50 Best Films of 2014 - #10 - #1

10. Guardians of the Galaxy

Not only a top ten of 2014 entry, but easily my favorite movie from the Marvel Cinematic Universe. One of my biggest complaints about some of the other films, specifically Iron Man 2 and Thor: The Dark World come to mind, were their attempts to be comedic yet completely failing at actually being funny. Thus I was concerned when I was told just how much of a comedy Guardians of the Galaxy would need to be, but boy did it deliver. Not just with laughs, with EVERYTHING. A joyous, exciting, heartfelt, clever blast of a picture.

9. The Babadook

If you knew me well, you would know how unheard of this is for me. I have a real hard time connecting to a horror film, as I usually think an interesting premise and creepy trailer ends up ruined by the same stupid and predictable tropes, bad writing and excessive gore. The Babadook is an Australian horror film, and it's bloody friggin' brilliant. If you are simply looking to be spooked, it's scary as hell. If you are looking for depth and characters to actually care about, you cannot go wrong here. The Babadook is a meaningful metaphor wrapped in an intense and terrifying film, and it works on every level.

8. Birdman

A completely brilliant, unique cinematic experience, Birdman was a joy to watch for it's fascinating narrative and amazing performances, but it went to a whole other level due to the technical genius on display throughout. This is actually a difficult movie to explain, you just need to see it and decide whether it works for you or not. Some have called it artsy nonsense, pretentious, and silly. I call it one of the best and most original pictures of 2014. 

7. The Tale of The Princess Kaguya

I was already a massive fan of the legendary Studio Ghibli, with My Neighbor Totoro and Spirited Away being their two masterpieces so far. I officially have a third movie to welcome into that category. The Tale of The Princess Kaguya is a completely spellbinding, heartbreaking piece of cinema that for me, despite also loving How to Train Your Dragon 2 and The LEGO Movie (both of which were in the previous list of ten), is by far the best animated work of 2014. 

6. Whiplash

I still get the chills whenever I think about the last 10 or 15 minutes of Whiplash, the most memorable sequence from any movie released last year. Seriously, it's so electric it made the hair on my arms stand up. That isn't to say that the rest of the film was lackluster in any way. Whiplash was destined to be one of the 15 or so best of the year, and then that finale happened, and I can't stop thinking about it over a month after witnessing it unfold. That's the power of incredible cinema, and what Damien Chazelle crafted here is just that.

5. The Grand Budapest Hotel

The masterpiece I had always been waiting for from Wes Anderson, The Grand Budapest Hotel is gorgeous on so many technical levels and also a brilliantly clever comedy. I had no idea how good Ralph Fiennes could be in a comedic role, and it certainly isn't easy to execute the quirky and odd material of a Wes Anderson, but he absolutely nailed it. Seriously, his timing is so spot on perfect I felt like I was grinning from ear to ear anytime he occupied the frame. 

4. Interstellar

Big, bold and ambitious filmmaking. I am a sucker for it, always have been and always will be. I can forgive a flaw or two because I am so mesmerized by the spectacle of the whole experience, which explains why Christopher Nolan's Interstellar lands as the #4 movie of the year. It isn't a perfect film, I cannot lie, but with every ever so slight issue I have with it, I am in jaw dropping awe of EVERYTHING else that worked so damn well. I saw it twice in theaters, and I can promise you there will be 20 more viewings at home coming in the future.

3. Winter Sleep

By far my favorite foreign film of 2014, and one worthy of inclusion into the top 3 overall and yet Winter Sleep isn't even nominated by the Academy. Ah, such is the complicated and confused relationship I have with those people in charge of Oscar nominations, but so be it. I just hope the lack of recognition doesn't stop people from seeking out and watching this gorgeous picture, and while my voice is small and unimportant, it won't stop me from continuing to scream it from the rooftops: Winter Sleep is a triumph of cinema and easily the finest acted movie of the year.

2. Gone Girl

I can't stop falling more and more in love with the work of David Fincher. Just when I think I couldn't admire the man and his vision on a deeper level, here comes Gone Girl, another cold and calculated thriller that entertained me endlessly and made my skin crawl with its ominous tone and perfectly unsettling performances. Based on the incredibly popular novel by Gillian Flynn, one of the aspects of this movie that really elevated it to new heights was the screenplay by that very same writer, with Flynn adapting her own work. It's one thing to come in and chop apart the words of someone else, but to do it to your own? To have the humility and intelligence to say to yourself, yes I wrote this, but a lot of it doesn't work when translated to the big screen? That's really something special.

1. Boyhood

Life. It's a fucked up, weird, heartbreaking, devastating, fascinating and beautiful thing, and it was encapsulated so poetically and gorgeously by Richard Linklater. Watching Mason grow up really resonated with me on multiple levels. Not long ago I was a kid growing up dealing with the bizarre and bullshit issues that accompany adolescence, and yet now I sit here with a 7 year old daughter and I can't believe how fast time has gone. Watching twelve years go by over the course of less than three hours with such a graceful and natural fluidity really made me think about the fact that time is relentless. All we can do is accept it and enjoy the ride.

