Count Down 100 Movies from 2013 (Multiple users) Tele page 20

[4815162342]

When Spaghetti's right, he's frakkin' right.

[Ezen Baklattan]

Oh, stop it, you guys.

 

 

45. BLACKFISH

"They're not your whales. They own them."

Well, next time I’m in Orlando, I’ll stick with Disney World and Universal Studios. This documentary provides a critical examination of the captivity of whales at ocean-themed water parks, particularly SeaWorld, the site of the horrific killing of an experienced trainer at the hands of a killer whale named Tilikum, but the blame shouldn’t be placed on the whale, but the humans. The film confidently asserts how whales are inhumanely handled in bringing them to be used for our entertainment, much like circuses across the world. Who are we to try to not just capture such powerful animals, but to make them perform shows for us? This documentary has powerful confidence and makes a statement like no other, and it doesn’t rely on emotional manipulation to make its point, although there is a bit of it here, which is simply unavoidable when you’re talking about a topic like this. Some of the film’s discussion points also do feel a bit repetitive. Even so, I give this film a strong thumbs up for its unflinching power. 

 

 

44. IRON MAN THREE

"Do you want an empty life, or a meaningful death?"

Shane Black delivers the goods on this surprisingly offbeat and thoroughly exciting summer blockbuster. Robert Downey Jr. gives another exciting turn as Tony Stark, affected by his near-death experience from The Avengers and going through a deep crisis in his life. Things only get worse when the Mandarin appears and threatens to bring about world chaos. Shane Black not only creates exhilarating action scenes and several funny moments, but also a compelling character arc for Tony to go through. He has to rebuild both Iron Man and himself in order to find the strength to restore order. The second act brings out more surprises, including the divisive Mandarin reveal, which I personally found to be the single most hilarious moment in any Marvel movie, including the Avengers, although the actual villain of the film isn’t as interesting. The film still manages to have an exciting finale marked by an intense battle, and an aftermath that gives Stark the inner peace he had been seeking. One could call it a standard superhero piece at the surface, but peel back the layers and you might just be surprised at how atypical, smart, and complex a third entry in a superhero franchise can be. 

 

 

43. THE GIRLS ON LIBERTY STREET

"Goobye."

This film, which I caught at the Chicago International Film Festival earlier this year, explores the life of a Hispanic young woman from Chicago as she tries to wrap up the loose ends in her life before heading off to the army. Shot locally in the city and using inexperienced actors, the film provides a deeply personal and real look at this woman’s life. It’s a quietly moving film, which doesn’t express huge emotional scenes so much as a raw look at a person about to have her whole way of life changed, seeking to wrap things up as well as she can. The small production value actually works in the film’s favor in this sense. The only real problem is that it feels a bit slight, possibly due to the fact that the heavier drama that does come up doesn't quite work as well given the pure authenticity of the piece, as it only clocks in at 62 minutes. We could have used some more time to really get to know the main character, even though there is a decent portrait painted of her. It’s an impressive, unique, and emotionally resonant look at the beginning of a critical new chapter in a young woman’s life, as well as an interesting exploration of the capabilities of smaller-scale cinema.

 

 

42. SIDE EFFECTS

"I'm not crazy, you know I'm not crazy."

Steven Soderbergh looks to be ending his career with a bang. This hidden gem in the midst of February is a Hitchock-style thriller focused on a woman who tries to cope with her anxiety and the recent release of her lover from prison, but the drugs become the center of a shocking murder, and things continue to get complicated in a scandal that shakes the pharmacy industry to its core. Rooney Mara is dark, brooding, and disturbed as Emily Taylor, the woman at the heart of this scandal, and Jude Law is also impressive as her doctor. The plot’s twists and turns will leave you running to keep up with it, making it all the more intriguing and exciting to watch, and it’s never predictable. I had no idea what would happen in the next scene, let alone how everything would end up. A good comparison may be Tinker, Tailor, Soldier, Spy, another complex thriller which uses its smarts to keep you engaged and figure out how everything will turn out. Soderbergh’s direction builds this film as a powerful and captivating thriller, character study, and critique of the pharmaceutical industry and scientific scandals. Side effects may include: Audibly gasping at a film, fervid discussion of its themes, and the celebration of one of Hollywood’s most underrated directors.

