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

 

 

 

1 September 2014-09-01

Ilias Stothart as the young Benigno in Painless

 

Out in the UK This Week

 

 

The Amazing Spider-Man 2 (Sony, cert 12, Blu-ray/DVD/digital)

Marc Webb’s reboot of Spider-Man in 2012 was artistically unnecessary but Webb did at least inject a welcome note of young love into it – he directed indie weepie 500 Days of Summer, let’s not forget. This even more unnecessary sequel sees Andrew Garfield’s Catcher in the Rye webslinger taking on an unnecessary plurality of villains – Electro and Green Goblin. Electro is a nice bit of racist stereotyping for Jamie Foxx, who starts off as a mild mannered janitor and winds up as “angry nigger” Electro, all exaggerated features and steroidal rage, capable of bringing a city to its knees by rampaging through downtown (the big showdown in Times Square is the film’s highlight). Dane DeHaan is the preppy rich kid who becomes Green Goblin. And though DeHaan was good as the snot, I can’t remember what Green Goblin did apart from skim about on a shield for a while and cackle. This is not DeHaan’s fault. He’s probably the best thing in it. I can’t remember because ultimately the whole film is totally forgettable. We have literally seen all of this stuff before, though someone’s decision to go for comic-book looks in the action sequences, that’s something we haven’t seen before, or at least we haven’t since the first Sam Raimi Spider-Man – those really crappy SFX. As for the decision to pre-load TAS-M3 into the back end of this one, with the arrival of Paul Giamatti’s villain Rhino… is Marvel trying to piss us off?

The Amazing Spider-Man 2 – at Amazon

 

 

 

Next Goal Wins (Icon, cert 15, DVD/digital)

This is a fantastically simple and simply fantastic documentary about the world’s worst football team, American Samoa – who we see being beaten 31-0 over the opening credits – and the Netherlands coach who arrives to kick some fight into them. On the one side we have the guys – smiling, part-timers, religious, strikingly handsome men from a tiny island, population: 65,000. On the other we have mid-50s, wiry, gruff Thomas Rongen, a guy who’s played with George Best and Johann Cruyff. His mission is to take the team ranked last in FIFA’s tables and see if he can improve them to the point where they win at least one game. Though, to be honest, everyone would be ecstatic if American Samoa could score even a goal. So we’ve got a classic underdog story with mismatched buddies for protagonists, with some shading around the edges – the light of Jaiyeh Saelua, the team’s “fa’afafine (Samoa’s “third gender”) player, the dark of the story of Rongen’s daughter, whose recent accidental death has clearly made him open to life-re-assessment. And off we go with them, into the World Cup qualifiers, a little bit of one rubbing off on the other, and vice-versa. Air-punching, Mexican-waving stuff.

Next Goal Wins – at Amazon

 

 

 

Painless (Metrodome, cert 15, DVD)

This Spanish film opens strikingly – with a child who can feel no pain encouraging her sister to set fire to herself. The sister dies horribly and the insensible one (Insensibles is the original title, its translation into English missing its target by a whisker) is locked away for the rest of her life with the other local kids who are similarly cursed. This all in extended flashback, while a doctor in the here and now tries to find out the missing details about his parentage – Who Do You Think You Are style. And as the film tracks forward from the 1930s, through the Second World War and into the 1960s, the children growing up and being subjected to one indignity after another, our doctor is digging backwards, until the two strands inevitably meet in a fabulously operatic finale. I wouldn’t recommend the story, which is a bit of a plodder, and the back and forth of it doesn’t help matters much either. But I do recommend this visually arresting film, which has dark looks of Pan’s Labyrinth and all the appurtenances of the gothic drama – sickness, torture, incarceration, madness, deformity, freaks, Nazis, mutilation, weird children and more. All a handy smokescreen for its real intent, which is to tackle the subject of Franco, and his aftermath. Very nicely done.

