Best Films of 2013

2013 has been a great year for film, garnering more high rated reviews than in years past. Here are my favorite thirteen plus some additional films for your consideration. 

13. The World's End (Dir: Edgar Wright)

An entertaining and funny adult comedy with a science fiction twist, director Edgar Wright combines the crudeness of a group of old friends with character defining dramatic content. For a sendoff in a trilogy of films directed by Wright, the end proves best of all.

12. Blue Jasmine (Dir: Woody Allen)

Woody Allen has been making great films longer than most featured on this list. With this film Allen creates a character that is deeply sincere but also damaged and lost. Jasmine’s demise is darkly comedic with turns that are purely dramatic. The journey may be difficult to watch, but it’s the kind of disaster you can’t help but stare at.

11. Nebraska (Dir: Alexander Payne)

A thoroughly pleasing “trip-down-memory-lane” film driven by wonderfully crafted characters. Additionally the interesting story that Payne paints in the background, of a small town similar to those in the Midwest, depicts the struggle that still exists there.

10. Short Term 12 (Dir: Destin Cretton)

Looking into the lives of children harmed by mistreatment with unwavering attention, this film has the unique quality of being uplifting even when it’s upsetting. It develops into an emotional film that dodges the over sensationalized aspects of similar dramas for a focused and genuine outlook.

9. Stories We Tell (Dir: Sarah Polley)

Through a combination of old photographs, video inserts, and strikingly authentic interviews, Sarah Polley carefully unravels the complex story of her beloved mother. While the story formulates around her childhood it has an immediate influence on the current state of her life. The documentary examines how we observe the past and how it affects the personal present.

8. Frances Ha (Dir: Noah Baumbach)

Greta Gerwig gives a charming performance in a film that is candid in its indulgence of twentysomething sensibilities. The roaming narrative, shot in contrasted black and white, is an ingenious snapshot of Frances’s life, friendships, and interaction within a city that feels too small for her personality. 

7. Upstream Color (Dir: Shane Carruth)

Some films you need to watch twice, “Upstream Color” may be one you’ll need to watch more. Complex and undefined in its’ resolution, the mostly wordless film is structured on the idea of suggestion. It’s an engrossing and thought provoking work of independent film.

6. Inside Llewyn Davis (Dir: Joel and Ethan Coen)

A film about folk music, the need for success, and the regret that comes with ambition. The Coen Brother’s continue to fascinate with this compelling and comedic story that is only accommodated by the amusingly complex character of Llewyn Davis.

5. The Act of Killing (Dir: Joshua Oppenheimer)

An oddly compelling documentary about the genocide in South East Asia in the 1960’s allows an unconventional approach to displaying the horrific actions of the past. By placing a camera in the blood stained hands of the executioners and allowing them to recreate their evils in the vein of a Hollywood production, the insight is both startling and unpredicted.

4. Her (Dir: Spike Jonze)

An awkward though touching story of a man who falls in love with a computer named Samantha. Though the catch in this technology themed film is the representation of love and how it affects the lead character through every facet of his life. While the film offers commentary on the technologically shaped future and the implications on human behavior, the underlying motivation exists in the complexities of love and life.

3. Before Midnight (Dir: Richard Linklater)

Director Richard Linklater creates a delicate and somewhat damaged aspect to the relationship of his long journeyed couple. The lack of interaction from the narrative with concern towards the viewer’s perceived progression of the characters motivations keeps a backseat perspective through all the terrains of the couple’s three-film lifespan. The result is a captivating trip.

2. Gravity (Dir: Alfonso Cuarón)

Amidst the beautifully composed backgrounds and spectacular sequences, director Alfonso Cuarón constructs a story of survival and redemption. Cuarón devises to explore space in an artful way, with all its imperfections and impossibilities. There is a visual beauty in nearly every scene and the simplistic, though multifaceted, undertones of the narrative mark “Gravity” as an achievement in filmmaking.