 

 

41. ANCHORMAN 2: THE LEGEND CONTINUES

"I believe in two things: Chicken, and that the census is a way for the UN to make your children gay."

No movie could possibly be like Anchorman. Its crazy comedy, hilarious characters, and all around wacky antics have made it a cult sensation. The new sequel, 9 years later, tries desperately to recapture the magic, with a general sense of success. It’s not quite as tight or funny as the first film, and there’s really a lot of filler here, especially with a plot involving a blind Ron Burgundy that kind of brings the film’s silliness to a standstill, but there’s still so much to love about this. The laughs are still there in big volumes, and the weak thread of a plot tying everything together makes no problem. The movie just rides along with its crazy antics, and everything works out in the end. It’s not so much of a movie, but a series of vignettes that revolve around a general premise and become gradually more insane. It’s the kind of movie where anything can happen, and it does. It’s a far cry from the brilliance of the first film, but to be fair, how could it have possibly done it? Anchorman 2 is still a riotously funny comedy which wears its heart on its sleeve. Bonus points for satirizing the sensationalism that plagues most American News Channels. 

[Ezen Baklattan]

 

40. THE WAY, WAY BACK

"Good, always take things literally. How's that working out for you? Does that get you laid?"

There’s just something really cool about the movie. Sure, it’s a concept that’s been done plenty of times before, but there’s still something magical about it. Liam James provides a capable, if not fully compelling, performance as a teen vacationing with his family to his rude uncle’s vacation house, finding solace and friendship in the workers of a local water park. The ensemble cast, including Maya Rudolph, Steve Carrel, and Allison Janney are all given a lot of great material to work with, but the star of the show is Sam Rockwell’s Owen. He gives the role a great personality and character, and his scenes with James are emotionally effective, and we can easily come to see him as a mentor for the teen. Beyond Rockwell’s great performance, it’s a fun and light-hearted movie, if not a little bit more, that explores the issues of growing up, finding close relationships with others, dealing with family, and just simply being a teenager. Jim Rash and Nat Fixon’s script and direction gives this summertime dramedy a strong and delightful flavor, and it even feels like the kind of film John Hughes would have done. It’s not always perfectly tuned or fresh enough, but I dare you to leave the theater without smiling.

 

 

39. PHILOMENA

"I did not abandon my child!"

Like the movie or not, you have to admit that Philomena Lee is a wonderful person. She is desperate to find her missing son after so many years, and after learning about her death, she remains strong and continues to try and uncover the secrets about his life, even forgiving those who had separated the two. This is the story of Philomena, a simple yet endearing tale of hope, forgiveness, and discovery. Judi Dench gives a strong portrayal of the scarred, yet hopeful titular character, and at her side is the cynical journalist Martin Sixsmith, played well by Steve Coogan, who co-wrote the script. Sixsmith and Lee are near total opposites, but their journey together doesn’t just drive itself on the theme of “opposites go well together,” but each character helps the other become stronger, especially Philomena towards Sixsmith. The film does feel a bit rushed, and we could have used 15 minutes more to really get into this story, but Frears does a good job of making us understand what makes these characters tick. It’s not quite a homerun, but Philomena’s spirit (both the movie and the character) carries things to great heights, and the end result is an emotional and satisfying experience.

 

 

38. ENOUGH SAID

"I'm tired of being funny."

