This article originally appeared on kansan.com on Jan. 20, 2014.
1. “Her”
Joaquin Phoenix in “Her.” Photo courtesy of Warner Bros. Pictures.
Spike Jonze’s vision of the near future speaks volumes about how our society feels more connected through technology as we grow further apart from each other, but that’s not even the most profound aspect of his romantic dramedy “Her.” The insight into relationships, mainly between Samantha (voiced by Scarlett Johansson) and Theodore (Joaquin Phoenix) would strike a chord in any film. Since this is about a mild-mannered man and his new operating system with its own consciousness falling in love, it becomes a much more thought-provoking meditation in love and the human experience. This concept feels brilliantly, fully realized and isn’t judgemental of Theodore, giving it a touching sense of wonder.
Leonardo DiCaprio in “The Wolf of Wall Street.” Photo courtesy of Paramount Pictures.
At 71, who would’ve thought Martin Scorsese had such an insane dark comedy in him? “The Wolf of Wall Street” follows the real-life exploits of Jordan Belfort (Leonardo DiCaprio) in his rise as a notorious stockbroker who brings debauchery to a new level. The amount of sex, drugs and money in this film has to be seen to be believed, and that it stays consistently funny for two-and-a-half hours before Belfort’s fall in the last 30 minutes is a resounding accomplishment. The quaaludes overdose scene alone between DiCaprio and Jonah Hill ensures this satire of wealth, greed and excess will become a comedy classic.
Ryan Gosling in “Only God Forgives.” Photo courtesy of Wild Bunch.
Many people hated Nicolas Winding Refn’s follow-up to “Drive,” and I can understand why. It’s a thematically existential, luridly violent movie about despicable people in the neon-drenched underworld of Bangkok, Thailand, told with far more focus on visual style than depth in characterization. However, it’s packed with symbolism and deeper meaning, most strikingly with the sword-wielding police lieutenant who acts as the vengeful god of Bangkok. “Only God Forgives” looks like neo-Kubrick and unfolds with the detached perspective and intensive power of a surreal dream. For those attuned to its pulpy, arthouse wavelength, it makes for a mesmerizing experience.
Anwar Congo filming a scene in “The Act of Killing.” Photo courtesy of Drafthouse Films.
How does committing mass murder affect a man when he is celebrated for it? One-of-a-kind documentary “The Act of Killing” explores this topic with former death squad leaders of the Indonesian killings of 1965-66. Because their side took power in the country, they were never charged for their crimes, and are instead revered as heroes. The main subject, Anwar Congo, arguably the most interesting character of the year, killed about 1,000 people and yet is a funny, smart, lively old guy – a normal human being, not a monster. He and his friends re-enact and direct surreal scenes of their killings in the vein of their favorite movie genres, giving this documentary a strange, transcendentally reflective power.
Shailene Woodley and Miles Teller in “The Spectacular Now.” Photo courtesy of A24.
“The Spectacular Now” feels decidedly more adult than most films centered on a teenage couple. When a lazy party boy (Miles Teller) and a wounded dove nice girl (Shailene Woodley) find each other, the cutesy behavior, brazen partying and realizations of true love found usually found in teenage film romance are replaced with themes of alcoholism, absentee parents and moving on to the next stage of life. Yet the detailed authenticity of lackadaisical high school lifestyle, acute struggles and subdued emotion are precisely what make it hit with such resonating effect. It’s also funny, charming, painfully honest, deeply relatable and Woodley’s tender performance will break your heart.
6. “Gravity”
Sandra Bullock in “Gravity.” Photo courtesy of Warner Bros. Pictures.
“Gravity” reminded viewers of cinema’s capacity for pure visceral power. It made for a technically brilliant, unprecedented experience that’s extremely simple from a storytelling standpoint, yet creates a fast-paced fight for survival which imparts some of the most effective intensity to ever hit the big screen. Dr. Ryan Stone (Sandra Bullock) faces one obstacle after another in the deep abyss of space, as director Alfonso Cuarón crafts gripping tension around her journey. In the vein of Cuarón’s “Children of Men,” the film uses extraordinarily long single-shot sequences that give an unflinching perspective to the action. The reverberating score captures the vast emptiness of the environment and the mainly computer-generated visuals look so real that you feel lost in space yourself.