1. 12 Years A Slave (Dir: Steve McQueen)

Steve McQueen unflinchingly portrays the atrocities of slavery amidst a narrative wherein happiness is an artificial emotion. It’s an affecting film that is thoughtfully photographed with purposeful framing and lingering scenery. The story is engrossing and the fantastic performances only further assist it. McQueen has made an important film that depicts slavery in a way other films haven’t, and all the more impressive by the film artistry utilized in creating this stunning and demanding work.

Other Good Films

A Hijacking

American Hustle 

A Band Called Death

The Butler

Computer Chess

Dallas Buyers Club

Drug War

Fruitvale Station

The Great Beauty

Hunger Games: Catching Fire

Leviathan

Much Ado About Nothing

Museum Hours

No

Pieta

Prisoners

Room 237

Stoker

This Is The End

The Way Way Back

Wolf of Wall Street

Nebraska Review

Nebraska

Dir: Alexander Payne

Starring: Bruce Dern, Will Forte, and June Squibb

There is a bleakness that is consistently hovering over Alexander Payne’s moody, though interestingly fun, “Nebraska”. Payne is very good at making ordinary people seem so much more meaningful than they probably are. Amidst the atmospheric black and white photographed landscapes of the Midwest Payne is able to paint a portrait of the demise of small town America while keeping a keen grasp of the comedy found within family and the past that defines age. It’s a familiar narrative that is made exceptionally heartfelt in the hands of the accomplished Payne.

 Woody Grant (Bruce Dern) is a stubborn old codger who is convinced, because of a letter he received in the mail, that he has won one million dollars. Woody isn’t allowed to drive anymore so he, on more than one occasion, is found trying to walk from Billings, Montana to the sweepstakes office in Lincoln, Nebraska. His concerned son David (Will Forte) is tasked with picking up his father who is determined to make the journey regardless of what his vociferous wife (June Squibb) and annoyed oldest son Ross (Bob Odenkirk) reason. David resolves to take his father to Lincoln, partly for personal connection, but also to accommodate the long shot fantasy his father is holding on to.

“Nebraska” accomplishes the task of being both comically character driven but also subjective about the realities of America’s changing economical climate. Amid Woody and David’s trip down memory lane is a portrait, envisioned through an invented small town, of the misfortune felt by many American’s in recent years. The debate that Payne is mocking people in the Midwest by accentuating the idiosyncrasies of the people doesn’t seem directed in any way malicious. Many of the lead characters, such as Woody and his family, are handled with dignity; displayed as hardworking, proud people who care about each other. Though Payne crafts great characters some of his comedic elements seems forced in certain moments, like joke being repeated one to many times it begins to feel somewhat stale.

The ensemble cast is fantastic especially Bruce Dern in the lead performance as Woody. His mannerisms and deadpan delivery is both droll and melancholy. In a surprising turn Will Forte gives a capable performance, offering a tenderness of a son concerned with his knowingly affected father. June Squibb offers the films best one-liners as Woody’s unabashedly brash wife.

“Nebraska” is thoroughly pleasing in it’s simplistic storytelling approach. Though the characters drive the narrative, the far more interesting aspect is the story told without use the words. That story that Payne depicts in the background, the one focused on a small town similar to those in the Midwest and the struggle that continues there.

Monte’s Rating

4.25 out of 5.00

Inside Llewyn Davis Review

Inside Llewyn Davis

Dir: Joel and Ethan Coen

Starring: Oscar Isaac, Carey Mulligan, and John Goodman

The Coen Brother’s have the uncanny ability of crafting films about small moments in life, without the need for resolution or extraneous explanation. “Inside Llewyn Davis” is a story on the surface about music but beneath about the trappings of success and the pain of regret. Told with precision and an expertise almost expected from the Coen Brother’s, the emerging Greenwich Village folk scene of the 1960’s is seen through the eyes of a struggling musician named Llewyn. His ambitions in life have been met with less than expected results and in this moment, pivotal or otherwise, the Coen’s build a sublime story.

