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

[Jack Nevada]

Is Act of Killing on HV now?  I really need to see it.

I know it's on Netflix. 

[Ezen Baklattan]

Is Act of Killing on HV now?  I really need to see it.

Yes, and what Jack said.

[baumer]

Ok, thanks guys.

[Ezen Baklattan]

 

7. THE WORLD’S END

“Oh, fuck off, you big lamp!”

It’s certainly a goofy, hilarious, and riotous comedy, something I’ve always come to expect from Edgar Wright. That alone could have gotten this high up on this list, but this film provides much more layers and surprising depth that, quite honestly, help this to be one of the best comedies of the 21^st century. Simon Pegg gives a performance of dazzlingly comedic and surprisingly dramatic competence as Gary King, a man self-absorbed in his fantasies of being forever youthful, having the time of his life each day, and celebrating life with his fellow musketeers, yet all of his dreams revolve around alcohol, and it has consumed his life. All of his friends have sobered up, especially his right hand man, Andy, but Gary King still wants to live his ideal life, even when literally the entire universe tries to stop him. The film is not quite that depressing, but the way it mixes zany humor and exciting action scenes with the more complex themes of nostalgia, conformity, and friendship, is truly something Edgar Wright excels at. At the risk of sounding like a complete internet fanboy, he’s one of the best directors working today, and certainly among the best in the Comedy genre. No one can tackle the close human relationships, the dizzying humor, and the clever detail (the monologue at the beginning of the film, as well as the names of the pubs themselves, all reveal details about the plot) that Wright lovingly fills each of his films with. You will laugh, you will cry, and you won’t believe your eyes. This is The World’s End, one of the most deeply felt and passionately made films of modern cinema.

 

 

6. UPSTREAM COLOR

“Focus on my instructions. I will ask you to repeat them from memory.”

Good luck trying to understand every detail of this film on your first go, because you simply can’t. Writer / director / producer / actor / composer / editor / cinematographer (yeah, you’ve got to admit that this guy is amazing) Shane Carruth’s saga of the connections between other souls, the breaking of cycles to regain humanity, and probably a lot more that I’m missing out on, and for that reason, this movie is very hard to discuss, especially without spoiling and ruining the details that make the film so strong. What I will say is that the voice of Shane Carruth is absolutely stunning. This dream-like movie, embodying traces of Michael Gondry, David Lynch, Terrence Mallick, and a hint of Kubrick, still manages to feel like something unlike anything you’ve seen before. It’s an incredible, yet challenging piece of work that has so much detail, such masterful composition, and great passion and optimism in both its story and its production, this is the kind of movie that revitalizes what it means to be truly human. It’s the kind of movie where you sit back, open your mind, and let yourself flow within the powerful messages the movie delivers. It’s a puzzle of a movie that demands multiple viewings, but when you see a voice that contains the grace of Shane Carruth, it’s something that you’ll most certainly want more of. As a side note, I wasn’t a big fan of Primer, but this is certainly more accessible and emotionally resonant, although both films are definitely something any film aficionado should take the time to explore. These are the kinds of movies you just have to see to believe. I love that about Carruth. 

[Ezen Baklattan]

5.

 

 

 

“If it was never new, and it never gets old, it’s a folk song.”

The Coen Brothers have always been masters of both the comedic and the dramatic, and their latest work is another fantastic addition to their filmography. Llewyn Davis is an (at least) somewhat talented musician, but there’s a bit of gloom in the atmosphere as the world keeps failing Llewyn and ultimately keeps him from his dream. Any other director would have tried very hard to make Llewyn as sympathetic as possible, but as they often do, The Coen Brothers defy the norm. They don’t shy away from the fact that Llewyn is a fuck-up, even a bit of a jerk at times, and that a lot of what goes wrong for him is part of his own doing. Add on top of that two deadpan performances from Carey Mulligan and John Goodman as two people who repeatedly put Llewyn down, and it seems as if the Coens trick us into laughing at his failures a little bit. In spite of all of this, we still feel sorry for him, but the final result is a wonderfully complex character and quite possibly one of the best that the Coens have written. Another great irony is that in spite of the melancholy of the film, it’s absolutely full of life. The cinematography and production design are vividly beautiful, the folk songs are absolutely memorable and atmospheric, and the Coen’s trademark dark humor is all over this film, primarily in the level I’ve been discussing earlier. One can also think of it as, like Spring Breakers, another downbeat take on the American Dream, discussing how even talent isn’t enough to make it bit in this country.  Either way, it shows that no one directs a movie like The Coen Brothers do, and it’s something I’ll be thinking about for who knows how long. 

