Year in Review: Terry's Top 10 Films of 2013

For yet another year, it takes me halfway through the following year to publish my top 10 list of the year before.  I blame my busy schedule.  I could put out my list a little earlier, but I don't feel right about settling on a top 10 list without at least seeing all the Best Picture nominees.  Sometimes I get grief for fixating a little too much on the Best Picture nominees, especially last year when eight of the nine nominees found their way into my top ten.  (That is not the case this year.)  There are still many top films from 2013 I haven't seen (viewed only 70% of Todd's Top 10, 40% of Zach's Top 10), but if I wait to see them all you will never see my list.

Last year was a fairly strong year in film with many great films coming from many different genres.  In my top 10 alone (which only contains five Best Picture nominees this year, thank you very much), there are heart-warming inspirational stories, fun family films, dark psychological thrillers, intense sci-fi visual effects masterpieces, and futuristic ground-breaking original stories.  However, what ruled this year for me was the "based on a true story" genre.  Hollywood seemed to really take the perspective of Jack's future father-in-law to heart in that there are so many great non-fiction stories out there, why waste your time with fiction.  Half of the films on my top ten list (and one honorable mention) are based on true stories.  Whether it be a story focused on a high-profile public icon or an average guy faced with an impossible situation, Hollywood truly found some powerful stories and the real life people that made them possible.

Films seen: 46
"Thumbs Up" Percentage: 67%
Best Actor: Oscar Isaac - Inside Llewyn Davis
Best Actress: Emma Thompson - Saving Mr. Banks
Supporting Actor: Barkhad Abdi - Captain Phillips
Supporting Actress: June Squibb - Nebraska
Breakout Performances: Michael B. Jordan - Fruitvale Station, Lupita Nyong'o - 12 Years a Slave
Most Overrated: American Hustle
Most Underrated: Side Effects
Biggest Surprise: The World's End
Biggest Disappointment: The Secret Life of Walter Mitty
Bottom Five: Hansel & Gretel: Witch Hunters, About 111 Girls, The Wolverine, Oz the Great and Powerful, Now You See Me

Top 10 List

Honorable Mention: Rush, Inside Llewyn Davis, Nebraska

10.  Before Midnight (dir. by Richard Linklater)

I am a recent fan of this series, but I can't help but be fascinated by the story of Jesse and Celine, portrayed by Ethan Hawke and Julie Delpy.  We get a window into their relationship together every 9 years with this being the third installment.  I will say it was the weakest of the three "Before" films so far as it, for the first time, I felt produced some less than genuine, authentic moments.  However, this is being very picky as we should be allowed to be when it comes to such a beautiful and original franchise as this.  Once again the film is driven by wonderfully rich dialogue that truly allows us to see into these characters souls and, in this one especially, see how they have changed since they first met 18 years ago.  I hope we get the fourth installment in 2022.

9.  Her (dir. by Spike Jonze)

Every now and then a film comes along that is so original and groundbreaking in its premise that it's just fun to experience it.  Ever rarer are the times when these groundbreaking stories are so well executed that they become one of the best films of that year.  It's the difference between Synecdoche, New York and Eternal Sunshine of the Spotless Mind.  Her belongs in that second category.  Looking ahead to, I'm sure, the not-too-distant future, it tells the story of a man falling in love with his computer that is designed to think and have a full range of emotions.  Joaquin Phoenix gives a brilliant performance as he appears to be talking to himself the majority of the time, but Scarlett Johansson makes the film work as she brings Samantha to life in a way that you forget you are watching a man interact with a computer.  It simply turns into one of the most unique love stories you will ever see.