Chiwetel Ejiofor and Michael Fassbender in “12 Years a Slave.” Photo courtesy of Fox Searchlight.
What “Schindler’s List” did in its depiction of the Jewish Holocaust – translating the terrible reality of that tragic situation into a raw experience that makes viewers confront it as real, not just part of history – “12 Years a Slave” does in its accurate portrayal of slavery in America, but through the eyes of a victim. Free man Solomon Northup (Chiwetel Ejiofor) is drugged and sold into slavery in antebellum Louisiana, where he lives in bondage for 12 years. It’s grueling, brutal and depressing to sit through, especially as his terrifying master (Michael Fassbender) personifies man’s remarkable cruelty. Ultimately, it stands as an artfully made testament to the human spirit and is required viewing for understanding the horrors of slavery.
Chris Pine, Zoe Saldana and Zachary Quinto in “Star Trek Into Darkness.” Photo courtesy of Paramount Pictures.
The 2009 “Star Trek” reboot is one of the most enjoyable and rewatchable adventures of recent years, and its sequel proves just as entertaining and exciting. Even better, it takes on a darker tone, raises the stakes with a much more cool villain (Benedict Cumberbatch) and actually elicits a few tears at its emotional climax. J.J. Abrams is a god of geekdom, appealing to both Trekkies and mainstream audiences, and he directs this spectacular blockbuster with visual panache, snappy and smart character interaction and a wild sense of fun. More than all the titles from 2013, I’ll be rewatching this one over and over.
Oscar Isaac in “Inside Llewyn Davis.” Photo courtesy of CBS Films.
The Coen brothers’ latest is more subtle and soulful than their usual work, a dramedy about a folk singer (Oscar Isaac) navigating the music scene of Greenwich Village over a troubled week in 1961. Llewyn has no home of his own, has constant money problems and is kind of a jerk. Yet it’s hard not to feel for the poor guy as, like many Coen characters, he is punished with one repercussion, hardship or disappointment after another. The Coens achieve a wonderful balance with their wry, ironic humor and oddball side characters alongside a sense of melancholy that comforts through its relatability and beautiful soundtrack.
10. “Upstream Color”
Shane Carruth and Amy Seimetz in “Upstream Color.” Photo courtesy of erbp.
Shane Carruth’s 2004 debut “Primer” still stands in a class of cerebral, hard sci-fi all its own. His long-awaited sophomore feature “Upstream Color” proves he has one of the most unique, complex voices in indie film. The film’s story has too many moving parts to explain, but it’s essentially a romance rooted in low-key but fascinating science fiction elements. These elements work like pieces in a puzzle, where the big picture is easy to see but putting it together requires strict attention to detail. Carruth doesn’t work on the regular level of movie narrative, instead using visual storytelling and montage editing, resulting in highly involved viewing.
Honorable Mentions, in order:
Post Tenebras Lux – An art film of high order that uses perspective to great effect, producing entrancing visuals and emotional realism.
American Hustle – Basically Scorsese-lite, a terrifically fun, fast and loose story of sexy people conning each other in decadent ‘70s style.
On the Road – A successful adaptation that translates the dizzying energy of Kerouac’s classic with rebellious spirit and a stellar cast.
Room 237 – A mesmerizing and frequently funny exploration of obsession where five people explain their conspiracy theories about “The Shining.”
Narco Cultura – Death is an everyday part of life in this shocking documentary about Mexico’s cartel murders and the music scene it has inspired.
Prince Avalanche – A captivating dramedy with organic humor where Paul Rudd and Emile Hirsch bicker, fight and bond in a deserted landscape.
The Hunt – This intense and emotionally draining Danish drama shows how a child’s lie tears apart the life of an innocent man.
August: Osage County – Meryl Streep is wickedly hilarious and the whole ensemble top-notch in this crowd-pleasing dramedy of family dysfunction.
Blue Is the Warmest Color – A three hour, French lesbian romance may sound pretentious, yet it’s a beautifully rendered portrait that breathes raw emotion.
The Great Beauty – A lively Italian rumination on art, life and religion that intoxicates with its gorgeous style and rambling wisdom.
Alex Lamb Movie Man 