The dystopian nightmare scenario that this film presents and the questions that it raises have stayed with me for months, and still linger at the back of my mind. This film is equally fascinating and terrifying -- a gothic horror set in the near future. I continue to contemplate the ideas that this film boldly and memorably put forward, and suspect that I will do so for a long time to come.
This was an entirely unexpected delight and one of the best comedies that I have seen in ages (though 21 Jump Street does deserve an honorable mention). I especially loved the scrappy late-70s vibe of the film, which easily recalls classics like Slap Shot and Youngblood. The leads, as well as the excellent, mostly no-name supporting cast, bring it all together with endearing, sincere performances.
Half suspenseful, intriguing thriller; half man-against-nature; wholly Willem Dafoe in his element. This film is gorgeous, gripping, and haunting. Bonus points for the unusual and exotic setting of Tasmania. The physical isolation of this desolate, yet stunning, location echoes throughout the film's many layers.
A solid action/drug movie that is a throw back to the early 2000s and films like Blow and Traffic (if you're dealing with drugs, you clearly don't have time for more than one word in your movie title). This film is big and loud and bright and over-the-top, which is exactly what it needs to be. As I've mentioned elsewhere, it also happens to have a killer soundtrack.
One of my regrets this year is that I didn't get to see this film a second time. Watching this cross between a Flannery O'Connor story and a pulp novel is sort of like watching a car wreck: you know you should look away, but you can't because the carnage is just so captivating. I love this film because it has atmosphere to spare (the Floridian humidity is nearly palpable) and the performances are just so *out there.* Matthew McConaughey was all over the place this year, and somehow his performance in this film manages to be one of his most subtle.
This film is utterly heartbreaking, and therefore beautiful. The love expressed in this film is so touching, overwhelmingly compassionate, and tragic. The excellent lead performances and present-day cultural resonance carry the film's message to a place far beyond melodramatic cliché.
While Casino Royale remains the superior Bond movie, Skyfall is one heck of a film. Nods to the past, moves toward a changing future, excellent acting from Craig & Co., suitably exotic locations, quality cinematography, and a touch of Home Alone for the kid in all of us.
I still don't know what this film is, other than very good and extremely watchable. It defies categorization, a feat which deserves great credit in today's demographic-focused entrainment landscape. It is hard to say no to a film that is about both football *and* ballroom dancing, among a bunch of other things.
Can we all stop pretending to be surprised that Ben Affleck is such a good director now? He has made three fantastic films, each one better than the last. With Argo, he has struck a masterful balance between drama and satire, as well as shown that he knows how to get the best out of a crackerjack cast. To top it off, he created edge-of-your-seat suspense in a story whose outcome is already part of history.
More Matthew McConaughey being excellently weird! More of these fringe indie films and less Magic Mike, please. This is another fascinating train wreck of a film, but it is also a memorable piece of noir with just the right touch of darkest comedy. Fried chicken will never be the same.
11. Bernie
Never in a million years would I have thought that three films on a "Best of" list of mine would feature Matthew McConaughey, but that does in fact seem to be the case. I mean, he was very good in Lone Star way back in the day, so I knew that he can be very watchable when not playing opposite Kate Hudson, but that didn't really sink in until about half-way through this year. Of course, Jack Black is the real star of Bernie, along with the real folks from the town on whose story this fascinating, quirky docudrama is based.
12. The Deep Blue Sea
This film beautifully captures the tragic atmosphere so pervasive in post-War British literature and film. All that melancholy and longing is writ large behind Rachel Weisz's eyes, and Tom Hiddleston shows that there is so much more to him than Loki.
13. Hello I Must Be Going
A sweet, resonant film made with passion and dedication, Hello I Must Be Going is one of many independent films this year that gave actors a chance to shine in new ways. The strong performances are ably supported by gorgeous cinematography and a well-chosen soundtrack. Major props are also deserved for the social media campaign that supported this film.
14. Little White Lies
Beautiful, fun, and a bit tragic (as only the French can do) describe not only the film, but also the characters that inhabit its superficially idyllic world. These characters, with their handsome lives and ugly souls, are the perfect canvas for laying bare fundamental truths about relationships and even human nature itself.
15. Shut Up and Play the Hits
It is a rare thing to be able to compare a real live concert experience with the concert film, yet that is exactly what I am able to do with this particular show. I am both glad that I was there in the moment and that I have this film to help me put it all in perspective. LCD Soundsystem's last show was an overwhelming surge of emotion, and I feel lucky to be able to look back on it and be reminded of the live experience with the added benefit of time and changing vantage points.
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