The French Connection Review

For some films it comes easy, the ability to lay my thoughts out as soon as it ends. The words just come flowing out with passion and not always because I loved the film. Sometimes the easiest movies to write about are the ones I loathe, the experiences that push just the right buttons to make me vent. Where the challenge comes in for me are those very good to great experiences that don't quite elicit the over the moon enthusiasm but they also did pretty much nothing wrong either. Thus sums up my the 24 hours between when I finished my first ever viewing of The French Connection and now when I finally told myself, just start typing whatever comes to mind. So here we are.

I keep fighting how to put this contradiction I had with The French Connection into words exactly because it makes sense to me but others may think, what the hell is this guy talking about? See, I somehow found the film deserves recognition for being fast paced and exciting and yet it felt ponderous at times as well. How is this possible? That's the tricky part. See, for much of the run time I was totally invested in the story of Jimmy "Popeye" Doyle (Gene Hackman) and Russo (Roy Scheider) as they attempt to shut down the source of heroin finding its way into the U.S. from overseas, yet some of the cat and mouse the cops are always just a step behind the bad guys stuff felt redundant, as if I was watching a couple sequences on repeat hoping for a different result each time.

A part of me wants to credit these very moments I complain about because they did invoke a sense of realism to the picture, that not everything is high speed and adrenaline fueled and all about good guys getting the job done. Sometimes a good guy can be doing good work and still fall short, but I instead of appreciating this during the actual experience, I found myself waiting for The French Connection to kick it into high gear. The good news? It does so during a final act that is not only memorable, it is masterful, with iconic moments with Doyle behind the wheel chasing down a train speeding ahead right above him and the thrilling sensation hanging over ever frame that nothing predictable is going to happen as the final scenes wind down. I had no idea who would get caught, who would get away and who would make it out alive, and I got lost in the excitement. 

I knew before I ever hit play that the film took home the trophy for Best Picture, but I honestly had no idea what other areas were recognized. It didn't take long for me to think, I sure hope Hackman was in the mix for his incredible performance and sure enough he, too, walked away with the prize. His strange blend of being heroic and yet unhinged, a convincing turn as an obsessed cop willing to do anything to collar his man was special to witness. The music beautifully assists the uneasy feeling of watching "Popeye" Doyle because rather than be a series of conventional pieces that would seemingly "fit" a 70's crime thriller, Don Ellis puts together a really odd, uncomfortable score that haunts and and hints at the ominous possibilities moving forward. Even when I felt those moments of disappointment at the lack of forward movement with the investigation, the score built the tension and rattled my nerves.

Another Oscar winner here is director William Friedkin and to say it was well deserved recognition is an understatement. His craft is so meticulous and on point that it actually almost does him a disservice because by creating such a smooth and fluid experience, it almost feels too easy at times. It's the subtleties that won me over, like the way we as an audience tend to stick with one side or the other rather than frenetically shown both parties in the same sequence. As the cops stalk the streets attempting to be inconspicuous, we see the shady activity from the police perspective. The mouths move but we can't hear the words. The movements feel guilty but we aren't let into what is exact transpiring in the moment. We can only guess and make assumptions based on what we know, which is exactly what the police would really be doing as well when facing such circumstances. We are let into the world of these criminals and their drug operation but only behind closed doors, like we are a fly on the wall watching something unfold that we shouldn't be privy to.

The French Connection is a great film that completely changed the idea of what a cop movie is going forward, yet it didn't hit quite as hard as I hoped. Perhaps it boils down to far too elevated expectations, after years of hearing the title and the praise that accompanies it I expected a greatest of all time experience rather than just simply great. Either way, there is very little to criticize and a lot to love here.

4/5

Wild Tales Review

The first of six standalone short films sets the tone for the entire experience. We meet various characters on an airplane as they all meet each other, discovering the strange "coincidence" that they all seem to know the same person, a man they have all wronged in one way or another. One of the passengers refers to this seemingly chance small world encounter as "cosmic" but in reality it is anything but. It's an implausible, absurdly calculated opportunity for revenge and only minutes after we are introduced to these people and their stories their tale ends, the screen goes black and we move on to a new chapter. 

