The Best (My Favorite) Films of 2014

It's far past time to make my annual best of 2014 in film list. Cue the usual paragraph-and-a-half long barrage of anger/praise for the current year in film and frusturation at the concept of making lists yada, yada, yada... In all seriousness, this was an immaculate year for movies in general, and I am honored to write about. It seemed every month or so brought forth some form of greatness on celluloid (or digital, I guess.) Some of the world's best working filmmakers (Anderson, Anderson, Linklater) made movies this year, and they were awesome. But forget all this, let's get down to what this article is actually about. Cinema.
Not every movie that came out this year was list worthy, but some were still really good. A few of those said films: The Immigrant, The Double, Calvary, Selma, Edge of Tomorrow, Life Itself, Locke... There were even more solid additions that would have been higher in some lesser years. Now, the meat and potatoes of the list.

15. NYMPHOMANIAC
It was especially hard to get a screenshot from this movie that was, uh, appropriate to put on here. But really, Lars Von Trier's newest is one to see. He weaves an (admittedly long) tapestry obsessed with the concept of sex as an idea and driving force. It makes for some uncomfortable, funny, weird, and wonderfully philosophical viewing. If you have the time, it's worth a shot for sure.

14. TWO DAYS, ONE NIGHT
A study in humanity. Jean-Pierre and Luc Dardenne's newest film is one of real emotion. Marion Cottilard plays a woman who is losing everything and trying, trying to get it back. It's about what people do when they despair. Cotillard's performance here ranks among her very best and she soldiers through the film with a true expertise. This is not the most revelatory thing you may see at the theater but it feels honest and has some wonderful moments.

13. GUARDIANS OF THE GALAXY
 Guardians is not a "Great" film by any means. It suffers from the same plot structure and character problems that has plagued every single Marvel film. Yet, it's exuberant tone, hilarious one liners, and breathtaking production design make it a more than entertaining viewing. I've seen it three times now, and despite its multitudes of flaws, it is a thoroughly enjoyable experience.

 12. ENEMY
Denis Villeuve, the man behind last year's excellent Prisoners, proves with Enemy that he is a master of ominous alley ways and dark color schemes. Enemy is a gripping delving into one man's psyche. The most horrifying part is we don't know the way out. This boasts one of the great Jake Gyllenhaal performances (and not even his only one this year!) and is generally brilliant. I have a sneaking suspicion this will grow in stature upon future viewings.

11. NIGHTCRAWLER
In which Jake Gyllenhaal plays an Antichrist for the modern age and Dan Gilroy proves he's better than The Bourne Legacy. Overall a tense-as-hell and awesomely cynical thriller that works as one of the best satires of television since Network. Here, Jake Gyllenhaal gives THE best performance of the year (What the hell, Academy?).

10. THE LEGO MOVIE
"Ugh. The Lego Movie. A gross celebration of perverted capitalism not even trying to disguise its obvious identity as a corporate ploy to sell merchandise." That's the what I thought I'd be saying about this movie after I saw it. Instead, I was thinking "What a wonderful celebration of imagination and wonder! This movie is genuinely funny! How? I don't care. This is good." The animation is beautiful, nearly all of the jokes land, and all in all it is a good time. There's much more going on here than jokes and animation though. This is a legitimately good movie. See it.

9. GONE GIRL

Probably the most gripping film I've seen all year. Fincher's newest film is possibly his trashiest, going for big twists and lots of glorious pulp, but it's also one of his best. It simultaneously picking apart gender stereotypes in film while telling a hell of a good "page turner". Rosamund Pike is the MVP here, giving a wonderfully evil performance. It all looks great too. I'm looking forward to returning to this. The whole thing just works.

  8. LISTEN UP PHILIP

Quite possibly the most under seen movie of the year, mainly due to it only really being released through Video On Demand, which is unfortunate. Alex Ross Perry's newest about a successful writer (Jason Schwartzman) slowly receding into himself while alienating those around him is a hilarious and fantastic little movie. It's cynical, but not to the point where it becomes tiresome. The whole thing fittingly watches like a novel, complete with droll voice over narration and a story spanning years. Schwartzman is giving his best work here and delivers every line without fail. But Elisabeth Moss, playing Schwartzman's jaded girlfriend, is the real surprise here.

7. BIRDMAN

I won't lie, Birdman has plenty of flaws. It can be mighty heavy handed at times and sometimes goes into messier and less honorable directions. Yet, despite all that I couldn't help but love it. There were moments that made me cringe, but there were far more that made me beam. It's filmed so the whole thing looks like it's one shot. Thus, the movie begins to seem more like a play, fittingly. It's manic, crazy, a little misguided, but totally enthralling and awesome. The performances and cinematography are immaculate. The script has a lot of little problems, but they can be easily forgiven. It's really a very good film. Keaton is back, and he's not alone.