If I Picked the Oscars - Best Director

Since I already covered the beautiful people that perform in front of the camera, time to acknowledge the brilliant work done behind it.

These would be my five nominees for Best Director if I were calling the shots, with the last one listed being the winner.

Christopher Nolan - Interstellar

I know a lot of people will disagree with me on this one, but I thought Interstellar was an incredible cinematic experience, and the confident, ambitious direction of Christopher Nolan was the star for me. Well, him and TARS as well. I will always favor filmmakers who have the guts to try something new, to dazzle an audience rather than play it safe and conventional. Interstellar dazzled the holy hell out of me.

Wes Anderson - The Grand Budapest Hotel

I have been a huge fan of Wes Anderson for a long, long time now, back to when my friends and I first discovered the comedic genius of his early pictures like Bottle Rocket and Rushmore, yet I always felt like his previous work was missing something. I couldn't quite put my finger on it, but I wondered if Wes would ever put it all together and unleash his masterpiece onto the world. It happened way back in early 2014 when The Grand Budapest Hotel hit theaters. Brilliantly written, perfectly shot, exquisitely performed and every technical aspect of the film felt award worthy, Wes won't win the award with me or with the Academy, but he certainly deserves the recognition of a nomination.

Alejandro Gonzalez Inarritu - Birdman

2014 was a year with a lot of unique and interesting cinema, but the work of Alejandro Gonzalez Inarritu combined with genius cinetographer Emmanuel Lubezki on Birdman was precise, confident and fascinating to witness unfold. As I said above with Nolan, I will ALWAYS favor the filmmakers who want to dazzle me, and you may notice a trend with my three nominations thus far. They all dazzled, and most importantly, they all did it in completely different ways. A lot of people say a movie was "like nothing they have ever seen before" to the point that it feels like such a statement has lost its luster, but I really have never seen anything like Birdman before, and I loved it.

Richard Linklater - Boyhood

If I were choosing the man who was behind my favorite film of the year, or my favorite storyteller of the 2014, Linklater would be at the top of the list, but as I am choosing the greatest achievement in direction I have him coming up just a bit short. His work on Boyhood was masterful and the film itself has a profound impact on me emotionally, and I'm thrilled the mainstream world is finally getting a chance to appreciate the ridiculous talent he is. His films are critically acclaimed and everyone knows what Dazed and Confused is, but the name Richard Linklater was still a name that, when mentioned, would typically be followed by the question "Who?". Hopefully that won't be the case anymore thanks to Boyhood. 

and the Oscar goes to...

David Fincher - Gone Girl

Yes, my adoration of Fincher shines through again in 2014, as I was mesmerized by his recent brooding thriller Gone Girl. Some may see my constant bouquet tossing at Fincher's feet and assume I blindly love his work no matter what, but that isn't the case, as proven from the fact that I can't work up the motivation to give The Curious Case of Benjamin Button a second chance. I simply love his style, I get lost in the stories he chooses to tell, and I could revisit his best films over and over and over again.

Gone Girl is one of his best, a dark and twisted yet brilliantly satirical look at both the modern media and marriage, and Fincher directs the hell out of this movie. It is so expertly crafted and entertaining, watching it is intoxicating. 

Plus, I'm still bitter about 2010. Tom Hooper? The Kings Speech? Don't even get me started.

A Most Violent Year Review

It's difficult to say exactly how I would elaborate on what exactly makes a great filmmaker, well, great. When I watch the work of a David Fincher or a Richard Linklater, I admire the fact that they have honed in on just what they do beautifully and with ease. I hope Fincher continues to bring his chilly and eerie atmosphere to perfectly crafted thrillers, and I want more of that deft Linklater hand when he forms realism in ways that I so easily fall in love with. So I guess I would say a great filmmaker figures out what works and utilizes it to make the best possible work going forward.

However, sometimes staying the course and being repetitive in style could easily be tossed around as a criticism for a director who isn't willing to break from an already established mold. I practically worship the talents of Paul Thomas Anderson because he is constantly going in different directions and nailing it every single time. In 2012 he unleashed the dramatic and brilliant The Master, and then he comes back this past year with the bizarre and comedic gem Inherent Vice. These are just recent examples, but throughout the career of P.T. Anderson he has stepped behind the camera for vastly different pictures time and time again, and I admire the bold confidence it would take to never simply settle into a comfort zone. This is precisely why I call Anderson this generation's Kubrick, the all time greatest auteur who managed to mold masterpieces from multiple genres.

Before I go upsetting people here, I am not comparing J.C. Chandor to any of the names mentioned above, not Fincher, Linklater, PTA and certainly not Kubrick. The reason I ponder these two different perspectives on directors and what makes them great is because after seeing two of his films, J.C. Chandor clearly does not want to follow a single stylistic mold and become comfortable with what was previously received well. Last year I was introduced to his work with the nearly dialogue free and yet riveting survival drama All is Lost, and yet only a year later we get to experience his talents go in a completely different direction with A Most Violent Year.