If you watch Wild Tales and hope that the people and their plights will all be tied together eventually with a neat little bow, it isn't going to happen. No, the only dots that can be connected here are stylistically and thematically as each short is it's own animal, although the animal is always violent, angry and looking to quench a thirst for revenge. The most important connection here, however, is a very simple one that is sure to be the reason everyone needs to experience Wild Tales: it's so damn funny.

On paper the premise of this anthology feature sounds quite dramatic but it's actually a comedy of the very dark variety, and I was laughing early and often. It's littered with terrific dialogue and wonderful characters and delicious satire, worthy of the Oscar nomination it received earlier this year for Best Foreign Language Film. Despite this 2014 recognition, unfortunately a theatrical run didn't occur in the U.S. until a couple months into this year so spoiler alert: look for Wild Tales when I count down the best work of 2015 down the road. You will absolutely discover that it made the cut when all is said and done.

If I were to nitpick a flaw here it would be that the six separate short films are not created equal, as some of them excel more than others, but at the same time this fact makes the chance of discussion and debate all the more fun. Everyone is sure to have their favorites, their reasons for connecting to some and not all, and for me the best of the bunch were the third short titled El Mas Fuerte (The Strongest), an absolutely brilliant scathing satire on the absurdity of the concept of machismo masculinity, the fourth installment titled Bombita (Little Bomb) about a man who gets fed up with society and the fact that his voice isn't heard and carries no weight until he does what he does best to make a very loud statement, and the final of the six called Hasta que la muerte nos separe (Until Death Do Us Part) that shows us a wedding that starts off as an expensive, over-the-top celebration until the bride discovers a scandalous secret about the man she just married earlier that very day. 

Overall, Wild Tales is a hilarious success, a very clever and unique experience that never truly missed but rather hits with a little less force in some spots but bowls us over in others.

4.5/5

A Separation Review

Despite the statistics proving out its regularity in American culture, I know very little regarding the feeling of a marriage falling apart. Growing up I was surrounded by marital success, with grandparents that spent nearly their entire lives together until fulfilling their vow of death do them part and parents that currently celebrate anniversaries worthy of admiration and recognition, and while I can't put any official stamp on my own relationship with my wife, we are approaching a decade since taking that enormous step and I don't see any reason for pessimism regarding our future. 

I was instantly fascinated by the film A Separation not because of the subject matter, because let's face it, a narrative focused on divorce is not exactly ground breaking for cinema, but rather because of something as simple as a static camera and the way it frames its subjects. We look upon these two people from the perspective of a judge as he listens to their arguments centered around their potential divorce and the always bitter battle for custody of a child. Their mannerisms and body language and the way their words are delivered with passion, its impossible not to buy in. Within minutes I had already let my guard down and I ceased to view this man and woman as merely characters living inside a piece of fictional cinema, and this sets the table for the entire experience. We are the judge and we witness the good and the bad, the truth and the lies, and we weigh their actions with our own moral compass.

Often times when I fall in love with a movie, I will gush about its cinematography or I will get lost in the melodic, majestic score, but not so here. It isn't that the film did anything wrong on any technical level, it didn't, but when it all boils down it is the craft of writer-director Asghar Farhadi and the across the board brilliant performances from the cast that have me inspired by its seemingly effortless and flawless execution. When a single person is able to put pen to paper and pour their soul onto the pages, resulting in a screenplay that feels almost too good to be true, and that very same person has such a confident and precise ability to deliver on their vision, it's truly inspiring to watch it all unfold. Prior to this screening of A Separation, I was unfamiliar of the talents of Farhadi, but it was quickly clear I was watching something special and he is obviously the most vital reason as to why.

Every single member of this cast should be applauded for their ability to take the words they were given and not only bring them to life, but do so to such an extraordinary level that you could feel the pulse of every angry exchange, every quiet moment of contemplation, every tear that fell from their eyes. A Separation is bursting with life and realism throughout, featuring characters that are so damn human it practically hurts. Farhadi deals us a fair hand because no bias is shown at any point. We aren't weighed down by an overbearing message or phony, exaggerated characterizations to push our opinions in either direction, but rather we empathize with the very real people on display dealing with very real hardships and its left to our own morality and our own conscience to decide how we might react under similar circumstances. 

