50 Best Films of 2014 - #20 - #11

Now into the top 20 films from 2014

20. Under the Skin

A tricky one to recommend, Under the Skin is enigmatic and utterly, shockingly strange, and while I loved it obviously and I know others who did as well, I also know a fair share of people who would ask me why the hell I wasted their two hours, or they would turn it off halfway through in disgust. This is really only a safe bet if you meet one of these two conditions: a) you are physically attracted to Scarlett Johansson, or b) you find strange, abstract cinema with some real depth and meaningful thematic substance appealing.  

I will leave it at this: there is some really interesting stuff happening here regarding the way we view and treat women in society.

19. Blue Ruin

I really expected this to be a by the numbers, you can see what is approaching around every corner revenge thriller. I was so damn wrong. Blue Ruin is smart, edge of your seat stuff, if you have Netflix streaming I highly suggest checking it out.

18. Life Itself

Growing up in the suburbs of Chicago, I used to walk to a store nearby to purchase a newspaper every Friday specifically for the movie reviews, and it wasn't a difficult decision whether I should pick up a Sun-Times or a Tribune. I wanted to read the words of Roger Ebert, and even when I disagreed with the man, I always admired him. Life Itself is a wonderful documentary that serves as a tremendous tribute to Roger, but the best thing about it is that it is honest rather than simply positive pandering. Steve James doesn't mind showing that his subject was flawed because it is human to be flawed, and as a result the film is truly special.

17. Foxcatcher

A chilling and brilliantly performed picture based on a true story, I was engrossed inside the world crafted by Bennett Miller from start to finish. Foxcatcher is a cold and dour experience without a doubt, and one looking for anything light and fun will surely be counting the minutes until it's over, but if you are like me and find odd amounts of joy watching something ominous this may work wonders for you too.

16. Inherent Vice

Luckily for me, I had read the delightfully strange source material this was based on before seeing the film, the novel by Thomas Pynchon of the same name, so I knew what to expect going in. I knew much of the narrative would seem incoherent and the style of storytelling would feel out of sorts, but strangely that was what makes Inherent Vice such a blast to witness unfold. Sure, it's a mess, but what a glorious mess it is. Directed by one of the brightest modern auteurs working today, Paul Thomas Anderson, even if you have no idea what the hell is going on you have got to admire just how well crafted the ride is.

15. Nightcrawler

Lead by my favorite male performance of the year by Jake Gyllenhaal as Lou Bloom, Nightcrawler is another dark and creepy entry into my list, but unlike Foxcatcher it also has a wickedly clever sense of humor as well. The fact that this ended up at #15 on the year is a testament to just how strong 2014 was in cinema, because my goodness I love this movie.

14. The LEGO Movie

The first movie from 2014 I saw ends up being one of the finest of the year. It isn't often I can say that because typically the early months are the doldrums of the theatrical calendar, but The LEGO Movie turned out to be shockingly great. So clever, so warm, so much damn fun with a third act twist that brought quite a few tears to the eye, what initially felt like it was destined to be solely an advertisement for toys turned out to have an important and meaningful message in the end.

13. How to Train Your Dragon 2

Back in 2010, I was one of the few people who felt the first How to Train Your Dragon was the best animated film of the year. Understandable because the also amazing Toy Story 3 was released during that very same year, but How to Train Your Dragon just had this magical feeling that cast a spell on me and won me over immediately. I was concerned the sequel would be a let down, but that skepticism vanished quickly as the characters, the story and the stakes all matured since the release of the original. For quite some time this movie held my top spot of 2014 and with each revisit I am reminded why. How to Train Your Dragon 2 is an amazing film for any person of any age. 

12. Like Father, Like Son

The switched at birth story has been done before, but never this eloquently and with this much realism and passion. Like Father, Like Son is heartbreaking and thought provoking cinema, asking a rather important question: what makes a child yours? Is it the blood and genetics you share, or is it something more? A truly beautiful film, and as a father I made a very strong connection with this work.

11. The Raid 2

The first Raid film completely caught me off guard as I had assumed I would be bored by something that was essentially non-stop action, and instead I was pumped full of adrenaline and exhausted by the end of that insanely intense, blood soaked film. Within the first minute of The Raid 2, as the movie opens outdoors with a wide shot that is far different from the cramped and claustrophobic nature of the first film, it is clear director Gareth Evans wants bigger and better things with the sequel. That is exactly what he delivered, as this time around things are far more story oriented, yet when the action does show up it is just as intense and just as awesome as before. 

Next up, the top ten films of 2014. The picture above is from a work that landed not only on the list, but in the top 5 of the year.

Inherent Vice Review

I don't typically come right out in a review and recommend the source material a movie is based on, because I try to focus solely on the film itself, but before you go see the new Paul Thomas Anderson film Inherent Vice, but you should read the source material of the same name by acclaimed author Thomas Pynchon. I had already tasted the deliciously bizarre world occupied by characters like Larry "Doc" Sportello, Shasta Fay Hepworth, Mickey Wolfmann and, last but not least, "Bigfoot" Bjornsen thanks to my reading the book well in advance of seeing it brought to the big screen. The craziest thing is, not only did I not have the film spoiled for me by knowing what would unfold, I actually was still a bit confused trying to piece together the puzzle while watching.