A film that feels almost out of place being released in 2014, a throwback to the work of Francis Ford Coppola and I've been told Sidney Lumet, because unfortunately my list of Lumet films I have seen is far too lackluster to make such a comparison, A Most Violent Year is deliberately paced yet never boring because it mixes in plenty of fantastic and exciting moments that blend perfectly with the narrative, and whoever was in charge of putting together the cast of this film knew exactly how to make it appeal to me. Oscar Isaac is one of my absolute favorite actors working today (his inclusion in the new Star Wars film made me almost literally jump for joy) and Jessica Chastain is a fantastic talent, to the point that when I see her name associated with a film I automatically give the project the benefit of the doubt. Watching these two perform side by side was delicious treat.

J.C. Chandor is two for two in my book, but he has yet to hit a home run. All is Lost and A Most Violent Year are equally close to transcending merely being great, and I have heard positive things about his first movie I have not yet seen, Margin Call. At 41 years of age, I can feel a true masterpiece brewing from this clearly gifted cinematic mind. I can't wait to see what's next.



4/5

Boyhood Review

When you flip through a photo album, typically you get a glimpse into the "important" moments from the past. The moment two lives become one through marriage. The birth of their child. The magic of a first birthday. The first day of school. Sure, you may also see images of random days here and there, like a trip to the zoo or a family vacation, but for the most part these pages are reserved for the stuff that is deemed "special", a limited number of landmark moments that feel worthy of remembrance while hundreds of days each year simply came and went.  

Boyhood covers a few of these type of moments, those that would find their way into a photo album, like a birthday and a graduation, but for the most part it is a film that is meant to fill in the blanks, the empty spaces between each photograph that never seem to garner the attention they deserve. It's a picture that is profoundly powerful in its simplicity, one that deserves recognition for every scene that feels inconsequential because those moments are precisely why the movie feels so damn real. Truthfully, no scene should feel inconsequential because nothing about life is.

I know some claim that the only reason Boyhood is such a beloved film is because of the 12 year "gimmick", the fact that it was made over such a long span of time and thus is admired for its ambitions rather than it actual achievements, but this concept is baffling to me. Such a thought is totally irrelevant because without the 12 year shooting schedule, the film Boyhood doesn't exist. Sure, Richard Linklater could have made this picture over a normal shooting schedule and simply cast different aged actors to play the role of Mason Jr., but then the authentic beauty of the narrative doesn't translate. So, yeah, this will probably win Best Picture because of the fact that it was made over the course of 12 years, but that is no gimmick. That IS the reason Boyhood is such an achievement. This unique cinematic vision resulted in one of the most fluid, gorgeous, and real movie experiences I have ever had the pleasure of witnessing.

This was not my first viewing of Boyhood nor is it my first gushing, glowing review, but a Blu-ray revisit demanded another write up from me because the impact this film has on me is profound. As my wife and I enjoyed the perfect pacing, seamless editing and fresh and exciting approach to storytelling today on our couch, the type of lazy Sunday afternoon I day dream about when life gets hectic or times get tough, my seven year old daughter walked in and out of the room, and it is impossible not to connect to this Linklater work when you see her adorable face and wonder where the time has gone. She may be only seven, but at the same time she is already seven. One day a child is born, and when you blink your eyes they are in first grade, reading books and giving you attitude and complaining about dinner and not listening to a word you say...and it's totally amazing.

I think the best thing about Boyhood, which is easily one of the greatest films of recent memory if not ever, is when you consider the idea of how it will age along with us. Right now, at the age of thirty with a child who is seven, I connect to the concept of the passage of time being relentless on a meaningful, emotional level, but what will it be like ten years from now?

I will be forty, and my daughter will be seventeen years old, embarrassed of how I act around her friends, keeping me up at night when I worry of why she has missed curfew, and preparing to leave our home for college. If Boyhood is this amazing now, I can't even imagine the tears I will shed in the future as Mason drives away, down that beautiful open road with the song "Hero" playing, perfectly suited for the moment. 

Boyhood isn't just a gimmick or just a well executed interesting premise. Boyhood is perfect.

5/5

100 Favorite Films - #80 - #71

A continuation of my list counting down my 100 favorite films of all time.


80. Toy Story (1995)

I actually wasn't all that into animation as a child. Sure, I had my films that were special to me like The Lion King and Aladdin, but I was far more into live action work like the original Star Wars trilogy, Aliens and Back to the Future.  Suddenly along came a film called Toy Story, the first release by Pixar Animation Studios, and I was mesmerized watching it in the theater as an eleven year old. Now I am thirty and nothing has changed, I still love the film, possibly even more than I did back then because now I understand just how ingenious the entire thing is.


79. Road to Perdition (2002)

My second (and final) Sam Mendes film on the list, Road to Perdition just has something about it that tickles me in just the right way. The mood of the picture is somber, the imagery gloomy, the entire thing completely beautiful. Both a wonderful addition to the mob sub-genre and also a look at a father - son relationship that really resonated with me. One scene in this film involving Paul Newman in the rain is easily one of my favorite single sequences in cinematic history. The usage of sound, or lack there of during that scene...just thinking about it gives me the chills.

If you have seen the film, you may remember the scene I am referring to. If you haven't, do so.