A Separation isn't about right and wrong because I never really saw things in such simplistic terms. A Separation is about what it means to be human, to be flawed, to have the ability or inability to love and respect and communicate. A Separation is essential, masterful cinema.

5/5

Waltz with Bashir Review

How does one quantify the importance of innovation in the world of filmmaking? To some it might mean very little, as a traditionally told story and endless amounts of regurgitated tropes play mighty fine for them, but for me true innovation is something I can hardly describe my admiration for with words. Hell, I even admire an attempt to be bold and daring that ultimately fails because at the very least something fresh and exciting was attempted rather than a director playing it safe.  

Waltz with Bashir is innovative. Waltz with Bashir is bold, fascinating, heartbreaking, surreal yet all too real at the same time. Waltz with Bashir truly is unlike anything I have ever seen, and that is a wonderful thing.

I have gained a reputation at work for being the "movie guy" so I will often times get asked "Hey Scott, what did you watch last night?" as a way of sparking up some small talk. "Waltz with Bashir. It's an animated documentary from Israel." I answered today.

You can imagine the puzzled looks I saw as a reaction, and I can't blame them. An animated documentary? How does that work?

It works. It works so damn well.

Ari Folman served in the Isreali Army during the 1980's and fought in the Lebanon War, yet he has trouble remembering a single thing that occurred during that time in his life. He decides to get together with friends and survivors of the war to try to piece together moments that he has somehow forgotten, or perhaps pushed out of his mind intentionally to avoid the pain of memories. 

Initially it seemed like a strange decision to take such haunting imagery and animate it, and one of the most raw and powerful aspects of documentary filmmaking is the ability to see real people talk about real events or real feelings. To remove that factor might seem like a misstep, but somehow the power and the pain is still there, simmering behind their eyes as they recall the horrifying nature of war. If anything the striking visual style of the animation captivated me in a way that felt totally unique and the result was a soul stirring piece of cinema.

The last few moments of Waltz with Bashir will linger with me for quite some time thanks to an artistic decision that reminds us just how real everything that occurs during the film is, even if we try to trick ourselves into believing otherwise. So how do you quantify the importance of innovation? You don't. All that matters is if what is presented means something to you, if it stirs up that profound feeling when you experience something that stays with you for some time to come. 

When innovation and execution come together as brilliantly as they do in Waltz with Bashir, it's extraordinary.

5/5

Cinderella Review

We all know the story of Cinderella at this point. The evil stepmother, the awful stepsisters, the charming prince, the literally magical night at the ball. The stroke of midnight, the stranded glass slipper and the search for the foot that fits into it. A classic story of true love that has been told multiple times before, and while not a fault by director Kenneth Branagh, this is precisely the one problem I have with the brand new version out in theaters now. Part of the magic I look for in a cinematic experience is directly related to that fresh feeling of discovery that washes over me, and the fact that this was practically entirely missing despite it being a brand new film felt disappointing. 

Okay, so I started off this review with a negative tone. Let's get back on track here, because that is pretty much the only complaint I can come up with here, the fact that I watched the animated classic relatively recently so a nagging feeling of redundancy was seeping out of every scene, but really you could argue that is not a flaw at all, it just comes with the territory of applying a brand new shiny coat to a previously painted masterful work. Looking solely at what was achieved here, it's a pretty wonderful film that can be appreciated by people of all ages.

The casting across the board in Cinderella is spot on, with a timelessly beautiful lead performance from Lily James, a rock solid turn by the recognizable to Game of Thrones fans Richard Madden as the Prince, and probably the greatest of the bunch being Cate Blanchett as a pitch perfect evil stepmother. Branagh directs the hell out of this film and despite knowing what was coming around every turn, the scenes that were striving for emotional resonance were all home runs in my book as I was often times moved by the very natural feeling pain felt by the characters. 

Despite being roughly 11 months away from the next Oscars, I can pretty much guarantee we have a contender here for a couple of specific nominations. The production and costume design on display throughout Cinderella was the result of pure magic, a gorgeous aesthetic that never took a scene off. Even the set pieces that were intended to be dour and depressing, like the attic Cinderella is relegated to by her stepmother, has a certain charm to it and the glow of sunlight breaking through the ceiling reminds us of the warmth and optimism of Cinderella that she learned from her late parents. Even at the worst of times, never forget to have courage and be kind. You could really feel these words reverberate throughout the movie, and I was happy to have my daughter experience this important message again on the big screen.