8.  Philomena (dir. by Stephen Frears)

In the first of the true stories to come across my list, we have the tale of a sweet, endearing old Irish lady and a smug, sarcastic, self-righteous British reporter (basically, the perfect stereotype of a British reporter).  Martin Sixsmith (News at 10) has decided to write a human interest story about Philomena Lee who is looking for her son that was taken from her as a toddler.  Going into this movie, I thought I had a grasp on what it was going to be.  It really was so much more than I thought.  It really surprised me in its depth and emotion.  Judi Dench once again shows why she is one of the most decorated actresses of the last 20 years, but the real revelation was Steve Coogan.  Up until now, when I thought of Steve Coogan, I thought of things like Tropic Thunder and singing "Rock Me, Sexy Jesus" in Hamlet 2.  In this film, he reinvents himself and shows what he is truly capable of, both in his acting and screenwriting.  It is one of those films you never get tired of seeing.

7.  Fruitvale Station (dir. by Ryan Coogler)

With the second true story of the top ten comes one of the independent darlings of the year.  This film tells of the last 24 hours in the life of Oscar Grant, a young Oakland man wrongfully gunned down by law enforcement officers.  Of all the characters created in 2013, Oscar might be the most well-rounded and complete of them all.  Michael B. Jordan brilliantly brings to life the spirit of Oscar, a young troubled ma trying to do what is right but often falling short.  It is a tragic story that breaks your heart knowing the eventual outcome and seeing the life that wasn't able to play its course.  Soon after it starts, you forget you are watching a drama with actors and start to think of it as a documentary with archival footage, which is the best a film like this can hope for.

6.  Saving Mr. Banks (dir. by John Lee Hancock)

In what became possibly the best feel-good movie of the year, we have the third true story of the top ten.  This tells the story of Walt Disney's attempts to woo author P.L. Travers to let him make her beloved Mary Poppins into a movie.  As we watch the struggle and debate progress, we also see why Travers holds this story so tightly as we learn about her childhood and the story of her father.  Emma Thompson is spot-on perfect as the tight-lipped, highly skeptical Travers, and Tom Hanks brings Walt Disney back to life in a way few others could.  This is one of those films that makes you laugh, makes you cry, and finds you finishing the movie with a smile on your face and the warm and fuzzies in your heart.  It's another film that I can't get enough of.

5.  Frozen (dir. by Chris Buck & Jennifer Lee)

This is not a true story (however it would be cool if Olaf were real).  Following the film about Walt Disney, we have a Disney animated film.  More times than not recently, an animated film has been making it into my top ten.  Usually it is the Pixar installment of the year, but Monsters University didn't quite reach the heights of the original.  Instead we have a return to old-school Disney with this movie musical that is the best Disney has put out since the days of Beauty and the Beast and The Lion King.  Frozen is different though.  It has the feel of a classic Disney film with the princesses and the beautiful original music, but as the movie goes on you realize it is less about the princesses finding their Prince Charming and more about them finding each other.  It has all the magic that you expect out of one of Disney's best efforts and songs that you can't help but hum for days (or months) after.  It is a film that is impossible to not like and easy to love.

4.  Side Effects (dir. by Stephen Soderbergh)

With one of the biggest surprises of the year comes this very underrated film.  I'm always a sucker for a good psychological thriller; one that loops a story around to the point that you are constantly questioning what is real and what isn't until the final twist at the end that makes sense (or doesn't) of the last two hours.  The best in this category 2013 had to offer was Side Effects, the story of a young woman who is dealing with some life-altering side effects to her psychiatric medication.  As if The Girl With the Dragon Tattoo didn't prove enough just how talented and diverse of an actor Rooney Mara is, she proves it once again with this brilliant performance.  It's one of those films that forces you to say at the end, "Stop!  Rewind that!" because you want to experience the whole film again knowing how it all ends up just so you can make sense of it all.  Also, when a film is made with a good Jude Law performance, well that is an accomplishment in itself.