To call Llewyn Davis’ (Oscar Isaac) musical ambitions a disappointment would only be half the story. His personal life seems prime with material for his folk narratives as he sponges off friends for a couch to lay his head. Llewyn’s life gets only further complicated by the pregnancy of his friend Jean (Carey Mulligan), a fellow folksinger who Llewyn has a history with. Llewyn, waiting for opportunity to fall in his lap, wanders from one gig to another carrying the baggage of his poor decisions along with his guitar case.

The world, however unrealistic it may seem, is always a ruthless place filled with cruel people in the Coen Brother’s work. The quality of the characters in their films is reflected with a hapless characteristic; lonely hero’s forced to embody heroic ideals. Llewyn is a difficult man, stuck in a self-induced rut passively waiting for life to meet his expectations. Though, if his life’s rewards were measured by his good deeds he shouldn’t be expecting much. He impregnates his friend’s wife, yells at the supportive couple that sheltered him, and heckles other artists during their performances. Moments that offer Llewyn prospect for redemption pass by without acknowledgement, they are mere regretful choices. Llewyn may be a jerk but he is also a talented artist, truth worn into every verse of his songs and keen cautionary insight offered for those listening. People who hear him sing admire him, his music making them overlook his many faults. The musical performances by Oscar Isaac are where the character of Llewyn comes to life. The lyrics displaying the emotions he shelters so deeply.

The narrative, purposeful with its’ meticulous pace and careful character development, moves along somewhat aimlessly amidst the wonderful rendering of icy Manhattan in the 60’s.  Set in the harsh of winter the cold seems a reflection of the unsympathetic world that Llewyn has helped in creating. Jean, a wonderful Carey Mulligan, has nothing but disdainful comments for Llewyn. Though, even through the stinging remarks, Jean cared for Llewyn and the man he once was, a person the audience is never introduced too.

“Inside Llewyn Davis” is a film about success and regret and the faults and favors that go along with it. The Coen’s continue to fascinate with this compelling and comedic story that is only further accommodated by the amusingly complex characters of Llewyn Davis.

Monte’s Rating

4.25 out of 5.00

Bela Kiss: Prologue Review

Bela Kiss: Prologue

Dir: Lucien Förstner

Starring: Kristina Klebe and Rudolf Martin

There is an element of style that takes over Lucien Förstner’s “Bela Kiss: Prologue”, the assumed first film of a continuing story based on the myth behind the titled Hungarian serial killer. While the special effects consume the atmosphere during a portion of the narrative, there is also some really good photography and editing that makes the German production feel larger than it actual is. Förstner unfortunately extends the film, hurting the pacing of the slow churning serial killer tale, to an overlong 106 minutes. The pacing issue along with a mediocre script keeps “Bela Kiss” from exceeding expectations.

The film begins with a composed stock footage summary of the investigation into the crimes of serial killer Bela Kiss. The film quickly transitions into a diverging story about a group of bank robbers retreating to a hotel deep in the woods. While waiting for further orders from an unseen boss, the group partakes in the amenities of hotel run by the shadowy Ms. Jakubec (Julia Horvath). Julia (Kristina Klebe) is suspicious of Ms. Jakubec and her robbery team, one of which is her boyfriend. Julia’s misgivings unknowingly lead her to the discovery of secrets from the past.

There is a nice introduction with this film, one that establishes the folklore of Bela Kiss in a mysterious and somewhat supernatural manner. The film is split from this point on, mixing in the past evolution of Bela Kiss amidst the current account of the five bank robbers and their relationship with each other and the hotel they are staying in. These two atmospheres are portrayed with different techniques, in particular the events of the past which are composed with a heavy amount of CGI altercations and the events of the present which have a hazy over forced gothic touch. The photography is good and adds a strange perspective by making the hotel feel like a claustrophobic maze.