If you have any interest at all in the classic tale of Cinderella, I strongly suggest you check this one out. Even if you don't have interest, might want to give it a look and keep an open mind. You just might be surprised at how infectious the magic is.

4/5 

Tsotsi Review

Sometimes my thoughts and feelings come rushing forward during and shortly after I have watched a movie, a crystal clear opinion formed, an unwavering belief in whatever I personally extracted from the work. That simply didn't happen here with Tsotsi, a film that in quite a few aspects is masterful yet I can't quite shake the feeling that, as a whole, something wasn't quite right.

The performances in Tsotsi are remarkable and the usage of the setting of this story is wonderfully realized and smart, with the poverty stricken region bringing an authenticity to a narrative in desperate need of it, and there in lies the problem I think (?) I have with the film overall. I was often times close to being moved by the redemption story being presented, but I never quite got there because I never quite completely bought it. I can't put my finger on exactly why, but the entire concept just felt too easy and theatrical, like it was written to extract emotion from me forcefully rather than earning it with a fiction that felt like fact. 

It isn't that I don't believe evil people are incapable of finding decency and peace in the world, I do believe that, but in Tsotsi it just never felt 100 percent genuine, literally making a transition from committing a brutal murder in one scene to holding a baby and cherishing a moment in the sun over the course of a small span of time. 

Still though, I have to recommend the movie despite all of that complaining I just did because what Tsotsi does right, it does so wonderfully, and this cold, confused feeling I am trying my best to explain would not rear its ugly head with everyone. I can guarantee that a great deal of people viewing this film will in fact buy in to the story and the powerful emotional content and imagery will resonate deeply, and I don't blame anyone for it. In fact, I am rooting for each and every one of you to fall in love with this movie if you get the chance. 

Typically I am very easily moved by cinema and yet I never was during Tsotsi. Perhaps I am just heartless at the moment and at another time, under different circumstances, I would have fallen in love with this story. 

For now I will just settled for liking and admiring it.

3/5

The Tree of Life Review

Before I really allowed myself to absorb the film The Tree of Life, before I opened my mind up and gave in to the experience, I didn't believe in miracles. I never really considered the big picture of existence or how beautiful the world really is. 

The Tree of Life made me realize how incredible it is to be able to wake up each day and simply exist. I watched my wonderful daughter sleep one night, so peaceful and beautiful, and I realized if I made one decision differently, she wouldn't be a part of my life. She would never have a chance to paint a picture, tell a story, give me a hug or tell me she loved me. She would never have a chance to make friends, ride a bike, or watch a film without a perfect fateful moment back in 2005, when I made a last second decision to go to a friends house on Valentines Day and a girl walked in, a face I never had laid eyes on before and may have never seen again if not for that night.

We could have never met, we could have broken up, we could have not decided marriage was the right decision yet, or we could have decided to wait to have children. If we went down a different path during any one of these moments, she would not exist, but she does. She is the most important, incredible thing I have ever known, and generations of my family and my wife's family had to make exact, perfectly executed choices for her to be a part of my life today. 

It's a miracle. The Tree of Life taught me that they exist.

5/5

Avatar Review

Despite comfortably in the lead as the highest grossing film of all time at the box office and being nominated for nine Academy Awards back in 2010, Avatar has become a widely admonished work and thus finding enjoyment in it almost feels embarrassing and shameful. Essentially, loving this film is the cinematic equivalent of dating an absurdly gorgeous girl in high school, but your best friend hates everything about her personally. Are you honest with your buddy and admit to your relationship, citing the fact that you think she is hot as your reasoning behind the decision? Or do you keep things quiet, waiting to meet up with her at night after pretending you need to go home?