6. INTERSTELLAR

This also has some issues, some that grate on me more than others. But you know what? Screw it. I loved this movie. As technology advances, it seems like genuine awe at the cinema is less prevalent. A realistic explosion or spaceship is no longer such an impressive feat as it once was. Yet, somehow Interstellar made me gaze in wonder, and even a little bit of joy. It's not because of the incredible special effects (although they were a factor). No, it's Christopher Nolan's use of the universal theme of pain felt through passing time. We are all watching it pass. Time is a countryside speeding away as we ride on a train. Nolan understands this, and uses it quite well. And on top of that it's backed by a terrific Matthew McConaughey performance and a wonderful Hans Zimmer score. Interstellar is sometimes a little ridiculous, sentimental, and even derivative. But overall it is a beautiful and powerful experience and one of the best times I had at the movies this year. 

5. WHIPLASH

Whiplash is tense, economical, and terrifically edited. It sounds like a cliche, but I honestly was on the edge of my seat throughout the entire film. There has been much fuss over J.K. Simmons performance, and for good reason. This is one instance where I would not feel foolish in using the word bravura. The movie is about a young and talented drummer going to school under a wildly abusive (and equally talented) teacher. As it progresses, it begins to read not as an artist coming of age film, but of the creation of a monster. A cautionary tale about taking things too far. It's all very entertaining. Jazzy and exciting, yet incredibly dark underneath it all. In a year of such experimental and interesting films, Whiplash stands as more conventional. Yet, it's one damn fine piece of convention. I look forward to what writer/director Damien Chazelle has to offer next.

4. BOYHOOD

Boyhood is likely the most talked about film of the year, mainly because it was filmed over twelve years, tracking a boy from ages six to eighteen. It's easy to see someone disregard the movie as nothing more than a gimmick, a simple little movie that's getting blown out of proportion because of the method in which it was made. Yet, that wouldn't be true. Boyhood could have been just an exercise, but it it so much more than that. It not only honestly depicts childhood, but delves into real introspection and as it goes on becomes a commentary on itself. This is a film that revels in the little moments. Richard Linklater knows that what makes up most of our memory is not the big weddings, funerals, and birthdays, those events are kept in photo albums. Our true memory is made up of the talks with friends, afternoons in the woods, and muffled voices in the next room. Boyhood is a truly incredible movie, and not one to be forgotten. 

3. UNDER THE SKIN

An amazing movie about the futility of human existence what Earth looks like from the outside. This is almost tied for my number two spot (and was actually my #1 for a while), it's that good. Scarlett Johansson gives total role commitment here and it pays off. Her portrayal of an alien alone among strangers is by far the best female performance of the year. There's so much to unpack here, I almost feel as if I am doing the film an injustice by trying to sum it up in one measly paragraph. Even on a rewatch, Under the Skin keeps surprising and giving forth more, while still keeping things opaque. All of this set to the breathtakingly shot Scottish countryside. This is light on narrative, but heavy on theme and atmosphere. I look forward to returning to this one for years to come. Oh, and the soundtrack is wonderfully creepy, adding to it all.

2. THE GRAND BUDAPEST HOTEL

How does Wes Anderson do it? This movie is much too good. It's a layered and whimsical film about the nature of storytelling. The film begins with a writer telling a story of a man who told him a story. Thus begins the fantastically wonderful cinematic journey that is The Grand Budapest Hotel. Wes Anderson's detractors have lambasted him for years over "doing the same thing". Here, he goes deeper into his trademark pop-up book style and uses it as a backdrop for an incredible story with genuine novelistic sprawl. I do not think this is quite Anderson's best (The Royal Tenenbaums takes that title) but it is certainly his most impressive. Here, he has created a world like no other. On the surface it seems like an ode to times that have past. It isn't. The world being reminisced about here never existed anywhere else but Anderson's imagination, and he is simply bringing it to light. Essential viewing.

1. INHERENT VICE

Simultaneously an examination of America at a certain time and place, the best deconstruction and parody of noir tropes since The Big Lebowski, and a love letter to Thomas Pynchon, Paul Thomas Anderson's newest film is nothing short of a masterpiece. Every line of dialogue carries heavy thematic weight and each character brings something new. It is a very funny film that at the same time is almost unrelentingly sad. It is the end of an era and everyone is unsure of themselves. The curtains have been pulled back and rays of unwanted sunlight are washing in. Even those in authority, the ones who are supposed to know what is going on, can't help. Anderson frames this all through the pot addled psyche of a good natured detective, Doc Sportello (played wonderfully by Joaquin Phoenix). Many have been complaining about the complex plot of the film. It is a bit convoluted, but rightfully so. It's commenting on the equally complicated detective noir films of the past (The Big Sleep, The Maltese Falcon, etc..) and echoing the dazed and confused minds of the main characters, who are as lost as anyone. I could go on for hours about this movie. I've seen it twice now and I know this is one that will only improve on successive viewings. 

