVD/Blu-ray/digital)

Starred Up is a British prison drama, a phrase that usually strikes fear into the soul. But this one is an exception. Jack O’Connell isn’t the only reason for it, though he’s convincing as a young lag toughing his way to the top. The script pulls its weight too, with lots of tiny details – like our guy peeling off his top before some argy-bargy and dousing himself in baby oil so the screws can’t get a hold of him – and an awareness that a prison drama only has a certain number of places it can go (the showers, the top dog’s cell, the therapy session, the bent screw’s psyche), and then goes there with attitude. It’s boy to man stuff, brutal and brilliant, as a user review I’ve just spotted on the IMDb page succinctly has it. Yes, brutal and brilliant. Highly recommended.

Starred Up – at Amazon




The Double (StudioCanal, cert 15, DVD/Blu-ray/digital)

You’ll know Richard Ayoade from TV’s The IT Crowd and maybe from his first film, the geek romance Submarine. The Double sees him adapting Dostoevsky’s short story about a milquetoast whose world is invaded by his double. The double looks the same in every way but his supremely confident behaviour is a goad to the original, who becomes properly miserable when the interloper starts making eyes at his own heart’s desire. Ayoade has the cast – Jesse Eisenberg effortlessly good as both men, Mia Wasikowska again brilliant as the librarian and object of Simon/James’s desire. And he has the look – Terry Gilliam, Franz Kafka, David Lynch and Takashi Miike wriggling like puppies in a sack in this steampunk world of dead technology, alienation and dim-bulb lighting. He’s got the music too, insanely chirpy Japanese pop keeps bursting through the psychological disruption. It does all sound very quirky, doesn’t it? And if there’s a black mark to put alongside the one for The Double being a drama unsure how comic it wants to be, it’s its sense of straining a bit too hard. Just a teeny bit.

The Double – at Amazon




Black Narcissus (Network, cert U, Blu-ray)

I popped this on just to check how the restoration looked. The colour was flashing a bit here and there, as if the red gun was misfiring, though the sharpness of the image and the breathtaking imagery entirely compensated. If you don’t know it, it’s the 1947 Powell and Pressburger classic melodrama about nuns (including Deborah Kerr and Kathleen Byron) being driven crazy by sublimated lust out in the Himalayas, where they have gone to deliver god and charity to the poverty stricken populace. But, again, I stayed right to the end, noticing this time how the entire film is about disruption – no matter what good work or selfless deed the nuns try and do, some worldly imperative gets in the way. And the figure of David Farrar, as the local representative of the British Empire, coming and going on a tiny donkey like a latter-day Jesus, what a brilliant touch. Look closely and you can tell it’s all shot within a few miles of London: cumulonimbus clouds like that are a giveaway. And whether the red gun on my TV was clipping, the test disc I watched it on was a bit iffy (happens all the time) or, surely not, the restoration just got a bit patchy here and there, this is still hands down one of the best examples of cinematography ever – step forward Jack Cardiff.

Black Narcissus – at Amazon




Half of a Yellow Sun (Soda, cert 15, DVD/Blu-ray)

For his directorial debut, tyro playwright Biyi Bandele goes for the big one – Gone with the Wind – telling a story of love in a time of tumult in his adaptation of Chimamanda Ngozi Adichie’s novel. The film is at its most impressive in its depiction of a class of people who are almost never seen on film – optimistic, affluent, secular Nigerians keen for their country to have all the benefits of 1960s progress. Chiwetel Ejiofor and Thandie Newton are its embodiment, Odenigbo (Ejiofor) the technocrat teacher at a concrete and glass university, Olanna (Newton) the well-spoken daughter of a manufacturer of who’s done well for himself. Newton is oddly off in this film, never quite convincing in the way that Ejiofor is, though there are a whole raft of great performances down the pay grade – John Boyega as Odenigbo’s faithful servant, Onyeka Onwenu as his loudly superstitious and devious mother, Anika Noni Rose as Olanna’s brash, self-serving sister. The problem with the film, for all its many undoubted pluses, is that it’s all introduction and no main speaker – the civil war of Nigeria and the Biafra crisis barely registering when that, surely, is what it’s meant to be all about.