3.  Captain Phillips (dir. by Paul Greengrass)

An average ordinary day, all of a sudden, becomes a life-threatening ordeal.  This is the story of Captain Phillips, as Tom Hanks portrays the titular character who has his freighter ship boarded by Somali pirates.  This true story leaves you on the edge of your seat from start to finish as Paul Greengrass once again shows that he is the master of this type of film.  Much like he did in United 93, Greengrass finds unrecognizable young actors to portray his villains.  This time around, the leader of the group is played by Barkhad Abdi, who gives a truly landmark performance in his first acting role.  Much like how I described Fruitvale Station, this film forces you to forget you are watching a dramatization.  It becomes real.  Tom Hanks gives one of his best performances as he subtly explores the full range of emotions this experience takes his character through.  Between Hanks, Abdi, and the dramatic story portrayed, it is a film you won't soon forget.

2.  Gravity (dir. by Alfonso Cuaron)

Not knowing what I was getting myself into, I went to the theatre one day to experience a double feature of Captain Phillips and Gravity.  I was so emotionally exhausted the rest of the day that I couldn't useless for anything else.  I love movies about space (Apollo 13 is my favorite movie of all time) which made this film even more anticipated than it already should have been.  In what became the most intense 91 minutes of the year, I sat on the edge of my seat with my jaw dropped as I watched George Clooney and Sandra Bullock find to stay alive after an unforeseen catastrophe strikes their spaceship.  The story is great, the performances are top notch, but the real story here is the amazing achievement of Cuaron's directing.  The visuals are beautiful and haunting at the same time.  It is a movie worth watching just to look at, but the story  and struggle of the main characters make it truly special.  Oh yeah, and it's in space!  I thought for sure this would be my top movie of the year.

1.  12 Years a Slave (dir. by Steve McQueen)

For the third year in a row, my top film of the year was the winner of the Best Picture Oscar.  It's good to know the Academy has been getting it right.  This is the true story of Solomon Northup, a 19th century Black man that is kidnapped from his home in the north and enslaved for 12 years.  It's a star-studded affair along the lines of Saving Private Ryan where every supporting character is played by a recognizable face.  Like I said, it was going to take something special for Gravity to not be my top movie of 2013, and this was that good.  The moving and inspiring story portrayed is one of the most powerful stories put to film in recent years.  Every performance is spot on, from Chiwetel Ejiofor's Solomon to slavemasters Benedict Cumberbatch and Michael Fassbender to fellow slave Lupita Nyong'o, and help bring to life the incredible vision of director Steve McQueen.  This is a movie that will be remembered for years to come as a film that brought an era to life much like Schindler's List brought the Holocaust to life.  This movie will go down as a landmark achievement as one of the greatest and most important movies of our generation.

So there's my top 10 list.  Hopefully, my top 10 list of 2014 can come out before we are too far into 2015...

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Year in Review: Zach's Top Ten Films of 2013

            Hollywood boasted that 2013 was its best year for movies ever, but because this claim is almost entirely predicated on higher ticket prices rather than actual attendance figures (as well as the timely overlooking of numerous high-profile box office flops), the issue isn’t really about how much money was made, but rather, whypeople continue to go to the movies.  The answer depends entirely on the movie.  If you ask why people went to see Gravity (#7 highest grossing movie of 2013), the answer is: “Because audiences were awestruck by its groundbreaking 3D special effects.”  If you ask why people saw Iron Man 3 (#2 highest grossing movie) and Despicable Me 2 (#3), the answer is: “Because audiences loved the first one.”  If you ask why people saw Frozen and Oz: The Great and Powerful (#4 and #10, respectively), the answer is: “They are wholesome movies for the family.”  And if you ask people why they saw The Hunger Games: Catching Fire, the answer is: “Jennifer Lawrence.”

            So special effects, franchises, family appeal, and star power lay at the heart of most of 2013’s most successful films.  But if that was the case, why did The Lone Ranger fail so spectacularly?  By my count, it meets for three of those four aforementioned qualifiers (and whether Johnny Depp’s portrayal of Tonto is a significant departure from the Pirates of the Caribbean franchise is debatable).  Yes, it got bad reviews . . . but so did Man of Steel (#5 of 2013) and Oz: The Great and Powerful (#10). 