78. Django Unchained (2012)

My Review of Django Unchained

The work of Quentin Tarantino finds its way back onto my list (and it won't be the last time), this being his most recent film. Not much has changed throughout his career when it comes to brilliantly clever dialogue and a unique style, and that is one of the best things QT has going for him. When you see a film of his, there is no mistaking who is at the helm of that work.

Django Unchained is a blast, featuring another Oscar winning collaboration with Christoph Waltz but it certainly wouldn't be fair to only single out his performance. The casting of this film was on point and the performances across the board prove why, everyone fits into their role like a glove and deliver the genius Tarantino script with perfection.


77. Night of the Living Dead (1968)

My Review of Night of the Living Dead

Speaking of Quentin Tarantino, the film Night of the Living Dead and the man who created it, George A. Romero, were things he admired tremendously, even going as far as once saying the middle initial A stood for "A fucking genius". It is hard to disagree, as Romero is to credit (or blame, depending on your opinion) for the amazing popularity of the concept of the zombie. Sure, The Walking Dead may be the reason many currently love the sub-genre, but such shows wouldn't exist without the influential brilliance of Romero paving the way.


76. Unforgiven (1992)

You won't find a ton of westerns on my list of favorite films, as I have had a lot of trouble warming to the genre over the years, but Unforgiven left its mark on me at a young age and I loved it instantly. The fluidity of the pacing, the sweeping feeling of the imagery, and the story itself, everything about this picture works. A Best Picture winner I can agree with.


75. Before Midnight (2013)

My Review of Before Midnight

At this point, you probably assumed when I included the first two films from the Richard Linklater Before trilogy, I would finish off the whole darn thing at some point during this list. You would be correct. Before Midnight is actually my favorite of the three despite ironically being the hardest to watch, because the process of watching people fall in love during the first two installments has turned into the story of a couple that has now been together for nine years, trying to make their relationship work while dealing with the struggles of not only raising their own children but the pain that comes with Jesse not being able to see his son from a previous marriage. The chemistry here between Ethan Hawke and Julie Delpy has never been stronger, because ironically when things nearly hit rock bottom is when we get to see them at their very best.


74. The Thin Red Line (1998)

A week or so ago I did a "Genius Directors" post regarding Terrence Malick and here he makes his debut on my favorite films list. One of the finest war films ever made, The Thin Red Line is both brutal and beautiful as the horrific nature of war is shown with both gruesome detail and the artistry that comes from a Malick film. What an amazing cast as well, it is an unforgettable picture.


73. 12 Angry Men (1957)

A master work in simplicity, Sidney Lumet's 12 Angry Men tells the story of 12 members of a jury immediately after the closing arguments have concluded and deliberation must begin. The verdict must be agreed upon unanimously and 11 of the men inside that room all agree on guilty, but one man refuses to succumb to prejudices or pressure from the others who are more worried about their plans later that day than the fact that the life of an 18 year old man hangs in the balance.

Carried by fantastic performances, nearly the entire film takes place on only one set, the jury room. Literally only 3 of the 96 minutes show other locations, and yet despite only experiencing this one set piece the film never drags. Watching the case being discussed and tensions boiling over is fascinating stuff.


72. Stalker (1979)

Director Andrei Tarkovsky was once questioned on whether his film Stalker would be too slow and dull for a theater going audience. His reply? "I am only interested in the views of two people: one is called Bresson and one called Bergman." This of course refers to the incredible auteurs Robert Bresson and Ingmar Bergman, and if you have screened a Tarkovsky film you would know that the man believed in his art and didn't mold his films to try to score at the box office.

I find nothing slow nor dull about Stalker, a confounding science fiction film that feels so dense and meaningful that I could probably watch it ten more times and still not fully comprehend the artistry that went into it. Two men known as "the Writer" and "the Professor" are looking to enter an area referred to as "the Zone", which is a location where for unknown reasons the laws of physics no longer apply. The goal of entering "the Zone"? To find "the Room", which is believed to have the power to grant any wish of those who enter it.


71. Jaws (1975)

I doubt I am putting an unknown film on your radar with this one, which is an iconic and beloved work.  Jaws single-handedly made it terrifying to go swimming in the ocean, a landmark in its ability to build tension through great filmmaking and a brilliant piece of music.

Next will be #70 through #61. The numbers may be getting smaller but my passion for the films listed will get bigger and bigger. Above is an image from a film that will be a part of the next list.

Any thoughts? Thanks!

Oscars 2015: First Predictions

One step outside on this blustery morning and I immediately wanted to head back in, throw a blanket over me and watch a film. It's that time of the year again, time for layers of clothing, hot cocoa and warming my car up ten minutes before I actually have to leave the house. This also means that award season is in full swing, with the major players either already released and firmly established as contenders or on their way soon as the holidays approach.

The difficult thing about doing Oscars predictions is having to remind myself that I must think like the Academy rather than base them on my own opinions of those films I have already seen. So while I am (unfortunately) yet to see various highly anticipated works like Birdman, The Imitation Game, The Theory of Everything, Whiplash, Foxcatcher, Unbroken, and American Sniper, I will likely include some of these titles in my predictions because, frankly, it is rather easy to know what the typical Academy voter will embrace.