Endearing, poignant, and wise: These words and more describe the simple, yet rather wonderful expression that this film makes. Julia Louis Dreyfuss shines bright as a widow trying to maintain her job as a massage provider and see her child off to college, and the late James Gandolfini, who has been quietly churning out some incredible roles lately, gives a subdued performances as the charming man with whom she forms a special connection, yet it’s probably one of his best performances on film thanks to the richness of his character. The two have excellent chemistry, and you become invested in their relationship and want them to stay together, and their journey is both hilarious and heartbreaking at different moments, especially once complications turn up involving one of Dreyfuss’s best clients and Gandolfini. Toni Collette also gets to have a funny supporting role as a friend of Dreyfuss. What could have been just another token indie movie, and this movie wasn’t completely guilty of bypassing genre tropes, becomes a little bit more thanks to its clever script and fantastic performances. It’s simply a wonderful little movie. Enough said. 

 

 

37. BLUE JASMINE

"There's only so many traumas a person can withstand until they run out into the streets and start screaming."

You can believe the hype for Cate Blanchett. She drives the film home in her role as an artificial New York socialite whose way of life is pulled from under the carpet. She tries to make things better by moving in with her sister in San Francisco, but things only manage to get worse for herself, this time by her own doing rather than the mess made by her white collar criminal husband, played by Alec Baldwin. Blanchett combines both humor, drama, and a sense of desperation to her character, making her struggle the force that carries the movie, and even with all she does, you still can’t help but feel sorry for her. Cate Blanchett is the shining star of the film, which pretty much overshadows the rest of the situations that other characters go through. Jasmine’s sister, played by Sally Hawkins in a solid role, has her own relationship troubles, and then there’s the aforementioned crimes that Baldwin takes part in. None of these side plots really feel developed or compelling enough for me, but since the focus of the film is rightfully on Jasmine, it ultimately works in the end. Come for El Senor Diablo Blanchitto, and stay for the surprisingly tragic tale from one of the finest directors in Hollywood.

 

 

36. PACIFIC RIM

"Where's my god damn shoe?!"

In the hands of most other directors, this would have been a mindless and bland action fare, but Guillermo Del Toro has passion for this world of kaiju and jaegers, and he gives the film a unique spark that, with all of its flaws, feels like something truly special. Not only are the fights between giant robots and giant monsters from another world mesmerizing, exciting, and – a disappointing rarity in modern action films – possible to follow, but Del Toro has a gift for world building. He explores jaegers from around the world and the cyberpunk-styled Hong Kong to bring us further into the world. Look no further than Ron Perlman’s (a bonafide scene stealer in this film) kaiju organ business. Del Toro also gives the characters, especially with Mako Mori’s flashbacks, depth that allows us to actually get behind them. True, the acting isn’t always perfect, but the film makes an effort to prevent these characters from being passive, with mostly successful results by creating a rich diversity of characters, from two wacky scientists to a determined soldier in Idris Elba. This is a world which has had so much heart invested into it, both visually and spiritually, and it has the heart and power that most blockbusters wish they had, creating a truly unique experience at the movies, much like the similar Speed Racer. An all-around unabashedly dazzling tribute to the kaiju genre. 

[baumer]

Really good write ups Spaghetti.  I'm surprised Way Way Back is so low though.  The way you rave about it, it sounds like it should be much higher on your list.

[Ezen Baklattan]

I did really like it. It's just that good a year for film. 

[The Panda]

I'll do my top 100 eventually, but I did realize I am behind on my movie watching so far if I want to make 100 for 2014.  I've just been overly busy the past couple weeks.

 

Plus, I tend to be to busy watching/rewatching Oscar movies in January to care about new releases.

Edited January 21, 2014 by The Panda

[Sam]

Spaghetti, seems like you have managed to avoid lots of crap this year and watched most of the best of movies 2013 offer. Great work thus far, I look forward to future ones.

[Ezen Baklattan]

That's hopefully not the reason I've seen relatively few movies this year. 

[baumer]

Keep it coming.  Good list and writing so far, Spaghetti.

[baumer]

I'll do my top 100 eventually, but I did realize I am behind on my movie watching so far if I want to make 100 for 2014.  I've just been overly busy the past couple weeks.

 

Plus, I tend to be to busy watching/rewatching Oscar movies in January to care about new releases.