On a purely aesthetic level, no one would argue with the attraction. Hell, you are lying to yourself if you don't admit to it. Avatar is a technical masterpiece, the very definition of a reference quality achievement, the ideal disc to pop in if you want to show off the capabilities of that amazing new flat screen you just put on your wall. However, the narrative feels drenched in familiarity as the story feels as if it has been done numerous times previously, and also I can't help but imagine James Cameron with a giant evil grin on his face as I watch, literally whispering in my ear how great he is and how important his work is for cinema. Without a doubt something else feels in play here beyond humble craftsmanship and storytelling, like you can actually see Cameron's ego on display in every frame.

Despite this, I am here to say that I love the movie and I, for one, am not afraid to admit it. If Avatar is the most jaw dropping girl in school, then I would have gladly held her hand and walked down those hallowed halls with a dumb, proud smile on my face. Why? Because I am so damn entertained the entire time I experience this film, even while knowing and accepting any flaw that I previously mentioned. I would never marry her, of course not. I need far more interesting depth and substance to spend my life with a person, but for the occasional fling you can do far worse than a mindless viewing of Avatar. Just sit back, relax and tell James Cameron to take you deep into Pandora.

Reading back that last line, it sounds even more perverted than I imagined. Forgive me.

4/5

My Probably Terrible and Way Too Early 2016 Best Picture Predictions

Who says it's too early to make Oscar predictions for next year? Where's the fun in waiting for more information? I say, do it now and then shake my head in disgust later this year when it becomes obvious that these are completely off the mark

So here we go. These are my probably terrible and way too early 2016 Best Picture Predictions

Knight of Cups

The Martian

Silence

Me and Earl and the Dying Girl

St. James Place

Midnight Special

The Revenant

The Hateful Eight

Star Wars Episode VII: The Force Awakens

A part of me thinks this is a very realistic list, and another part of me thinks this would just be too good to be true for me personally. 

Knight of Cups is the new film from Terrence Malick, the man behind my favorite film of all time, The Tree of Life. I don't want to set myself up for disappointment, but I have faith that this will be another special cinematic experience from the genius auteur.

The Martian is based on the fantastic debut novel from Andy Weir of the same name, and it is Ridley Scott returning to science fiction which is where he is at his best (yes, including Prometheus which I love). As someone who has read the book, trust me, this is the type of material that the Academy can fall in love with, and if you take a look at the cast listing of this film, you will see the potential for something remarkable. 

Silence is currently in production with Martin Scorsese at the helm, which alone is enough to believe in its Oscar chances. The only thing about picking this one, it isn't even guarateed to be released in time for next years Academy Awards. It is currently listed as a 2016 release, although I have a gut feeling it finds its way to a film festival later this year and gets a limited release in time to qualify.

Me and Earl and the Dying Girl feels ready to follow in the footsteps of recent Sundance gems that went on to bigger and better things. Just yesterday both Whiplash and Boyhood were major players on Oscar night, and both were debuted at Sundance. Me and Earl and the Dying Girl received overwhelming acclaim at the festival and won both of the top prizes there. I recently read the novel it is based on and yep, this is going to be a special film.

Directed by Spielberg, a script co-written by the Coen brothers, starring Tom Hanks with an October release date? A historical biography spy thriller? Yep, I feel good about the chances of St. James Place. 

Midnight Special probably won't be nominated for Best Picture. Let me get that out of the way. So why am I picking it? Because Jeff Nichols deserves the damn recognition, with his previous two films being absolutely sublime and yet they were overlooked by the Academy. Take Shelter is one of the finest films to focus on mental illness ever made, and Mud was just pure storytelling magic. In November of this year, his new science fiction drama will be released and I hope it is when the Oscars take notice and showcase the work of this amazing talent. Oh, and I hope Michael Shannon is nominated for Best Actor as well. The fact that he wasn't among the five recognized for Take Shelter is such a shame.

The Revenant certainly feels like a safe, solid pick now, the next film by Alejandro Gonzalez Inarritu after winning Best Director and Best Picture last night with Birdman. Perhaps a win for Leonardo DiCaprio here? We will have to wait and see.

I hesitate to include The Hateful Eight because I have a gut feeling it may not be up for the top prize after the last two films by Quentin Tarantino were nominated. Going three in a row would be quite the accomplishment, but with the campaigning of Harvey Weinstein backing it and the fact that the Academy clearly appreciates that intoxicating Tarantino style, it just might happen.