Painless – at Amazon

 

 

 

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

There’s a lot of brutality in this film, thrillseekers. It kicks off with a woman being hammered to death and stays pretty gnarly right to the end. It’s an Indonesian/Japanese co-production (The Raid’s Gareth Evans is an exec producer) and plays out as a story set in the two countries – in Japan as a proper serial killer (Kazuki Kitamura) lures girls back to his place, where he sets about them with hand tools before dismembering them and turning them to organic goo in an acid bath. In Indonesia a righteous journalist (Oka Antara) starts out as one of the good guys but becomes increasingly drawn to the dark side after he takes revenge on the local Mr Big who has ruined his career. Directing duo the Mo Brothers (of Macabre fame) bring the two stories together in the end and I suppose they are prompting us to ask the question “who is the bad guy” – the one who does it for fun (but who can’t help himself), or the one who does it because he’s morally weak. That’s a crass question, but while we’re pondering it, if we are, we’re treated to a beautifully shot film whose cool, leisurely pace is interrupted by repeated stabs of brilliantly choreographed frenzied violence, often to a stately bit of classical music (Haydn?) on the soundtrack. Did someone say John Woo?

Killers – at Amazon

 

 

 

A Perfect Plan (Icon, cert 15, DVD)

A French rom-com with an “only in a rom-com” set-up – a woman needs to marry a man, then divorce him pronto, because in her family it’s always the second marriage that turns out to be the happy one. Enter Diane Kruger as the woman, Dany Boon as prospective husband number one – a loudmouth with poor prospects who she meets on a plane. Apart from the endless fascination of Kruger herself – perfect features and yet somehow not beautiful – there’s the added academic interest of watching the film trying to keep us onside with this woman who is deliberately duping an innocent and rather nice guy. Hence the frantic scene changing – France to Copenhagen to Kenya to Russia back to France (I lost track around here). Taking it as read that a good looking woman has her entitlements, it’s an ugly film trying to act cute. Though I enjoyed Boon’s performance, a pantomime Geoffrey Rush, and the impeccable acting round the edges, this is actually one for the shitbags.

A Perfect Plan – at Amazon

 

 

 

When I Saw You (New Wave, cert 15, DVD)

A big festival favourite about life for a sparky Palestinian kid in 1967, and how he progresses from life in a refugee camp to becoming one of the “Fedayeen” fighting to free Palestine of the Israeli yoke. Mamoud Asfa plays the illiterate kid with a gift for mathematics (a trait the film picks up and puts down when it fancies) and is a fabulous young actor who can express naughtiness and wide-eyed wonder extremely well. And I loved Ruba Blal as his earthy, common-sense, loving mother. Director Annemarie Jacir has a good eye for a nuanced visual, and the cinematography is sharp and clear and beautiful, though the same can’t be said of the picture painted of the Fedayeen, who are so one-dimensionally upright – surely fellowship and good cheer hasn’t been this unalloyed since Errol Flynn’s Merry Men disbanded – that it just drains the life out of the entire enterprise. The film isn’t without incident – we’re watching a bright kid inculcated into something potentially dangerous (though you have to pinch yourself to remember that) and the camp that boy and mother originally lived in is bombed – but thanks to When I Saw You’s propagandistic MO it manages to be almost entirely without drama.

When I Saw You – at Amazon

 

 

 

The Longest Week (Signature, cert 15, DVD/digital)

Tony Roberts used to turn up in a lot of Woody Allen films, back in the 1970 and 80s (Annie Hall, for one), and he plays a shrink and provides voiceover in this film about the relationship of a babbly Manhattanite (Jason Bateman) with a kooky female (Olivia Wilde). Something to do with Bateman being locked out of his trust fund, and not being able to tell her he’s broke, because then she’ll leave him, or something. The sort of problem we all have. It starts with a scene on the shrink’s couch, which ends with the supposedly killer line “but I’m a Jungian”. Later, when Bateman quizzes Wilde as to why, as a vegetarian, she doesn’t eat fish (!), she replies, “I’m a Pisces… I don’t eat my own kind”. And continues in this vein right to the end, with its non-joke jokes, its conversations in front of paintings, its hypochondria, its references to French cinema and postmodernism – the full shtick of a lobotomised Woody Allen. Billy Crudup turns up, as Bateman’s louche, gallery-owning (natch) old buddy and love rival, and he’s really rather good. In fact they’re all rather good, though I felt sorry for Roberts having to provide that knowing voiceover the entire way through, which was like trying to help a man who’s having a heart attack by running up and puncturing his lung.

The Longest Week – at Amazon

 

 

 

 

© Steve Morrissey 2014