 

You've got time.  Spaghetti is doing his first.

[4815162342]

I can't imagine seeing 100 movies a year. So much time taken up.

Edited January 21, 2014 by 4815162342

[Ezen Baklattan]

Before I get to my top 5, I might also save a spot for my five least favorite movies of 2013.

 

 

35. WRONG

“I only realized I love my face after it has been burned with acid.”

If you’ve seen Rubber, which I found to be a total blast, you should know that Quentin Dupieux is a crazy director. His films combine absurd premises with even crazier settings and bizarre non-sequiturs. You should know that with his latest film, about a man who tries to find his missing dog, and even more craziness ensues. Wrong provides plenty of hilarious moments that just leave you thinking, “What the hell did I just watch?” but laughing regardless. I honestly don’t want to spend a whole lot of time discussing this movie for risk of spoiling the many bizarre surprises, including even a bit of heart, that come from (or outside of) its relatively tame premise. I’m not certain that most of you will be on board for Dupieux’s surrealist and illogical world, but if you are, then prepare thyself for what might be the single strangest movie that came out last year – but the director’s passion for his absurdity makes it a crazy and surreal ride. You have to see it to believe it, and even then, you may not believe what you’ve just seen. 

 

 

34. THE DIRTIES

“What are you doing? It’s me!”

What an interesting experiment of a film. It explores the story of two high school students who make a film about getting revenge on school bullies, but things take a downward spiral when one becomes too attached to the film and wants to make things a bit more realistic in this satirical black comedy. There’s certainly a few issues with the film, including its uneven buildup and its characters that may be off-putting to some, but I essentially gave it the benefit of the doubt. It’s a wholly original and occasionally hilarious and frightening look at bullying that will leave you thinking about the problem in a way no other film does. By the time the film closes, things only manage to get darker with a climax that will leave you breathless and shaken. This film deals with some heavy material, but it combines them into a mostly strong and surprisingly well acted picture. If you’re up for something unique in your moviegoing experiences, this would be one to recommend. The end credits sequence with homages to famous movie title cards was also a nice touch. 

 

 

33. MONSTERS UNIVERSITY

“MOM! We’re doing an initiation!”

I was a bit hesitant to this film at first, but once I left the theater, I knew that Pixar was back on the up and up. Mike and Sulley’s experiences at this college to prepare for a career in scaring provides great comedic wit as well as some great side-characters, including the loveable Oozma Kappa misfits, the goth Greek Council president, and the frightening headmistress of the School of Scaring, voiced in a fine performance from Helen Mirren. The visual design of the film also shows Pixar with its pure skill in developing animated design, with some amusing character designs and a campus that looks both gorgeous and authentic to this world. The true heart of the film is Mike’s journey, where he realizes that he won’t be able to become a scarer, but he does learn how he can apply all of the books he had learned in a way contrary to his expectations. It’s an impressively poignant story that most animated films wouldn’t dare to pull off, but Pixar executes it in an effective manner. This leads to a considerably stronger final act than the still enjoyable world-building in the first two parts, but the film still proves to be consistently strong, and it pushes Pixar back in the right direction.

 

 

32. BEHIND THE CANDELABRA

“Too much of a good thing is wonderful!”

It’s probably cheating to include this here, considering how it didn’t even get a US release, but I’ve taken some liberties with this trend so far, and damn, it is good. Michael Douglass is phenomenal as the famed (and insanely flamboyant) piano player, and Matt Damon holds his own, perhaps even outshining Douglass, as his younger lover who discovers a whole new world under Liberace’s wing. The film works because rather than just functioning as a Wikipedia summary of Liberace’s life – a move for biopics that’s more unsuccessful than not – but rather, we dive into his late life, and the emotions and lifestyles of he and his lover – both are living a very lavish, almost artificial, kind of life that has a fair share of complications of its own - are well explored by Soderbergh. The film remains consistently engaging and entertaining as it goes through, including a brilliant supporting role from Rob Lowe as Liberace’s favorite plastic surgeon, but the movie’s strong heart – delivers something truly real amidst the seemingly bizarre character at the heart of it. It may be one of Steven Soderbergh’s last films, but if this and Side Effects are any indication, the guy is going out with a bang.