            My theory?  People didn’t see The Lone Ranger (myself included) because there was always a better option.  Why spend two hours and 29 minutes of your life watching a glorified mashup of Pirates of the Caribbean and Wild Wild West?  In that same amount of time, you could watch the Breaking Bad finale, an episode of Girls, every scene of Jennifer Lawrence in American Hustle, most of Frozen, Bound 3, and the magnificent uninterrupted opening shot from Gravity.  I’m not necessarily suggesting that movies need to be shorter, but with the proliferation of personal electronic devices and social media, audiences simply don’t have the patience to sit through boring, perfunctory movies like The Lone Ranger anymore.  Even in movie theaters, where social decorum once existed and has now grossly eroded, the cell phone has now frequently become the superior entertainment option.  Social media has not only replaced human interaction, but even the process of escaping to the cinema to avoid human interaction (this idea may reappear somewhere on my list).

            All of this is really a roundabout way of saying there were a lot of good movies in 2013, and instead of lambasting the industry for continuing to put out crap and expecting audiences to shell out extra money for tickets and 3D gimmicks, we should laud filmmakers for being able to put out a handful of movies that not only entertain us, but manage to keep us off our cell phones.  We are an ADHD generation, and in order to grab the attention of audiences, movies are forced to revert to two options: (A) Enhanced explosions and mindless special effects, or (B) Screenplays, actors and filmmakers that continually strive for originality, fearlessness and intelligence.  My choice of the top ten films of 2013 -- the first year of many without the sage guidance of Roger the Great -- reflects films which opted for the latter.

Films seen: 51

“Thumbs-up” percentage: 64.7%

Lead Actor Performance: Chiwetel Ejiofor, 12 Years a Slave

Lead Actress Performance: Adèle Exarchopoulos, Blue is the Warmest Color

Supporting Actor Performance: Ryan Gosling, The Place Beyond the Pines

Supporting Actress Performance: June Squibb, Nebraska

Underrated Films: To the Wonder, Pain & Gain, Jack the Giant Slayer, Don Jon

Overrated Films: The Wolf of Wall Street, The Way Way Back, The Spectacular Now, 42

Worst Movies of 2013: Broken City, Movie 43, Elysium

Worst Final 30 Minutes: The Call, Prisoners, Now You See Me

                                                                                                                            

Honorable Mention: Stories We Tell, The Act of Killing, Fruitvale Station, 56 Up, Jack the Giant Slayer

10. The Hunt (Dir: Thomas Vinterberg)

This was a fascinating, unpredictable take on a taboo subject matter that would never be tackled in mainstream American cinema: The (false) accusation of child molestation.  Mads Mikelsen (AKA Le Chiffre from Casino Royale) plays a recently divorced teacher who takes a temporary job at a preschool before allegations are made which result in his dismissal and banishment from the community.  What is interesting about the movie isn’t really the story (which thankfully never moves into hysterical or exploitative territory), but the relationships between the male characters and the scathing portrayal of how close-knit communities (even in “progressive” Scandinavia) respond to rumors, gossip and groupthink.  We are left wondering how the numerous real-life headlines of rape and abuse that ultimately prove unfounded ever originate in the first place (that is, outside of Tallahassee, Florida).

9. Rush (Dir: Ron Howard)

The best sports movie of the last several years.  Like Amadeus, the movie profiles two real-life rivals -- James Hunt (Chris Hemworth) and Niki Lauda (Daniel Bruhl) -- who grow to dislike each other so much that it grows to an odd sort of mutual admiration.  It is also a movie of universal truths -- that the guy just above you who you despise keeps you more motivated than almost anything else -- and although Rush profiles the world of Formula One racing in the 1970s, you do no have to be a racing fan to appreciate the movie.  I do not follow racing and I found the events of the film gripping, unpredictable, and fairly unbelievable.  Howard also displays something we haven't really seen from him since Apollo 13: A key understanding of how special effects in movies should work -- not simply to display, but to give impressions, feelings, and manifestations of the innermost anxieties of characters.  And like all great movies, it only gets better as it goes along.