Finally, yes I am picking Star Wars Episode VII: The Force Awakens. As I am a massive Star Wars fan, this probably is wishful thinking, but hear me out on my logic. After the prequels proved to be such a letdown, if J.J. Abrams is able to put out an amazing new film (and I believe he will) with the original cast involved, released right in the heart of Oscar voting season, I imagine many voters will fall head over heels in love with the movie.

When Abrams rebooted Star Trek, I recall there being talk of it possibly sneaking into the Best Picture race, and that was Star Trek. No offense to the Trek fans out there, but it just isn't as beloved and cherished of a franchise as Star Wars. If he nails this, people like me will be ready to put up Abrams shrines in their bedrooms to honor the man. I wouldn't be that surprised if this film picked up a whole bunch of nominations in 2016, and not just for the technical achievements. 

So there we go. The nine films I currently think will be up for Best Picture next year. I look forward to coming back to this down the road and realizing I only got 1 correct.

2015 Final Oscar Predictions

Only a few hours to go until Hollywood's big show kicks off, so it's time for my last minute final predictions of who will walk away winners in some of the major categories.


BEST PICTURE

Boyhood

A month ago I thought this was a shoe in. Now, I really strongly considered going with Birdman and I think that may in fact win, but I have been riding the Boyhood train ever since I saw it last summer, so why jump off now? My favorite film of the year so rarely also wins Best Picture. Let's hope it happens here.

BEST DIRECTOR

Alejandro Gonzalez Inarritu, Birdman

Logically, you would think if I am picking Boyhood to win Best Picture, that the Academy would also award Linklater with director as well. This used to be pretty much a guarantee, that the two categories would align on Oscar night, but over the last few years the split has become a much more regular thing, and why not? Why can't a specific filmmaker be recognized for his achievement, and a different film be recognized for it's entire vision being the "best"?

It's also possible the opposite happens, Linklater wins director and Birdman takes home picture, but I am going with this.

BEST ACTOR

Eddie Redmayne, The Theory of Everything

Despite the obvious love from the Academy towards Birdman, I still think Eddie Redmayne walks away with the trophy tonight. Voters love when an actor literally transforms for a role, and Eddie Redmayne pulls off something incredible turning himself into Stephen Hawking.

BEST ACTRESS

Julianne Moore, Still Alice

The best performance by anyone in 2014. Enough said.

BEST SUPPORTING ACTOR

J.K. Simmons, Whiplash

The chances I get this pick correct = 100%. J.K. Simmons is not only going to win, but in my world it is the only correct choice in the category. Brilliant, dynamite stuff by a man I have been a fan of for quite some time, thrilled to see him get recognized tonight. 

BEST SUPPORTING ACTRESS

Patricia Arquette, Boyhood

Much like with J.K. Simmons, this is a guarantee. Without a doubt the Academy will recognize the amazing performance by Patricia Arquette, which happens to be the character I connected with the most in my favorite film of 2014. 

BEST ORIGINAL SCREENPLAY

Wes Anderson, The Grand Budapest Hotel

Wes Anderson has quite the unique, brilliant mind, and I will be thrilled if I am correct and his words are honored with the trophy tonight. The Academy seemed to really cozy up well inside The Grand Budapest Hotel considering it's 9 nominations, and between its screenplay and a few of the other awards like production and costume design, it won't go home empty handed.

BEST ADAPTED SCREENPLAY

Graham Moore, The Imitation Game

Remember, this isn't who I want to win, it's how I think actually will. If it were up to me, either Paul Thomas Anderson or Damien Chazelle would be walking on stage tonight to accept this award, but the snoozefest, sorry, film The Imitation Game seems destined to walk away with a win in this category. 

BEST EDITING

Boyhood

12 years of filming portrayed seamlessly over the course of less than 3 hours, with a fluidity that feels like pure damn magic. Yep, I not only think Boyhood will win for its editing, I am rooting for it.

BEST CINEMATOGRAPHY

Emmanuel Lubezki, Birdman

Had to include this category so I could embrace my man crush on Lubezki for the second straight year. Give Chivo the damn trophy!

BEST FOREIGN LANGUAGE FILM

Ida

Ida is a pretty darn good film, but Winter Sleep isn't even nominated. Therefore, I boo this category as a whole. Boooooo.