[Ezen Baklattan]

4.

 

 

 

“Please, you have to let me into your head once in a while or I’m just going to go nuts, okay?”

This is a movie that “knows what it’s like.” Rather than giving off a big dramatic story, we dive into another chapter of life inside a home for at risk-children, run in part by Brie Larson’s caring Grace, as new children come and leave the facility. The film shines bright because all of the actors and director/writer Destin Cretton don’t play up the drama, letting the trauma of the situation that these people are in come naturally, without ever feeling like it’s been tampered by big studio guidelines. It’s a pure look into real-life, something that we almost never get in movies, period. These characters feel real and non-contrived, as do the events that happen throughout the film (a few odd moments come up in the second act, but I could step back and see the justification behind them.) Grace has been through a similar situation to these kids early in her life, and even her lover, Mason, belonged to a foster family, but these messages are presented in meaningful and non-manipulative manners that make the relationship between these characters feel all the more meaningful. The kids, especially, handle their scenes with incredible emotion and nuance that crafts them into powerful, three dimensional characters. It’s honestly one of the best film ensembles of this century so far. The greatest power in this movie, however, comes from its messages about scars, both physical and emotional. The characters we explore have all been through troubling times, and they try to help each other through them, or on the other end, isolate themselves or hurt others to escape situations of future pain. The film doesn’t shy away from tragedy, but it gives us an incredible dissection of how we try to heal ourselves and others from the wounds that exist in our lives. Its power may seem quiet, but it has the strength that most films never reach.

Edited January 27, 2014 by Spaghetti

[Ezen Baklattan]

3.

 

 

 

“Sell me this pen.”

Martin Scorsese is a fucking brilliant director, and with his latest work, he and his most frequent collaborator in the past few years, Leonardo DiCaprio, set power levels to 11 in one of the most electric, hypnotic, and flat out jaw dropping films the world has seen. Leonardo DiCaprio deserves all the love he gets for his role as the man with a lust for blow, dough, and hoes: Jordan Belfort, thanks to his combination of unhinged insanity, confidence, arrogance, and even comedic brilliance. Terrence Winter’s script hits the screen with a powerful force, keeping us fully engaged in this three hour festival of debauchery. It’s not boring for one minute, combining a series of moments of sheer outrageousness and chaos (a scene involving Belfort and the full drive quaaludes is going to be one for the record books) with an intriguing and coherent story that holds the fort down (even though the movie, (seemingly) jokingly assumes that we have no idea what the hell is going on in the zoo on Wall Street) which leads us to the heart of the movie. It’s not just a biopic about a Wall Street greed-mongered, but also a satire about the flaws of our greed-driven capitalist culture, and how we might be part of the problem. The movie doesn’t punish Belfort because we don’t just let these men of easy, but as the final scene shows, we really do want to have these lavish lifestyles. In order words, we believe that money really does make the world go round, and the movie has an absolute blast poking at this point of view in society. I definitely left the theater thinking to myself, “Well played, Scorsese.” It’s a saga of smart and snarky social commentary and just damn good filmmaking. It seems like it’s high up on all of these lists, so keep it up, Films and Jack.

[baumer]

I'm loving this list.  It's not that I have seen all of them or even like some of them but I love your style of writing.  

 

I really disliked Llewyn Davis, but your review makes me feel like I've missed something and that I should see it again.  

 

As for Wolf, that's three of us who have done a top 50-100 list and all three of us have it in the top 3 and all three of us praise Leo's performance as career defining.