Unfortunately, the main problem with “Bela Kiss” exists with the storytelling, which is slow and not particularly inventive. The characters and their robbery situation are composed with a secretive attribute that is easily figured out. The character of Bela Kiss is forwarded through time in a method that undermines the story and feels like a setup for future films.  These character issues aren’t helped by the length and pacing of the film, which is inconsistent and lingering, but could be attributed to the largely German cast performing solely in English. Though amidst the problems is a familiar horror subgenre about a character that hasn’t been explored. The director should be accommodated for attempting to tell this film so ambitiously.

 While “Bela Kiss: Prologue” may not subvert the serial killer genre, there are glimpses of an interesting story underneath some distracting elements. The story of the homicidal Hungarian may continue, as the title suggests, which means there is always the hope that the sequel will be better than the first.

Monte’s Rating 

 2.00 out of 5.00

The Hobbit: The Desolation of Smaug

The Hobbit: The Desolation of Smaug

Dir: Peter Jackson

Starring: Martin Freeman, Ian McKellan, and Richard Armitage

The saga continues in Peter Jackson’s extended version of J.R.R. Tolkien’s Middle Earth introductory “The Hobbit”. The first film, “The Unexpected Journey”, offered a slow moving presentation that seemed merely to re-acquaint viewers with the characters especially a younger Bilbo Baggins and the adventures he discussed in “The Lord of the Rings” films. “The Desolation of Smaug” quickly forwards into an exciting and swiftly moving story that leads to the stunning rendering of the fire-breathing dragon Smaug.

Bilbo Baggins (Martin Freeman) continues his journey with the ragtag group of dwarfs who recruited him to reclaim their kingdom and fortune, which was stolen by slumbering dragon Smaug (voiced by Benedict Cumberbatch). Bilbo, along with the dwarfs and Gandalf the Grey, trudge towards the lost dwarf kingdom while encountering resistance at every opportunity. Orcs are in hot pursuit of the group, spiders in a deadly forest are stalking, elves in a fortress domain are threatening, and Smaug is waiting for the battle he knows is coming. All these hurdles, including the secret ring in Bilbo’s pocket and the presence of an evil nemesis of the future, make for another perilous adventure for the alliance.  

Peter Jackson is the master of the Tolkien universe. The transition into this new tale is initially smooth and immediately draws the viewer into the bulk of the action packed story. Jackson, working with only a few chapters in the already short novel for this film, takes some liberties in bulking up the material by exploring further the characters and elongating, sometimes exhaustively, the action set pieces. Take for instance a river escape from the elven kingdom by way of barrels, all while being pursued through the rocky terrain by orcs and elves. The action at times feels a bit overdone though some of the setups, like this one, are particularly fun and inventive. Jackson also adds a character not seen in the book, a tough fighting female elf named Tauriel (Evangeline Lily). Though she is a welcome addition to the all male cast her role is utilized in part as a clichéd romantic vehicle.

The cast again is good. Martin Freeman especially handles the changing ego of Bilbo who is growing more confident and secretive with every step on the way to the Lonely Mountain. Richard Armitage is given more to work with as Thorin Oakenshield, the leader of the voyage. Thorin portrays a figure of leadership though his foundation is somewhat insecure. The computer composition of the daunting Smaug is fantastic, as is Cumberbatch’s equally intimidating voice. Jackson introduces the beast with a boisterous monologue, easily one of the highlights of the film.

Jackson handles “The Hobbit: The Desolation of Smaug” with far more precision than the first installment. It’s difficult to find an ending point since the story is based off one book. While some viewers may be annoyed with the choice in ending this film on a cliffhanger, it’s a good position for the third installment to conclude. Though this film is livelier than the first, there are a few moments when the action seems to marginalize the characters. However, the story isn’t over and Jackson still has another movie to round out his saga.

Monte’s Rating

3.50 out of 5.00