8. To the Wonder (Dir: Terrence Malick)

“Slow-moving,” “inaccessible,” “obtuse,” and “self-indulgent” were some of the most popular words used to describe Malick’s latest foray into the ephemeral nature of human subconsciousness. Of course, all these words could also apply to The Tree of Life and The Thin Red Line, but for some reason, critics found particular disdain in To the Wonder primarily because (A) its main actors were all incalculably attractive, and (B) there was little clear connection between the Olga Kurylenko/Ben Affleck story thread, and Javier Bardem’s tortured Catholic priest.  All true.  But what got overlooked was how affecting the story was, the truths it revealed about the idealism and volatility of romantic relationships, and how Malick is actually a remarkably clear storyteller.  Like the great silent filmmakers of the 1920s, he doesn’t rely on exposition to give us comprehensive portraits of his main characters.  Instead, we are left with fragments, which are frustrating but also infinitely more poetic and even perhaps closer to us in their ambiguity.

7. All is Lost (Dir: J.C. Chandor) 


All right, so it’s basically a remake of Cast Away, but who cares?  There are worse movies to emulate than Cast Away.  And there’s no desert island and there’s no Wilson (although Robert Redford relies heavily on his handy sextant for geographical and mental direction).  And it’s a lot more nihilistic.  But Redford is phenomenal, taking what would appear to be a gimmick (no dialogue and no other characters) into a riveting, exciting movie about gradually accepting near-certain death (hence, the title).  The movie doesn’t have a message and it doesn’t preach; it simply observes, rendering viewers frustratingly powerless but increasingly sympathetic to Redford’s nameless everyman.  As I kept watching it, I was wondering how the Chandor would end the story without complete and total helplessness, and improbably, he manages to do it flawlessly.

6. Blue is the Warmest Color (Dir: Abdellatif Kechiche)

This was the toughest movie of the year.  How do you react to it?  Is it sexist?  Is it a modern-day example of what Laura Mulvey famously identified as “the male gaze?”  I found the sex scenes absolutely guilty of the criticism they received: They are excessive, distracting, tedious and (because there’s no other term for it) pornographic.  See this movie and tell me those scenes are not pornographic.  But unlike right-wing prudes, I also don’t believe pornography is a universal evil, and the sex scenes are necessary in order to show – in a way no other previous movie has ever shown – how integral sex is for young people who have only encountered it through rumors, misinformation and what society tells us are “appropriate” sexual orientations (it’s also a much-needed relief from mainstream films content to show only nonthreatening, sexless homosexual relationships). The sexual bond created by the two protagonists (Adele Exarchopoulos and Lea Seydoux) provides the backbone for their entire relationship, which spans over the course of several years.  There are good times, there are bad times, there’s jealousy, sadness, sexual awakening, and deep self-questioning.  It’s probably 25 minutes too long.  But because the movie is French, it refreshingly allows its characters to think and have intelligent conversations.  An American movie would have reduced Blue’s narrative structure to a 90-minute rom-com.  But Kechiche and his remarkable leading actresses have eschewed formula and instead offer us a riveting, engrossing, and frequently sad look at human longing.

5.  Lore (Dir: Cate Shortland)

Like Blue is the Warmest Color, Lore profiles a young female protagonist whose sexual awakening crucially coincides with a rise of political consciousness (and yes, needless to say, it’s European).  But this film takes place in the waning days of World War II, when Lore, the daughter of defeated Nazi cadres, must escape Allied capture in order to transport her younger siblings to their grandmother’s house.  Along the way, Lore (played by Saskia Rosendahl in a remarkable debut performance) encounters displaced war victims who gradually make her question her mindless adherence to Third Reich ideology.  The core question of the movie is at what point are children responsible for their own thoughts and actions (and are no longer the unfortunate byproducts of the way their parents raised them).  In that sense, Lore isn’t really about the Holocaust or bad parenting or even about Nazi ideology, but about the process of becoming an adult.  This makes the story universal, and even though Lore is not always likable, she is a reminder that as adults, we are forced to live with the misguided actions of our youth.

