This year there are 22 films that I've singled out. And number 22 is...
22. Thor: The Dark World
But Andrew, how can you have Thor: The Dark World in your favourite films for the year and yet you don't like Django Unchained or American Hustle? Well, the simple reason is is that this is the best Marvel film to date. Chris Hemsworth is ridiculously charismatic as Thor. Most importantly, this is the first Marvel film which has consistent action sequences. The finale is an enjoyably choreographed world swapping action extravaganza (yes, I just used the word extravaganza). In a year where Iron Man 3 disappointed, it's nice to see a big budget comic book flick which actually delivers.
21. Cloud Atlas
The Wachowski's finally deliver another film which matches the quality of The Matrix. Visually, this is one of the most imaginative films released in 2013. The actors here create some of the most interesting and varied characters in a recent sci-fi film. The plot strands can be hard to follow at times, but as the finale approaches they all weave together in intriguing ways.
20. Fast & Furious 6
I'm not defending my love of these films. Why should I? This series has constantly delivered over the top chases that defy logic, but you don't buy a ticket to these films for logical plot and action. A never ending take off strip? Sure. Jumping tanks? Ok, physics defies it, but whatever. You know what you're getting with these films, and you're either on board or not. Fast & Furious 6 is as over the top as it gets, but dammit, it's also the best in the series.
19. This is 40
I was skeptical that a pseudo-sequel to Knocked Up would work. Just like Stephen King as a writer, Judd Apatow is a director in search of an editor. Funny People was overlong and became bland. This is 40's two hour plus running time felt like it could overstay its welcome, but fortunately enough the dramatic elements work well alongside the comedic elements.
18. Sightseers
A perfect companion film to God Bless America. Ben Wheatley is the most interesting British director working today - take that Christopher Nolan (I still love you though). Sightseers is as black a comedy as you can get. Just like Wheatley's horrific Kill List (which is still one of the finest modern day horror films), Sightseers has some fantastic deaths.
17. Prisoners
The hardest thing about Hugh Jackman playing Wolverine for all these years is that it's kept him from being in films like Prisoners. Behind the claws, there has always been a great actor. Fortunately though, he's able to show his worth in this underrated film. Jake Gyllenhaal is also at the top of his game. Beneath the story twists is a great assessment of what parents are capable when a child goes missing.
16. The Conjuring
2013 was not a good year for horror films. There was the reimagining of Evil Dead and I'm vaguely aware that there was another entry into the Texas Chainsaw Massacre series. What did stand out though was a classic ghost story in The Conjuring. It's a fitting send of for James Wan that this may be his last entry into the horror genre. The usual tropes are there - mysterious bumps, noises that shouldn't be there, legs being pulled by invisible beings - but it's the way that Wan handles it with respect and seriousness that gives The Conjuring weight. There's a real admiration here for the ghost story that the Paranormal Activity films unfortunately don't have.
15. Lincoln
Even now I still can't believe how good Lincoln is. On paper it sounds boring - big tall man stops slavery for good, yay? But Spielberg brings class to the story. His respect of American history is matched by the powerful performances of both Daniel Day-Lewis and Sally Field. Tommy Lee Jones also is grand amongst a fine cast of supporting actors. Lincoln plays like a 1800's version of The West Wing.
14. Life of Pi
The beauty of Life of Pi is not in the sumptuous CGI assisted cinematography. It's not in the ultra realistic CGI tiger. It's not in the ability to add 'no Richard Parker, that's my tuna' to any conversation (try it). It's the fact that a staunch atheist like myself can still find the joy and beauty in this religious fable. It works wonderfully in showing the sides of stories and how altering them can help give their essence a greater meaning. The visuals are reason to watch the film, but the story makes for a memorable film. Sidenote: it's also one of the finest uses of 3D in a film to date.
13. The Imposter
This list isn't as documentary friendly as I'd like it to be (I'm still yet to watch The Act of Killing, Stories We Tell and Blackfish). The Imposter is a film which demands you should know nothing about it prior to watching it - and not in the Catfish 'don't read about this before you see it' way. This is a thrilling film that still surprises you to the end.
12. Enough Said
One of the more devastating aspects of 2013 was the loss of James Gandolfini. It's always been obvious that he was a great actor, but it took Nicole Holofcener to bring out another nuanced performance from him. Playing a divorcee seems like an easy role, but Gandolfini fills it with such humanity - which sounds trite, but watch the scene where he tells Julia Louis-Dreyfuss that she broke his heart and tell me that's not something else. Julia Louis-Dreyfuss is also sublime here. It's nice to see her take on a role that isn't purely comedic. It's also great to hear Toni Collette with her Australian accent.
11. What Maisie Knew
I won't lie. I almost didn't see this film purely for the fact that it's produced by the people who produced 'The Kids Are All Right'. I'm glad I did though. The array of performances here is phenomenal. Julianne Moore gives one of her best performances to date. Alexander Skarsgard is also in fine form. Steve Coogan proves he's fine at doing drama. But the real star is Onata Aprile. The greatest thing about What Maisie Knew is the position that David Siegel and Scott McGehee place the camera is always from Aprile's Maisie's point of view. The depth of her performance is astounding for a child of her age. The innocence of her performance gives the film a much greater emotional weight than a lesser actress would bring.
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