2014: My Favorites

You might have noticed that things have been fairly quiet here at Setting the Frame over the last few months. Sorry about that. Work has been tough, and I've been feeling a bit tired and unmotivated. Also, it hasn't helped that a number of awards-eligible films didn't get wide releases until mid- or late- January, so putting my final end of the year list together hasn't been all laziness, just partly.

Looking back at the last twelve months, I'd say there was an uptick in overall quality from 2013, but I'm not sure the highs were quite as high, just that the lows weren't nearly as low, if that makes sense. I know it wasn't everybody's cup of tea, but Gravity was, to me, one of the great theatrical experiences; 12 Years a Slave was an emotional gut punch that nothing this year could match; and Her was a touching human story that dealt beautifully with the expanding role of technology in our 21st Century lives. I have a feeling those three would be near the top just about any year.

That said, there were still great films this year, featuring both amazing performances and excellence in film craft. I ended up seeing 102 first-run movies and a handful of revivals, my favorite of which was seeing William Friedkin's 1977 film, Sorcerer, on the big screen. 22 Jump Street, Guardians of the Galaxy, Edge of Tomorrow and The Lego Movie were tremendous fun, and the action scenes in John Wick and The Raid 2 were just phenomenal! All of those are films that could have snuck onto the list.

And, I mean that. I'm not trying to impress anyone by picking only serious films; I enjoy all types of films. The final group I settled on as my six favorites include a studio tentpole, a farce, a thriller, a foreign language entry, and two dramas. Each of them connected with me in different ways. For some, I knew while watching that they would be at the top, and for others, they just stuck in my brain long enough.

I don't usually point out "worst" movies of the year, but as far as disappointments go, it's worth mentioning that The Interview wasn't worth the fuss North Korea made over it. I didn't love This is the End, the last film Seth Rogan directed and co-wrote, but at least I laughed a lot. My wife and I watched The Interview together, and we have wildly different tastes in comedies, and even she didn't think it was funny. It was a complete misfire for Rogan, and that comes from someone who (mostly) enjoys The Green Hornet.

It surprised me that Christopher Nolan, David Fincher, and Paul Thomas Anderson all released films in 2014, but none of them ended up on my final list of favs. Interstellar is certainly ambitious and at times beautiful. I can understand why many people love it, but it just doesn't work for me in many ways. Gone Girl is a tabloid story elevated by good writing and A-list talent, skewering marriage and our obsession with gossip and scandal. Only one film was more darkly comedic and more horrifying than Fincher's, and it's on my final list. As for Anderson, I liked Inherent Vice a lot, and given more time it may have risen higher. If there was a movie on the bubble, this brilliantly convoluted, seventies P.I. flick would be it.

The historical dramas vying for awards consideration this year were all well built films that each moved me in different ways. The Theory of Everything touched me more than the others, whereas Imitation Game engaged me more intellectually, I think. There's been a lot of discussion as to why Selma isn't up for more awards and why, in general, there isn't more diversity in Hollywood. I'm not sure I can speak to that. Selma is a compelling story that needed to be told. The filmmaking, however, felt unremarkable to me. If the debate surrounding it leads to more opportunities for new voices, all the better, but it just didn't hit me the way I thought it should have.

Before continuing to my favorites, here's a group of movies I'd like to highlight for specific reasons. Not really a runner-ups list so much as a special mentions:

X-Men: Days of Future Past didn't make my list, but I was amazed how well that came together, essentially wiping the slate clean in a way that didn't negate the previous films, and the Quicksilver scene was one of the most memorable of any summer movie. X-Men is perfectly capable of existing on its own, apart from the other Marvel characters, and if the quality stays as high as Days of Future Past, I'm all for 20th Century Fox keeping it as their own.

Speaking of Fox, their other summer franchise entry, Dawn of the Planet of the Apes was dark and nuanced. The performance capture work done by Andy Serkis and his team brought the characters to life in a way that was previously impossible. It proves that Rise was no fluke, and that 20th Century Fox has not just a name brand to exploit in Apes, but an interesting and thrilling story to tell with this franchise.

Under the Skin may not have worked for me entirely, but it was undeniably stylish, with some of the most unique visuals of any movie this year. It also features one of the most unsettling scenes of the year for me. As I stated in my review of the film, "It's a daring piece of cinema and a must-see for the more adventurous moviegoer," and I stand by that.

I have mostly enjoyed the previous films of David Ayer (End of Watch, Sabotage), but he's a filmmaker who hasn't been able to put it all together, in my opinion. Fury comes pretty damn close though, and it's a film I have recommended people buy on blu-ray at work many times. It looks great, sounds great, and features an ensemble of actors unafraid to play it dirty, even ugly at times.