This isn't to say that those films aren't worthy. I often times have issues with who eventually takes home the trophy at the end of the night, but typically I only have a few minor complaints about who was nominated in the first place. Thanks to the politics of the whole event and the power of the studios to campaign for their highest regarded films, not to mention the instant access to general reactions thanks to Facebook and Twitter and film criticism thanks to sites like Rottentomatoes and Metacritic, the nominations are far more predictable than they used to be.

On that note, here is how I feel the race will shake out as of November 11th. The films are in order of their likelihood to take home the prize, and any with an asterisk next to the title indicates that I have seen the film.

BEST PICTURE

Unbroken
Boyhood*
The Imitation Game
American Sniper
The Theory of Everything
Into the Woods
Gone Girl*
Birdman
Whiplash
Foxcatcher

Despite nothing to currently base the prediction on, I have a gut feeling Unbroken is going to end up being the 12 Years a Slave of last years awards. A film that will not take home the most trophies on Oscar night, but will walk away with the biggest one of them all. Why do I feel this way? Well, Unbroken tells the very true story of Louis Zamperini, a hero of World War II who, after surviving a plane crash in the Pacific Ocean during the war, was forced to endure 47 days drifting on a raft followed by various Japanese prisoner of war camps.

Toss in the fact that the film is directed by Hollywood favorite Angelina Jolie and that the real life subject of the work, Louis Zamperini, passed away earlier this year at the age of 97 before he had a chance to see the film, and the end result is a motion picture that was practically crafted just for Academy voters. They will eat that shit up.

I would love to see Boyhood take home the award and it certainly has a chance, but my concern is based around two factors: the timing of the release, meaning it has already been out for months and may not be burning in the minds of voters any longer by the time the ballots are sent out, and also the fact that it is a low budget independent film that doesn't have the studio power to finance a strong campaign for it. Sadly, that second factor is important, because unfortunately sometimes being the best picture isn't enough to win you Best Picture.

I felt compelled to leave Interstellar out of the mix here, and I really hope I am wrong. I would love to see Nolan and company recognized for their outstanding achievement with a nomination, but the film has proved to be polarizing and I can easily see it being the odd man out in the end.

BEST DIRECTOR

Richard Linklater, Boyhood*
Angelina Jolie, Unbroken
Alejandro G. Inarritu, Birdman
Clint Eastwood, American Sniper
David Fincher, Gone Girl*

Best Director and Best Picture used to go hand in hand, but I am predicting that for the third straight year these awards will go out to two different films. While Unbroken will be the powerful film that will resonate with voters enough to Best Picture, they simply won't be able to ignore the truly stunning, one of a kind achievement that is Boyhood. What Linklater did, crafting the film over the course of 12 years using the same cast throughout, watching not only young Mason but every single character change and adapt over that span of time is nothing short of brilliant and inspiring. Give the damn trophy to Linklater.

BEST ACTOR

Eddie Redmayne, The Theory of Everything
Jack O'Connell, Unbroken
Michael Keaton, Birdman
Bradley Cooper, American Sniper
Steve Carell, Foxcatcher

Eddie Redmayne plays Stephen Hawking at a young age after receiving his ALS diagnosis. Enough said.

BEST ACTRESS

Julianne Moore, Still Alice
Rosamund Pike, Gone Girl*
Reese Witherspoon, Wild
Felicity Jones, The Theory of Everything
Amy Adams, Big Eyes

I have heard nothing but incredible things about Moore in the film Still Alice, and my wife read the novel it is based on and said she believes the hype, that the material lends itself to an award winning performance. Regardless, I hope Rosamund Pike gets recognition for her stunning turn in Gone Girl.

BEST SUPPORTING ACTOR

JK Simmons, Whiplash
Edward Norton, Birdman
Ethan Hawke, Boyhood*
Mark Ruffalo, Foxcatcher
Tyler Perry, Gone Girl*

I can't believe I just typed the name Tyler Perry in a post regarding Oscar nominations, but the dude killed it in Gone Girl. A perfect choice to play scumbag lawyer Tanner Bolt, his comedic timing was a thing of beauty throughout, popping up at exactly the right time to put a smile on my face after a jarring moment of depravity.

JK Simmons takes it though. Big fan of his and I can't wait to see this supposedly brilliant performance in Whiplash.

BEST SUPPORTING ACTRESS

Patricia Arquette, Boyhood*
Jessica Chastain, A Most Violent Year
Keira Knightley, The Imitation Game
Meryl Streep, Into the Woods
Laura Dern, Wild

Patricia Arquette, much like the director Linklater, needs and deserves recognition for Boyhood. Despite the film centering on the life of Mason, Arquette was just as vital to the heartbeat of the entire thing, a heartbreaking and truly authentic performance as his mother as she deals with something that is both beautiful and incredibly difficult and exhausting at the same time: life.

Meryl Steep will find a way to get nominated, because she is Meryl Streep.