4. Nebraska (Dir: Alexander Payne)

It’s black-and-white, has no A-list actors, features an 80-year-old protagonist, and has no sex or explosions.  How did this film get made again?  Like Sideways, this is a movie that captures perfectly the awkwardness and anxieties of human interaction and somehow manages to be as heartfelt as it is cynical.  It also features the best performance of Bruce Dern’s career as a man who may not be completely mentally coherent (although he may be, we never really know).  There are also great supporting performances by Will Forte, June Squibb, and Stacey Keach, and the final moments of the movie are just about perfect, reminding us that triumphant endings don’t always have to involve grand gestures, but instead, everyday acts of selflessness.  It’s the type of movie that intelligent audiences give standing ovations to.

3. Gravity (Dir: Alfonso Cuaron)

Like Avatar, the first question we have to ask is whether it’s a great motion picture or a great motion picture experience.  And unlike Avatar, it actually manages to hold up to both questions (I saw it both in Imax 3D and on a home theater system).  What else can be said about it that hasn’t already been said?  It’s thrilling to watch, features great performances by Sandra Bullock and George Clooney, and quietly offers a very intelligent screenplay.  And yes, the special effects are amazing, transporting us seamlessly into outer space without making us skeptical of CGI for a single moment.  The camera movement too doesn’t draw too much attention to itself, as Cuaron has been guilty of in the past, and like the great movie epics of the 1950s and 60s, it transports us to a place we never thought we could see so clearly.

2. 12 Years a Slave (Dir: Steve McQueen)

McQueen’s Hunger was #1 on my 2009 list, while Shame was probably the most disappointing film I saw in 2011.  12 Years a Slave is a return to the incredible potential he has as a director, beautifully balancing artistic ingenuity with sophisticated, compelling storytelling.  In an era in which Django Unchained is the most widely-seen cinematic representation of slavery, this film is a much-needed reminder of the true brutality and horror of life in the Antebellum South (and no, Chiwetel Ejiofor doesn’t get to blow up Michael Fassbender’s house).  Many critics have spoken of the film’s many violent scenes and how difficult they are to watch, but there are also a great deal of more subtly devastating scenes (such as an exchange between Ejiofor and Fassbender involving an unsent letter and every scene with Adepero Oduye in it).  There was no better performance in a 2013 film than Ejiofor here.  He doesn’t have a lot of flashy scenes, but instead, more realistically portrays a quiet, contemplative man who is very nearly depleted to his core during his 12 years of torture and banishment.  The final moments have an emotional power that is rare, and is the only 2013 movie that is virtually guaranteed to be remembered for generations to come.

And the three-way tie for best movie of 2013:

1. The first 53 minutes of The Place Beyond the Pines.

When I saw this movie back in April, I knew I was watching something special, and thought it would unquestionably merit a very high spot on my list.  Unfortunately, the last two-thirds of the movie really don’t hold up to the first third, but that should not prevent you from still seeing it (after all, it was Todd’s #5 movie of 2013).  Ryan Gosling’s performance in the first 53 minutes is absolutely stunning, and the movie offers an experience in a special way which very few other movies can claim: It throttles you.  You have no clue where it is going, and are just thankful to be on board in the backseat.  There are a few images which leave an unforgettable impact (here and here).  It is cinema at its most transcendent.  I know it sounds sort of gimmicky to name your best movie of the year the first 53 minutes of a movie, but you tell me what you think after watching it.