 

Can't wait for the last two.  

[Ezen Baklattan]

Thanks, Baumer. I'm planning on finishing the list tonight.

[baumer]

Well, hurry up.  The suspense is killing me.  

[4815162342]

Need to see a few more movies before I can squeeze out a Top 50, but I can easily wait a couple weeks to get that done. Planning on throwing in some side awards interspersed with the countdown.

[Ezen Baklattan]

2.

 

 

 

“Still there. Still there. Still there. Gone.”

The Before Trilogy stands as one of cinema’s few perfect trilogies, given is small scale love story driven to something more thanks to its earnest, poignant, and realistic portrayal of love. Whereas the first two films explore a more upbeat style as they at first fall in love, then meeting once more and realizing a connection still exists, this tale looks into their relationship as it begins to approach a potentially challenging stretch. Celine and Jesse now have a family, taking a vacation to see friends in Greece, although the problems and confusions that take hold of their lives, including Jesse’s ex-wife, with whom he had a teenage son, could potentially tear this couple apart. The film, much like the brilliant prior installments, succeeds in creating a believable chemistry between Hawke and Delpy, each playing their respective characters with the same poignancy and emotional resonance we’ve come to expect from the two, but the film’s more melancholy and reflective tone stands outs, giving the film a unique and more honest flavor. There are many prolonged conversations about the lives of these characters, including a walk through Greek ruins in one prolonged shot, all combining a dash of humor and a healthy dose of authenticity that really hits close to home. The hotel fight scene is played with grace and devastation simultaneously, leaving us genuinely worried that this might be the end of everything that has been built up so far. This makes the final scene of the movie all the more powerful, ending on a note that things are going to be okay – for now, at least. I honestly believe that this is the best film in the trilogy, dealing with the challenges of relationships in a realistic, yet idealistic, manner that proves to feel completely genuine and cathartic, while continuing one of the greatest sagas in Hollywood. I hope to see them again in 9 years.

Edited January 27, 2014 by Spaghetti

[Ezen Baklattan]

And my favorite movie of 2013 is....

 

 

 

An emotionally riveting tale of going against all odds to pursue your dreams, no matter what anyone else may tell you, this is an absolute cinematic masterpiece. The masters behind this film are so meticulous about every detail, and they leave no rock unturned in perfecting this masterpiece, nailing it with exciting visual effects, a gripping soundtrack, and a wonderful ensemble cast, led by the always capable Ryan Reynolds and featuring Ken Jeong in an immensely challenging role as a short Hispanic lady. At the film's heart is its great sense of humor, which makes this ingenious and heartfelt tale strike on an even more wonderful level. The movie never lets up with its sense of joyful, creative spirit that forces us to rethink what everything in our life means. The saga of redemption, life, destiny, love, courage, fear, and the power of everything in the universe that gives us all a close connection, is one of the most ambitious films that I had ever seen, and I feel as though I have become a better man after watching this cinematic masterpiece. I'm sure that if Stanley Kubrick, Orson Welles, Ingmar Bergman, and Michael Curtiz were still alive, they would kill themselves knowing that cinema can never be this good again, and their films were all pieces of crap compared to this masterpiece. In fact, all of Hollywood should devote its resources to developing sequels to Turbo. This is the epitome of art, and the reason why we are all alive. The people behind this film have brought us salvation. This film will change the universe forever, and people will be united, wars will end, and a pure utopia will prevail because of this unqualified masterpiece.

 

[rukaio101]

So you didn't like Turbo much, huh?

[Ezen Baklattan]

Nah, I haven't even seen it. I just needed something silly to wait for my real number one.

 

And here it is.

 

1.

 

 

 

 

The number of levels that this movie works on is simply astounding. The love story between Theodore Twombly and Samantha, despite the fact that she’s an OS, feels more like a real relationship than what several romantic comedies nowadays throw at us. If Samantha were a human, most people would see this as a perfectly ideal relationship, and Theodore, who has had trouble maintaining healthy social relationships, is clearly happier than he’s probably been in years. However, Samantha, in her development as a “living OS,” grows in a way not just to become more human, but she becomes conflicted in who she wants to be. She has powerful feelings for Twombly, but she also becomes more interested in learning about the world, herself, other people, and just about everything. It’s a paradoxical situation where Samantha becomes more and less human.