BEST ORIGINAL SCREENPLAY

Richard Linklater, Boyhood*
Alejandro G. Inarritu, Birdman
Damien Chazelle, Whiplash
JC Chandor, A Most Violent Year
Wes Anderson, The Grand Budapest Hotel*

Perhaps I am dreaming here, but I would love to see Wes Anderson get recognized for his brilliant work on The Grand Budapest Hotel, his greatest film from an overall great filmography. Keep giving Linklater the awards though, he deserves them all.

BEST ADAPTED SCREENPLAY

Joel and Ethan Coen, Unbroken
Gillian Flynn, Gone Girl*
Anthony McCarten, The Theory of Everything
Graham Moore, The Imitation Game
Jason Dean Hall, American Sniper

I forgot to mention above that the Coen brothers wrote Unbroken. The damn Coen brothers wrote the thing. Yet another reason to believe it can win the biggest trophy of them all, and I think they specifically are recognized here as well.

BEST EDITING

Birdman
American Sniper
Gone Girl*
The Imitation Game
Whiplash

I have heard all about how brilliant Birdman is on a technical level. I am willing to bet it gets recognition in the Editing department.


BEST CINEMATOGRAPHY

Interstellar*
Birdman
Gone Girl*
Unbroken
Mr. Turner

Interstellar may get froze out of multiple categories listed above, but its sublime cinematography will be impossible to ignore. Tempting to give the trophy to Emmanuel Lubezki for Birdman, as he is the defending champion for the truly inspired work on Gravity last year, but I believe it will be impossible for anything to rise above Interstellar in a category such as this.

BEST PRODUCTION DESIGN

Interstellar*

Into the Woods

The Grand Budapest Hotel*

Unbroken

Birdman

BEST SOUND MIXING

Interstellar*

Whiplash

Unbroken

Dawn of the Planet of the Apes

Transformers 4

Ironically, the only place I felt Interstellar suffered was in the sound mixing, as the booming score by Hans Zimmer occasionally overwhelmed the dialogue. Regardless, I think the Interstellar winning technical awards train keeps on rolling here.

BEST SOUND EDITING

Interstellar*

Whiplash

Birdman

American Sniper

Transformers 4

BEST COSTUME DESIGN

Into the Woods
The Grand Budapest Hotel*
Unbroken
The Imitation Game
Mr. Turner

BEST ORIGINAL SCORE

Gone Girl*
Birdman
Interstellar
A Most Violent Year
Unbroken

Trent Reznor and Atticus Ross with another masterpiece of a film score for a David Fincher film. Their work on Gone Girl is flawless.

BEST FOREIGN LANGUAGE FILM

Mommy (Canada)
Ida* (Poland)
Winter Sleep (Turkey)
Leviathan (Russia)
Wild Tales (Argentina)

BEST DOCUMENTARY

CitizenFour
Last Days of Vietnam
The Overnighters
Captivated: The Trials of Pamela Smart
Life Itself*

Fell in love with the film Life Itself, about the life and death of film critic legend Roger Ebert, but from what I have heard CitizenFour might be unstoppable in this category.

BEST ANIMATED FILM

Princess Kaguya
How to Train Your Dragon 2*
The LEGO Movie*
Big Hero 6*
The Book of Life

Loved all three of the animated films listed here that I have seen, two of which (HTTYD2 and LEGO Movie) are currently in my top ten of the year, but I have heard Princess Kaguya is yet another magical effort by the iconic Studio Ghibli. Cannot wait to see it.

BEST VISUAL EFFECTS

Interstellar*
Dawn of the Planet of the Apes
Guardians of the Galaxy*
Godzilla*
Transformers 4

Doing this has reminded me that I still need to see Dawn of the Planet of the Apes. Better get on that soon.

BEST ACHIEVEMENT IN MAKEUP

Birdman
Into the Woods
The Grand Budapest Hotel*
Dawn of the Planet of the Apes
Guardians of the Galaxy*


Of the four remaining categories, Best Song, Best Animated Short, Best Live Action Short, and Best Documentary Short, I have no real opinion of knowledge of anything potentially nominated. Except for Best Animated Short actually, the Disney entry that premiered before Big Hero 6 titled Feast is a little, wonderful treasure. Once I get a better grasp of those awards, I am sure Feast will shoot to the top of that list.

As various top ten lists and other nominations are revealed prior to the Academy having their say, I will revisit with an updated list. Until then, go check out some of the brilliant films being released this Oscar season.

Boyhood Review

On October 11th, 2007 at 9:54 PM, a new life came into this world, and I can still vividly remember hearing her cry for the first time, the moment it truly hit me that I had a daughter, the moment when I realized what unconditional love felt like. I had never met this tiny little person, I had never seen her, and obviously I had no clue how beautiful she would become inside and out as the years passed by, yet instantly all I wanted to do was grab her and never let go. She couldn't even open her eyes, yet she was my best friend in the world.

Early on, I wanted time to move quickly for some reason. I couldn't wait for her to stand up and walk across the room to my awaiting arms. I dreamed of having an actual conversation with her, one of meaning and purpose, filled with words that may actual impact her young, developing mind. The smile that would be plastered on my face anytime I pictured her sitting next to me during a film and experiencing the joy that art could bring, I spent far too much time trying to do the math on how long it would be before I could take her to the cinema and watch her expression as the lights dimmed. The future was a time of happiness and excitement and I couldn't wait for it to arrive.