 

 

31. STOCKHOLM STORIES

“We have to turn off the light and be willing to sit in utter darkness to see ourselves and the world for what it really is.”

Stockholm Stories, which only got a small release at the Chicago International Film Festival, is an ensemble comedy, exploring the lives of a diverse set of souls living their lives in Stockholm, feels like a mix of Robert Altman’s filmography and relatively optimistic ensemble comedies like Love Actually. It’s not a perfect film, due to a few moments that don’t quite click together, but there’s still a lot of the film that works. As (first time!) director Karin Fahlen says, this is ultimately a city story, giving the film that doesn’t confine itself to one setting, although much of the Swedish city is explored throughout the film, but rather it explores characters that simply exemplify the complexity, humor, love, and drama city life. The film doesn’t result to corny clichés to tell its story, and there’s more than a few moments that are poignant and clever, including a blackout in the city that affects several stories during the third act. What follows are a series of some special moments between the characters, and it all contributes to a sweet and satisfying motion picture. 

[Jack Nevada]

I'm doing my Top 25. How does this work, am I doing it in this thread or do I start a new one or what? 

[baumer]

I think it's better to wait for others to finish.  Too many threads with your top films of the year can get redundant if they are being done at the same time.  Spaghetti's doing his now, I think it would be better to do it after he's done.  But it's not my call, do it if you want, in another thread.

[baumer]

I don't think I've seen 80% of the films you've written about so far.

[Ezen Baklattan]

A lot of them were small releases or showed at film festivals, but you should check them out if you can, Baumer. They're all really good.

 

At the Chicago International Film Festival, I saw Monsoon Shootout, Girls on Liberty Street, Stockholm Stories, and two other films that will come up at a later point on this list. 

[Sam]

List that includes Behind The Candelabra automatically gets a like from me Great stuff, Spaghetti!BTW, thanks to your sig, I remember about Big Eyes. My man Christoph Waltz and the wonderful Amy Adams! So in!

[DAR]

Yeah Behind the Candelabra was very good.

[Jack Nevada]

Alright, I'll wait for Spaghetti to finish.

[Ezen Baklattan]

 

30. THIS IS THE END

"No jerking off in my house, McBride!"

Seth Rogen and Evan Goldberg and their gang of merry men have crafted what might be of the most original and hilarious comedies of recent memory. This Is The End is simply insane. Full of insanity in its plot, loving self-debauchery, and leaving no rocked unturned, you get the feeling that this is cinema at its most loose, rule-free, and flat out fun. I can only imagine what it was like to film this movie, with all kinds of comic actors (and Rihanna and The Backstreet Boys) and the sheer craziness of the film.  The whole ensemble is completely into it and ready to wreak havoc, that even the most outrageous moments, including a fight over ejaculation between Danny McBride and James Franco, will leave you struggling to breathe. Strangely enough, the movie works in a surprisingly sweet message about friendship, and dealing with the success of others when you’re not quite at their same level. Seth Rogen works in this friendship with Jay Baruchel surprisingly well into the film, giving just one more reason that makes it so strong. There’s simply no summer comedy like this, and I certainly doubt there may be, but I’m now more pumped than ever for what these guys may do in the future, especially with The Interview coming out next year.

 

 

29. SAVING MR. BANKS

"I know what he's going to do to her. She's going to be cavorting, and twinking, careering towards a happy ending like a kamikaze."