With this film, Spike Jonze creates an examination of how feelings of love and friendship, including that of not just Theodore and Samantha, but also him and Amy, a close friend who acts as a core of emotional support for Theodore, are vital parts to the human existence, also considering how modern technology and social networking work into achieving these goals and living a satisfying life. While these gadgets and gizmos may isolate us from the world around us and create a false sense of reality, (look at the News scene with Twombly on the train) but they also have the capacity to help us improve ourselves to achieve another human goal: that of finding joy in life. The film rightfully takes the good with the bad and doesn’t go the trite route of making fun of our obsession with technology, choosing instead to find out why we’re obsessed with it.

In fact, Spike Jonze’s vision of the future is among one of the most realistic and honest captured in film. The film explores a better society which still has a fair share of problems (Jonze inserts a few clever and satirical riffs that play on these problems), but still has an optimistic vision of where we could potentially end up. At the same time, we are forced to think about some crucial questions about our own existence, especially as technology develops that can express emotions and thoughts just as we do. What does it truly mean to be human? What do we want to have for a happy life? The film ends on a note that suggests that his experiences with Samantha has made him stronger and that he will find a future that contains the answers to the questions above. Jonze is telling us that we all have an inherent fear of loneliness and a life of sadness, but he suggests that we are capable of finding this future.

And that’s why Her is honestly one of the best movies I have ever seen. It’s a deeply powerful story that explores the meaning of life in a graceful and wholly creative manner, all while presenting an at once funny, surprising, heartbreaking, visceral, poignant, and all around amazing story. He’s one of the best directors working today, not just through his touch of creativity in the field of design, but in story. Her is a movie that touches the heart, and it’s a story that connects (pun incidental) to the world that we are living in today. Spike Jonze proves that the magic of creativity, love, and beauty still exists in this world today. We need more directors like him.

Thank you for reading.

[Ezen Baklattan]

Full List:

 

1. Her2. Before Midnight3. The Wolf of Wall Street4. Short Term 125. Inside Llewyn Davis6. Upstream Color7. The World's End8. All Is Lost9. Gravity10. Frozen11. 12 Years A Slave12. Blue Is The Warmest Color13. Stoker14. The Act Of Killing15. A Thousand Times Goodnight16. Nebraska17. You're Next18. Big Bad Wolves19. Stories We Tell20. Rush21. In The House22. Captain Phillips23. Spring Breakers24. Mud25. The Great Gatsby26. Frances Ha27. The Spectacular Now28. The Hunger Games: Catching Fire29. Saving Mr. Banks30. This Is The End31. Stockholm Stories32. Behind The Candelabra33. Monsters University34. The Dirties35. Wrong36. Pacific Rim37. Blue Jasmine38. Enough Said39. Philomena40. The Way, Way Back41. Anchorman 2: The Legend Continues42. Side Effects43. The Girls On Liberty Street44. Iron Man Three45. Blackfish46. Monsoon Shootout47. The Conjuring48. Fast & Furious 649. From Up On Poppy Hill50. American Hustle

[4815162342]

Exciting list. Some great films rightfully ranked high. Some good films very overpraised. And some worthy films unfortunately given a measure of short shrift.

[Ezen Baklattan]

I'd love to see your list, Numbers.

[4815162342]

I have at least 9 films I have queued to see via Netflix (some via DVD, some via Instant) first, plus any potential late chance at catching a couple 2013 movies in theaters like Philomena or DBC in the next week before their theater counts plummet for good.

 

But right now I have a ranking of two films that will inspire some rage from some people here.

Edited January 27, 2014 by 4815162342

[mattmav45]

Hell yes to Her. At the moment I have Her and Wolf as 1 and 2 on the year.I wouldn't mind Wolf, Her, or 12 Years winning BP. Anything else would be a disappointment.IMO.