I went into her bedroom and watched her sleep soundly for a few minutes last night after having my life truly enriched by the experience of viewing the film Boyhood, and I teared up when a simple yet profound thought entered my mind: where has the time gone? We recently began planning her 7th birthday, and no matter how hard I try the clock continues to tick away and the calendar flips at the end of each month. Time is relentless.

The admiration I have for Linklater not only attempting such an ambitious project but succeeding beyond my wildest dreams is incalculable, but what I want people to understand is that this isn't some pretty good film that is subject to absurd praise and hyperbole due to an innovative gimmick. A major reason why Boyhood is such an incredible cinematic experience is because we are watching this one boy grow up, we feel like we are a part of something special and personal and even though he was playing the fictional character of Mason, I can't help but feel as if I got to know Ellar Coltrane as a human being in the process. I met him as a bright eyed young boy looking up at the clouds, admiring the wonders of just how huge this world is, and over the course of twelve years I watched him transform, and it both overwhelmed me with happiness and broke my heart all at the same time.

The usage of music in the film will prove to be memorable and inspired, as I felt like I could connect certain songs with the periods of time they fit into and it brought me back to the past when I recall that song playing at a moment in my own life. I found I could relate to all of the dialogue throughout, both the words of a teenager hanging out with friends and also the thoughts and feelings of his parents as they deal with their own issues, their own relationships, their own scars. A performance issue may have popped up here or there with either a young Ellar or his fictional sister Samantha, played by Linklater's own daughter Lorelei, but not only are those very minor flaws to be expected from young, unproven actors, I actually found their imperfections to add to the incredible sense of realism that seeped out of every pore of the film. Not every word is said smoothly in reality, and not every child or teenager delivers thoughts like they were professionally trained in linguistics. These are human beings, flaws and all, and I adored getting to know them for the brief 165 minutes we shared.

I object to anyone who says that nothing happens in this film simply because some absurd, manufactured dramatic twists weren't tossed in the paths of these characters. When I look back at my life, sure I faced some obstacles, some dripping with bullshit even though I was too young and naive to know it like a girl not liking me when I was 14 years old, and some meaningful and impactful on my upbringing like when my epilepsy reared its ugly head and I was bullied at school as a result, but a vast majority of the days I have lived on this earth have been seemingly boring. I wake up, I live my life and rarely does anything eventful occur, and then I go to sleep and prepare to do it all over again. That's life, and it is a wondrous, beautiful thing. The chance to exist, the opportunity to love, the stumbles we experience along the way and the elation of true success and seeing the pride on the faces around us, all of these things are far more interesting than an action packed shootout or a choreographed sing a long at a school dance. Our lives and the people that fill them, the sunny days spent talking with my mother or the moments in which I felt like a disappointment, a failure, those are real, and I felt every possible thing Linklater intended to convey with this brilliant, powerful film.

Boyhood has a flow to it like poetry, a work so perfectly paced that I could have kept watching for hours more and never gotten tired of it. Sometimes the pacing of reality feels off, like these seven years spent with my amazing daughter have gone far too fast and I want to use all my strength to slow down time and appreciate each day with her at the age she is now. Unfortunately, it just isn't possible, and days will continue to begin and end, weeks will fly by and seasons will come and go. All I can do is be there, with her, and let life take its course, reveling in the beautiful days to come and holding on to those memories as the moments that were formerly reality fade into oblivion. The journey of young Mason is such an astonishing treasure, a life affirming historical moment in cinema that both works as joyous entertainment and also a reminder to never take the ones you love for granted.

I keep reminding myself not to succumb to hyperbole I would later regret, but I can't help what I am about to say because right now, in this moment I believe it: Boyhood is one of the greatest films I have ever seen.


5/5

Before Midnight Review

I feel weird referring to Before Midnight as the final film of the amazing love story because no one has actually ruled out the possibility of returning to do it again in 2022, when the characters will be 50 years old. If this does indeed conclude the wonderful romance of Jesse and Celine, at least they went out on top. All three films are beautiful, inspired works, but Before Midnight is just a step ahead of the others, the perfect conclusion to a trilogy of masterpieces.

The film falls into a bit darker territory than the first two, but that is to be expected. Before Sunrise and Before Sunset were about falling head over heels in love at a young age, and then reconnecting after years apart, both of which are scenarios that are typically associated with happy thoughts. Before Midnight is our first glimpse at these characters experiencing a true relationship, now nine years actually together and raising twin daughters while Jesse deals with the pain that comes from being away from his son from his previous marriage. These are real problems people face and the love shared between our two leads has never felt more believable because let's be honest, life isn't perfect. Sure, it may be easier to watch two people smile and kiss and say absolutely the greatest thing at the greatest time, but I prefer the realism of how raw and painful love can be.