Half of a Yellow Sun – at Amazon




Labor Day (Paramount, cert 12, DVD/Blu-ray/digital)

Labor Day is probably going to be one of those The Notebook films. Slavishly worshipped by one constituency, derided by another. It’s the story of how a recluse single mother is brought back in touch with her intimate side after an escaped convict holes up in her house for the Labor day holiday weekend, tutoring her son in manly skills, fixing stuff around the place, generally being the ideal husband and father, as if beamed in by aliens. It’s nuts and it’s glorious at the same time, and it’s another example of Kate Winslet’s seeming single-handed attempt to resurrect the spirit of Joan Crawford in her Mildred Pierce era. Josh Brolin is the guy. Could anyone be better? It’s doubtful, and without these two stars the entire thing would be snortworthy. With them it still has its moments – the now notorious peach pie scene, reminiscent of the potter’s wheel in Ghost, plus the repeated shots of taps leaking, baths running over, water gushing… yes, we get it, a woman has her needs. Smutty? Not for a nanosecond. In fact the whole things aches with tastefulness – the exquisite lighting, the restrained decor, the elegant soundtrack. Some PhD student is probably already writing a thesis on it already, how it’s Bonnie and Clyde rewritten as a suburban psychodrama by Raymond Carver, or something. Which it kind of is, if you’re hyperventilating. And if you’ve watched it more than twice, you probably are.

Labor Day – at Amazon




Pioneer (Arrow, cert 15, DVD/Blu-ray)

This Norwegian thriller about the race in the 1970s to extract oil from Norway’s sea bed claims to have Wes Bentley as one of its stars. In fact he’s barely in it and could be removed entirely without changing the film in any way whatsoever, since we’d lose only about three minutes, and in any case Bentley has no bearing on plot, tone or other characters. Why’s he there then? To sell the film abroad, I suppose. Though to be fair to the producers, the film does need all the help it can get. And it starts so well too, with a whole series of atmospheric shots following two Norwegian divers in a bathyscape down to the bottom of the North Sea, where they are to make preliminary excursions to see whether a pipeline at such depths is feasible. In these early scenes there’s a tonne of fascinating technical detail, a genuine sense of trepidation and the men we’re following, played by Aksel Hennie (excellent in Headhunters, pretty good here) and André Eriksen, are worth rooting for. But then it abandons all this and devolves instead into a standard thriller that needs ten TV hours to get its story out in the sort of detail that would make it interesting. Edge of Darkness is the basic idea – big bad corporations messing with people’s lives – and if you haven’t seen the 1985 BBC series starring Bob Peck, or Utopia, Channel 4’s current counterpart, then you should. I wouldn’t bother with this.

Pioneer – at Amazon




Rio 2 (Fox, cert U, DVD/Blu-ray/digital)

Not being a fan of Rio 1, I wasn’t looking forward to Rio 2. Still, the sequel at least has a go at a kind of logical plot development, the two blue macaws who got together in the first animated adventure obviously not being able to do that again. So, the writers send them off to the jungle, for what looks like a re-run of Madagascar but turns out to be something far busier and worthier… saving the rainforest from loggers blah blah blah. As with Rio 1, Jemaine Clement is so good as the bad guy Nigel the cockatoo that he throws everyone else into the shade, voice artistes Jesse Eisenberg and Anne Hathaway not helping by making the leads, Blu and Jewel, a pair of drips. Nor are matters helped by the fact that Christine Chenoweth, voicing Nigel’s poisonous tree-frog sidekick and would-be amour, is the film’s second most interesting character. However, the music is an improvement on the first and there are a couple of enjoyable samba-heavy tunes, and the animation is psychedelic and full of incidental detail. Which is the film’s problem in a brazil nutshell – it’s all frame and no picture.

Rio 2 – at Amazon








© Steve Morrissey 2014