The Disneyfication of real life events to add a bit of pixie dust happens all over this movie, and this almost causes the film to get derailed before the credits roll, but that doesn’t change that fact that this is just a sweet, sweet film. The story of Disney and the hard to please P.L. Travers contains both charm, compelling characters, and a touch of delightful period flair (not to mention a beautiful score from Thomas Newman). Perhaps more interesting, however, is the story of Traver’s childhood, especially with her relationship with her father, played by Colin Farrell in one of his finest performances to date, and perhaps the best in this film, an imaginative man brought down by alcohol abuse and a job as a banker. How it contributes to Travers’s imagination and the creation of Mary Poppins is a deeply poignant and emotionally powerful tale, and the two distinct ‘stories’ are edited together decently enough, although there are a few rough patches, that carry the film to a satisfying and emotionally powerful conclusion, despite the fact that P.L. Traver’s reaction at the screening began to blur the line between reality and fiction, but considering how the movie prevents itself from going overboard, as well as the general wonder of the film itself, it didn’t ultimately bother me.

 

 

28. THE HUNGER GAMES: CATCHING FIRE

"I'm still betting on you, girl on fire."

By raising the dramatic stakes and the melancholy of the world, Catching Fire is able to free itself from the restraints of the first film and create something truly epic. The first act of the movie is surprisingly impressive, with Jennifer Lawrence’s assured and powerful performance as Katniss Everdeen, who tries to adjust her newfound life as a celebrity while discovering a revolution against the tyranny of Panem – one that the girl on fire herself has started. By creating more scenes of developing the oppressive world of the districts, the artificiality of Capitol high life, and the potentially impending war, as well as a series of emotional moments surrounding Katniss, the increased fear and tension between Katniss and other characters is allowed to shine bright, providing more depth than several young adult adaptions could dream of. Much like the first film, the actual games themselves may be the weaker half, but the difference is that there’s more riveting action and stronger visuals in these games, no doubt thanks to a bigger budget and more lenience in showing adult violence, all building up to a chilling final minute before the end credits roll. It’s a fantastic cliffhanger, giving us sufficient closure for this film yet getting the hype rolling for the next. It’s time for the mockingjay to shine. 

 

 

27. THE SPECTACULAR NOW

"You'll always be my favorite ex-boyfriend."

A trend in films this year – one which I’m quite fond of, is providing authentic looks at life with few Hollywood-generated falsehoods. The Spectacular Now is one of these movies. Miles Teller’s (who’s quickly becoming an actor I’m keeping my eye on) coming-of-age journey about finding his way in life, despite his general personality to just drink merrily and live in the moment of his high-school party life, but when the equally powerful Shailene Woodley, a more introverted girl interested in sci-fi novels, enter his life, the two engage not just in cutsey indie film romance but something more meaningful, and both are changed for the better because of each other. Their interactions and relationship feels believable and real, giving us a great reason to care for them. It doesn’t give in to the tropes on the genre, choosing instead to show the fears and challenges of becoming adult, the nostalgia of your final year of high school, and overcoming them to embrace what may come after “now.” The only big flaw is a scene at the end of the second act where the consequences should have been more severe than they were, but that doesn't detract from a movie that anyone who has ever been a teenager can resonate with.

 

 

26. FRANCES HA

"We are like a lesbian couple."

The first few minutes may fool you into believing that this is just another pixie girl indie film, but that would be a far cry from giving this film enough credit. We dive into the life of Frances Ha(lliday), a dancer trying to make the most of her life in New York City, all while dealing with friends, love, and other matters that pop up in her life. Greta Gerwig, who also co-wrote the film, completely owns the movie by developing Frances into a believable character – a girl in her 20s who keeps trying, yet not always succeeding, to get things in order. She does have a bit of the Zooey Deschanel vibe going for her, but to Gewig’s credit, she makes it seem believable and realistic, not to mention charming. It’s a bit like a movie version of the Girls – but there’s a bit more warmth to this film that offers a nice touch to the film. (Not to degrade the brilliant show at all) I also find it funny how while this film explores the troubles and joys of being in your twenties, the film before on this list explores looking into adulthood from the perspective of a teenager, although Frances and Sutter are probably going to lead very different lives. 

Edited January 27, 2014 by Spaghetti