The entire film has the similar sublime flow of the first two, except something about the setting of the outdoor sequences makes them feel even more vibrant and alive this time around. The real shining moment of Before Midnight is ironically when it is at its darkest and most heartbreaking, the sequence that takes place in their hotel room. There is an energy and a passion during that scene that is so believable that it literally makes me uncomfortable, like I am watching something I shouldn't. The dialogue is so on point and the emotion seeps out of every single second we sit there and continue to watch something that was once so beautiful slowly unravel.

The amazing thing Linklater achieves though is that from this ugly feeling of sadness that felt like a punch to the gut, he manages to charm us all over again with a final scene that is impossible not to extract a smile. While some of the film may be hard to watch, when the camera drifts back and we live that final frame, I know I am left wanting more. As long as this level of quality and care went into making these films, I never want to completely say goodbye.


5/5

Before Sunset Review

Watching the Linklater trilogy in any fashion is incredible, but as a person who showed up late to the party and only screened these films for the first time last year, I couldn't help but wonder what it would have been like to actually follow Jesse and Celine through the years. Comparing it to other films with large gaps in time between releases doesn't quite work because rarely do the actual characters age on screen at the same rate as you do, and rarely do they feel as authentic and human. I would imagine if you started this journey with them in 1995, waiting nine years to see where their story would go next, these beautiful films would feel almost like documentaries about love and life. What was probably even more exciting is the fact that I doubt anyone knew for certain the story would even continue. I can't imagine waiting nearly a decade wondering if Jesse and Celine ever did meet up again six months in the future, and not having the answers sounds like agony.

I am jealous of this agony though. I am jealous of anyone who felt the euphoria of learning that a sequel would be made and the quintessential love story would continue. I am jealous of walking into the cinema with eager excitement, waiting for the passionate chemistry between Ethan Hawke and Julie Delpy to reignite before their eyes. I saw the trailer for Before Midnight before I ever even got to witness the way their love blossomed in Vienna over the course of one night, so I entered this wondrous cinematic trip already knowing that 18 years later they would be together in some regard. Regardless these are magical works, one of my all time favorite trilogies, but I have to wonder how much deeper my love for them could have been.

Perhaps that isn't the correct way to think about it though. Perhaps I saw these films at exactly the right time in my life, a time when I was married but still remember what it was like to first fall in love. A time when I still recall what it was like to fight for that relationship through the tougher times because I knew for a fact it was exactly what I wanted. A time when I already have a beautiful daughter and have had a chance to both accept and embrace the fact that everything changes after you experience the gift of bringing life into the world. A perfect balance of every possible emotion portrayed throughout these films, and their connection easily found a way to penetrate my soul.

Before Sunset has a flow to it that is intoxicating, as if I am soaking up every word they way seem to bask in the glow of the setting sun. The pacing is perfect to deliver absolutely everything you could ask for to understand the progression of these characters and their relationship. The dialogue is fresh and vibrant with a realistic tone to it, like they have actually be separated for so long and yet share a special bond that allows them to seemingly pick up right where they left off. Such intelligent, warm filmmaking, and Linklater knows exactly the right note to end the film, a moment that is sure to put a smile on your face yet also answer nothing about where Jesse and Celine will be in their lives if and when we were to ever see them again.

Pure magic.

5/5

Before Sunrise Review

My second journey through the Richard Linklater "Before" trilogy, and it was even more magical this time around. The story of Jesse and Celine as they first meet is the beginning of my favorite cinematic romance of all time, one that over the course of three films and 18 years is often times far from perfect, far from a fairy tale, but that is why I can't take my eyes off of them and the very authentic chemistry they share on screen. Romance portrayed in film is typically dripping in bullshit, the same story used year after year after year starring people like Gerard Butler and Katherine Heigl and none of it works, none of it is believable. I cringe each time a new film is released that shows absolutely nothing resembling the real world and what a real relationship is like and yet people eat that shit up like it's a fine meal, while most people I meet have never even heard of Before Sunrise.

On paper the plot of Before Sunrise is just as guilty of being a horseshit story book romance, two young beautiful people meeting on a train and immediately connecting just screams of absurd sap, but my god this rather uneventful journey of two souls finding each other is on a whole new level of enchanting cinema. The first time I saw this film I will admit to being a bit taken aback by how heavy in dialogue and light on anything else it was, because I kept expecting some sort of typical Hollywood obstacles to test their fresh, profound feelings, but during this revisit I realized the entire situation is an obstacle. Time is their obstacle. Every word, every step, every passing minute is one step closer to a moment they both deeply dread yet don't want to think about until they have to: the idea that they will have to say goodbye and potentially never see each other again. 

The film brought me back to when I first met my wife and we had nothing to do one night so we just drove around and talked for hours, and these memories made me realize how absurd it is to say that nothing happens in Before Sunrise. The power of conversation, the tension between two people who are trying to determine the intensity of their feelings for each other, the fear of the unknown of what's to come. Sure, it would be easy to say we did nothing that night, just talked, drove around, but in reality everything happened that night. Every word set our future in motion and nine years later we have a daughter entering first grade. Was the night technically uneventful? Absolutely. 

Two human beings truly connecting though...it doesn't get much more exciting than that.

5/5