And, as a movie that seems to have been completely forgotten about, skipped over, or snubbed by most, Noah is the work of a true visionary. What I loved about it, aside from the visuals, which are stunning at times, is that director Darren Aronofsky boldly asks "What kind of man could do this? Who could watch the world end and not save as many as he could?" The answer is something many moviegoers were unprepared for, and that made it much more interesting than a straightforward adaptation.

Hit the jump for my 2014 favorites, in alphabetical order.

Birdman: Or (The Unexpected Virtue of Ignorance) - If this was just a movie about a one-time megastar who attempts to resurrect his career with an ambitious Broadway production, it would be enough to watch as he loses control while the play teeters toward disaster. Unsatisfied with a conventional movie, however, director Alejandro González Iñárritu has crafted a unique experience that plays out as one long unbroken take and blurs the lines between reality and fantasy. Having Michael Keaton's character haunted, literally, by his past success makes for an interesting jumping off point, and it provides opportunities for a few surreal sequences and plenty of amusement throughout. Keaton is terrific, of course, and watching him unravel more and more as it gets closer to opening night is a real treat. The rest of the cast is at the top of their game as well, weaving in and out of the narrative as needed, on cue, like a well-choreographed dance number.

Captain America: The Winter Soldier - This has the distinction of being the movie I re-watched the most this year, thanks to some really good action, a serious tone inspired by the conspiracy thrillers of the seventies, and just the right amount of well-placed humor. And, thank goodness, they finally found something for Sam Jackson to do besides look cool in an eyepatch and overcoat. This movie has five main heroes, and even though Captain America is the whitest of the white, the others are comprised of two black men and two women, each one being completely essential for the good guys to overcome the odds. How's that for diversity, Hollywood? In addition, this sequel made me more uncomfortable with governmental power and our increased vulnerability in this new digital age than Michael Mann's Blackhat, a movie specifically about cyber terrorists. So, if you thought comic book movies were all fluff, think again, because Marvel just raised its game!

The Grand Budapest Hotel - As usual for a Wes Anderson picture, The Grand Budapest Hotel features impeccable framing, precise camera movement, gorgeous production design and costumes, and a cast of recurring Anderson regulars. Ralph Fiennes is terrific as the lead, a hotel concierge who goes above and beyond for his guests. Helped along by a script full of whimsy that snowballs into absurdity by the midway point and never looks back, Fiennes is able to play every contradiction in the character, exposing his more manic and profane side, but always maintaining a well-mannered sophistication. Whether you are an Anderson loyalist or just happen to love classic screwball comedies and Marx Brothers-style farces, I would encourage you to check this one out.

Ida - Stunning black-and-white cinematography, featuring elegant compositions, highlight this import from Polish director Pawel Pawlikowski (My Summer of Love, A Woman in the Fifth). Set in 1960's Poland, the story follows a young neophyte on a journey of self discovery after meeting her only living relative, an aunt on her mother's side that she didn't know existed. Walking into this movie cold, I didn't know what to expect (something I wish I could do more often), and it totally delivered with a simple story, classically told. It feels remarkably spare, which allows the viewer to soak up all the detail onscreen. As a result, it feels even more powerful; I was hanging on every look, every word, and every shot of this lovely film.

Nightcrawler - Jake Gyllenhaal has been quietly building an incredible body of work over the last decade or so, and in Nightcrawler he delivers a chilling performance as Lou Bloom, a seemingly harmless guy who happens to be an amoral psychopath. After chance lands him at the scene of an accident where a couple of freelancers are trying to shoot video of the victims (above, around, and below the first responders), it finally gives Lou something to focus his ambitions on. Prowling the streets of Los Angeles at night, the lengths he goes to get ahead will make your skin crawl. Rene Russo is also great as the producer who encourages Lou, and the way these two use each other is scary. Sadly, it's not hard to believe that there are actually people like this in the industry. If you enjoy movies like American Psycho or Taxi Driver, this one's for you! It's a twisted version of the American Dream; funny, thrilling, and horrifying by its end.

Whiplash - Just look at that picture above and you get everything you need to know about this film. Miles Teller looks like he's in pain, drumming his little heart out, while J.K. Simmons seems ready to leap over that drum set to strangle him. Not since Aronofsky's Black Swan has a film depicted the quest for artistic perfection as such a punishing experience, both physically and psychologically. Teller holds his own, but simply put, Simmons gives the most towering performance of any actor this year. He is intimidating right from the beginning, and it doesn't take long for that to become pure menace. For all intents and purposes, this is a horror film and Simmons is the best movie monster to come along in some time. Oh, and the music is pretty good, too.



What do you think? Did I hit on some of your favorites? Did I choose something that you absolutely did not like? Let me know in the comments below, on Facebook, or tweet me @settingtheframe.