BEST DOCUMENTARY FEATURE

Citizenfour

Not only will Citizenfour be recognized for being a great film (it is), but it is also seen as important and admirable for the courage it took to ever make it in the first place. I have a good feeling a speech regarding Edward Snowden being an American hero is coming a few hours from now.

BEST ANIMATED FEATURE

How To Train Your Dragon 2

While this wouldn't be my choice (Princess Kaguya!!!!!), I also won't complain a bit seeing as how How To Train Your Dragon 2 ended up in my top 15 of 2014. 

If I Picked the Oscars - Best Picture

I have already laid out my personal nominations and winners for Best Actress (here), Best Actor (here), and Best Director (here) so here we are. Best Picture of the year.

As the Academy nominated 8 films this year, I will do the same. 

Birdman

It would be a crime to not include Birdman in the mix for Best Picture of the year, as unique films like this are so rarely given the recognition they deserve. The film works on every single level, as it can be appreciated for its excellent direction, the incredible performances, and for every single glorious technical achievement I picked up on throughout that practically had me drooling. This isn't just some one trick pony that will lose its luster on revisits either. Birdman is more of a, buy the Blu-ray, watch every single special feature to learn as much about the medium as possible, and then admire the movie for years to come.

The Tale of the Princess Kaguya

A best picture nominee for me, and yet it likely won't walk away with the Best Animated Feature award on Oscar night. This is how things usually work between me and the Academy, but I'm used to the disconnect. For me, The Tale of the Princess Kaguya is a work of art, a stunning slice of Studio Ghibli that, in time, will have it ranked up there among the previous masterpieces they have already released, like My Neighbor Totoro and Spirited Away. Quite simply, this is a sublime film.

Whiplash

Electric. So damn electric. Roughly a month since I sat down and lost myself in Whiplash and I can still feel the electricity pulsing through my veins, a film so expertly crafted and featuring a conclusion that literally had me on the edge of my seat. The power this work has had over me ever since it finished is intoxicating, I can't wait to see it again.

The Grand Budapest Hotel

I have said so, so many things about The Grand Budapest Hotel already, to wax poetic about it again here would be redundant. The Wes Anderson masterpiece I had been waiting for, it's as simple as that.

Interstellar

The grand ambitions of Christopher Nolan have paid off again, as Interstellar swept me off my feet and took me to places I have only dreamed of visiting before. I have mentioned before that I don't think this is a perfect film. I have heard some complaints that I honestly agree with. So why is it nominated for Best Picture then? Because I am a sucker for bold, big, and brash pieces of cinema, and I respect the hell out of a filmmaker who is willing to take the audience to places that will open up their minds to the wonders of paying the money it takes to go to the theater and experience a vision the way it was meant to be seen.

Winter Sleep

An absolute masterpiece and one of the finest examples of the beauty of performance art that I have seen in some time, Winter Sleep is easily the best foreign film I have witnessed this year and, in my world, one of the three best films of any kind, period. Remember that disconnect with the Academy I brought up earlier? Winter Sleep, somehow, wasn't even nominated in the Foreign Language category, let alone for Best Picture of the year. I have no comprehension how this oversight occurred, but no trophy or lack there of can challenge the way I feel about a work of art like this.

Gone Girl

If you go to the top of this post and click on the link to my previous post, regarding my nominations and winner for Best Director, you can read up on my deep, passionate love affair with the work of David Fincher. I am not going to go down that road again here, so I will just say this. Gone Girl is so perfectly crafted and so damn entertaining, I had a giant smile on my face throughout the entire experience when I saw it in the theater back in October. It is the type of movie that reminds me of why I love this particular medium so, so much. 

and the Oscar goes to...

Boyhood

Some who have seen Boyhood say nothing happens during the film. I say everything happens during it. Life happens during it, a story of living that is soaked in that magic realism that Richard Linklater loves to portray in his work. Some say that my love for the film is misplaced, that it is unworthy of such admiration. Tell that to the tears I shed during it's moments that are heartbreaking as well as those that inspire. 

Everyone has their own opinion, and mine is this: Boyhood isn't merely the best film of 2014. It is one of the greatest of all time.