Here's to a great 2015.        

Under The Skin review

If Eraserhead-era David Lynch time traveled to today and directed a movie about aliens, I imagine it would look somewhat like Under The Skin. Except it probably wouldn't be as good as the actual movie is.

In old cheesy sci-fi flicks, and even in some more recent movies, aliens are always humanoid. They may have purple skin or weird space suits, but they always resemble humans to a fault. Whether in appearance, language, or technology, it seems science fiction writers can't get away from humanity when creating an alien race. Under The Skin doesn't have this problem. The extraterrestrial in Under The Skin takes the form of a Scarlett Johansson-looking Scot, but underneath it's something completely different. Something alien to our world. With thoughts, needs, and desires completely different than that of any human. I think it's the fact that this movie addresses how strange and alien actually aliens would be that makes it so interesting. It also addresses how strange and alien our world and culture would look to an outsider. Director Jonathan Glazer and his leading lady, Scarlett Johansson, portray these factors with the utmost skill and strangeness. Under The Skin is technically about an alien on Earth taking men and harvesting them for some unknown purpose. But that's not really important. The film is really about fear, confusion, and humanity itself. Big themes, I know. But this movie isn't afraid of big themes. What it really embraces are the big questions. The main protagonist here, Scarlett Johansson's alien character, spends a decent chunk of the film driving around Scotland to pick up men and then bring them back to her apartment where they're never seen again. When she first meets a guy, she always asks if he's alone. Whether he has a family, if he's traveling with anyone, does he have any friends. She wants to take people that won't cause a ruckus if they drop off the face of the Earth one day. She asks if they're alone. In life maybe they are, but not in the universe. When the movie starts out, Johansson has all the power. These men she finds are practically drooling at her to the point where they die, blinded by her hypnotic beauty. As the film progresses, she starts to lose this power. You can see her character scared and confused by people and Earth in general. At one point she trips in the street and passers-by rush to help her, the look of confusion is incredibly telling of her character. Scarlett Johansson barely speaks at all in the movie, but she deserves an Oscar simply for the way she communicates through her face. Whether she's utterly emotionless, or horribly frightened and confused, Johansson gives a marvelous performance. This may sound ridiculous, but I think it's the most honest portrayal of an alien that's ever been captured on film. Aliens probably wouldn't be all-knowing and confident. They're like snakes: dangerous, but more scared of us than we are of them. Things we take for granted like eating and even just regular human interaction become odd and even scary to an alien. Johansson embodies this horrified confusion so, so well The person involved with this movie I have to applaud most is writer and director Jonathan Glazer. His direction here is breathtaking. Every shot is clear and beautiful, haunting and meaningful. The imagery here is flawless. Just the shots of the Scottish countryside are awe-inspiring. The way he holds the seemingly meaningless shots like a hand tapping to music or an ant crawling, make those shots seem as important as the entire movie. And in some ways, they are. Glazer uses single shots to paint an entire picture and deliver so much emotion and information. He doesn't need dialogue. The last scene has been burned into my mind since I watched this last night, and that's saying something about the power of cinema. Many people have deemed this film as Kubrickian. I'm a huge Stanley Kubrick fan myself, but I don't really see a connection. I think people were trying to connect this and 2001: A Space Odyssey, which is understandable but wrong. They're two great films, but two completely different films. The only thing Kubrick-esque about Under The Skin is it's pacing. In most of his movies like Barry Lyndon and 2001: A Space Odyssey, Kubrick has this very slow, yet very riveting and deliberate pacing. Glazer uses a similar technique here. When watching this, I was in between deeply enthralled and utterly bored. And I mean that in the best possible way. Nothing is really happening, yet it feels like something profound and horrific will happen soon. I literally was on the edge of my seat most of the movie. If anything, Under The Skin is completely original. I have never seen a movie, technically and narrative-wise, like Under The Skin. It's completely it's own. One more thing. This film is an all around sensory experience, and I highly recommend you see it in the theater while you can. It's not just visuals. The soundtrack is incredibly eerie and it's use of sound in general is spectacular. Overall it's a very well-made movie. It marries it's sounds and images in such an amazing way, that it all permeates your soul. That sounds very pretentious and a little ridiculous but it's 100% true. In a world of reboots and The Amazing Spider Man 2, maybe that's just what we need. This film is in no way for everyone. Some may find it too weird. Some may find it boring. I found it riveting, original, and even a little prophetic. I believe that's enough to deem this a great movie. Or at least one we should be thinking and talking about. I give Under The Skin 4.8 out of 5 stars. Now stop reading my review and go see the movie! Remember to follow me on Twitter @WhitsMovies and like me on Facebook at Facebook.com/WhitsMovies.