While I read the novel, at times I had absolutely no idea what was happening but by the end I knew I absolutely loved what all the words amounted to. The film follows a similar pattern, and it isn't that the plot itself is complicated, its the way it navigates through it that makes it occasionally challenging to follow. Joaquin Phoenix plays the lead role of Larry "Doc" Sportello, a drugged out private investigator who is tasked with a job working for his ex-girlfriend Shasta, who hires Doc to prevent the potential abduction of her new lover Mickey. 

My intention is not to make this film seem ridiculous or daunting. I mean, it is ridiculous, but it absolutely needs to be seen. PT Anderson is a modern genius auteur, a man who I have often compared to Stanley Kubrick which is probably the biggest compliment you can pay a filmmaker. When I make such a comparison, it isn't meant to say they are on equal footing because I simply cannot go there yet with PTA, but instead just when you compare their careers in general. Anderson is one of an elite group who actually have the balls to essentially take on any genre and absolutely nail it, which is rare and something that needs to be cherished. If a lesser filmmaker attempted to transition from the tone of The Master to an adaptation of Inherent Vice, I would have assumed it was destined for failure, but PTA? Why the hell not, the guy can take absolutely anything and craft a masterpiece out of it.

Kubrick made heavy, serious films like Paths of Glory, 2001: A Space Odyssey and The Shining, yet he is also responsible for quite possibly the greatest comedic work of all time with Dr. Strangelove. Paul Thomas Anderson delivers There Will Be Blood, The Master, Boogie Nights and Magnolia, and then all the sudden he comes out of nowhere with a drugged out, laugh out loud funny film like this, and he knocks it out of the park.

For some reason I am not ready to place Inherent Vice at the same level as previous PTA masterpieces just yet, but I know for a fact it will get there with a revisit, and shit does this not only demand a revisit, it flat out deserves it. There is so much to take in, so much to comprehend, so much to appreciate, even if you watch it the first time and ask yourself "What the hell did I just watch?" you will do so with a smile on your face, because whatever it is, it's fucking great.

4.5/5 

The Immigrant Review

The opening shot of The Immigrant is of the Statue of Liberty, a symbol of hope and salvation for immigrants arriving at Ellis Island during the early portion of the 20th century, which is when the film takes place. I was born in suburban Chicago in 1984 and I have never left besides a few vacations, so I cannot pretend to have any idea what it would feel like to leave a tragic life behind in search of the American dream, but I would have to imagine that seeing such a grand symbol on the horizon would be a joyous moment for those that associate it with better days ahead. What filmmaker James Gray does is give us this brief taste of the hope before quickly reminding us that this journey so many took wasn't a simple transition from dire to desired circumstances the minute they stepped off the boat and onto American soil.

A crucial aspect to pulling off a period piece like The Immigrant is getting the tone and vibe of the times right, and here is where Gray and the entire team working on the film really nailed it. The production and costume design were beyond convincing, making the experience feel as authentic as possible, and the cinematography by Darius Khondji is lush with warm tones, a glow that beautifully illuminates an otherwise unspectacular frame. Despite the familiar faces of the cast, I never once felt like I was watching a fictional portrayal of the 1920's. Those working behind the scenes on The Immigrant really brought me there.

The story of the film is technically simple but never lacking depth of its study of humanity and the emotional weight of what people suffered through in search of happiness. Marion Cotillard plays Ewa Cybulska, a woman who has come a great distance from a war torn Poland with her sister Magda. Shortly after arriving they are tragically separated after Magda is found to be ill and immediately quarantined to avoid the spread of any disease. Due to her behavior and having been deemed to have a suspect morality, Ewa is to be deported back to her old life only to have a hero named Bruno Weiss (Joaquin Phoenix) swoop in and save her, keeping her and her dreams alive in America. Unfortunately it doesn't take long for Ewa to realize that the motivations of Bruno are cruel and dangerous rather than heroic as he forces her into his burlesque show and also a life of prostitution.

The portion of the film that stumbled a bit for me was after the cousin of Bruno is introduced, a magician named Orlando played by Jeremy Renner. It wasn't the performance of Renner that was my issue, in fact he is quite good in the role, but the inclusion of the character itself simply didn't meld into the experience like I would have hoped. I found the whole idea of an Ewa love interest being seemingly the polar opposite of the evil Bruno, and oh by the way he happens to be his cousin too, to be a little too convenient, and it was the first portion of The Immigrant that felt like a misstep that pulled back the curtains a bit on the otherwise overwhelmingly authentic vibe.

Speaking of performances, Cotillard in the lead role is astonishing. She has a way about her that feels like a person confused, scared, and vulnerable, and it isn't so much found in her words or the way she delivers them but instead in her eyes, in her mannerisms. Everything about her felt so real and believable for the circumstances of the character, a performance all encompassing that transcended simply delivering a script with passion. I saw the other day that the New York Film Critics awarded Cotillard with the Best Actress award for both this and another 2014 film titled Two Days, One Night which I am yet to see, but based on The Immigrant alone I can appreciate the choice. Perhaps not the best female lead I have seen this year (that still goes to Rosamund Pike for Gone Girl), Cotillard certainly isn't far behind.

The Immigrant is a very good, possibly great film that, to be honest, doesn't leave the impression that it will be on my radar for a revisit or be relevant to me cinematically going forward, but it is certainly worth a look for anyone who wants to appreciate the incredible detail that goes into making a film feel like it was actually shot during the period it is set in. Oh, and that performance by Cotillard deserves some attention as well.


4/5