1. The final episode of Breaking Bad.

So OK, it’s not a movie, but taken as a whole, I’d argue that Breaking Bad is better than any movie that has come out the last five years.  The final eight episodes are gripping and feature tremendous performances and marvelous dialogue.  Without giving too much away, there is a scene in a garage that had my heart racing like it did during United 93; there is a gun death in the desert that was equally tragic and inevitable and horrific to watch; and the final episode, which gave resolution and catharsis without being overly preachy or indulgent, contained moments which were painful and true.  The performances were all amazing, but Bryan Cranston was particularly astonishing in the way he balanced being both sympathetic and horrific.  And the choice of the final song to close out the series was perfect, probably leaving David Chase wondering why he couldn’t have done the same.

1. The real best movie of 2013: Disconnect (Dir: Henry-Alex Rubin)

If I haven’t made it clear enough already, I thought 2013 was a very strong year for movies, so putting Disconnect as my real #1 should not be taken lightly – it wasn’t the result of being the most notable film in the midst of a mediocre year (as has possibly been the case in the recent past).  I did not honestly expect much going into it, but I was blown away by how tight, intelligent, and unpredictable it really was.  In weaving a Crash-like narrative involving three intersecting storylines, the movie constantly moves from one interesting character to the other, probing deep questions about the use of social media and technology in modern American life.  Each story uses problems we often hear about on the news as starting points (cyberbullying, online sex trafficking, and identity theft) but brilliantly moves past the veneer of personal electronic devices to examine the human effects of seemingly faceless, humanless actions.  Rubin doesn’t really preach against the bad effects of alienation from face-to-face interaction (in spite of the film’s tagline, “Look Up”) – that would be too easy.  Instead, he accepts the notion that technology can also bring people closer, and in doing so, social media becomes the vehicle for understanding the deeper personal motivations and anxieties of each of the characters.  While watching the movie, you keep waiting for the scene which it will turn stupid or phony or unrealistic – and it simply never happens; even at the end, which could have gone for the conventional “happy” angle, but instead offers something much more realistic and unresolved.  There’s an energy and remarkable clarity that makes Disconnect remind us that movies are still capable of deeply moving us. 

Thoughts?  Disagreements?  Upset that Spring Breakers somehow did not on my list? Let me know below!

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Year in Review: Top 10 Films of 2013

2013 was a year that had very few (if any) masterpieces, but there were many films that I would consider great. I have no issues with the films nominated by the Academy, but they missed out on some of the truly remarkable independent movies that are represented in my top films. Check out my breakdown of the year below, followed by my current top 10 of 2013:

Films seen: 85

Thumbs up percentage: 54.12%

Actor of the year: Matthew McConaughey, 2^nd consecutive year (Dallas Buyer’s Club, Mud, The Wolf of Wall Street)

Actress of the year: Rooney Mara (Ain’t Them Bodies Saints, Her, Side Effects)

Best Actor: Michael Jordan – Fruitvale Station, Leonardo DiCaprio – The Wolf of Wall Street, Joaquin Phoenix – Her, Ethan Hawke – Before Midnight, Robert Redford – All Is Lost

Best Actress: Elle Fanning – Ginger & Rosa, Julie Delpy – Before Midnight, Brie Larson – Short Term 12, Sandra Bullock – Gravity, Greta Gerwig – Frances Ha

Best Supporting Actor: Casey Affleck – Out of the Furnace, James Franco – Spring Breakers, Jonah Hill – The Wolf of Wall Street, Michael Cera – Magic Magic, Michael Fassbender – 12 Years a Slave

Best Supporting Actress: Annika Wedderkopp – The Hunt, Scarlett Johansson – Her, Rachel Boston – It’s a Disaster, Kristin Scott Thomas – Only God Forgives, Mary Elizabeth Winstead – The Spectacular Now

Best Original Screenplay: Her, Nebraska, The Place Beyond the Pines, Inside Llewyn Davis, Drinking Buddies

Best Adapted Screenplay: Before Midnight, The Wolf of Wall Street, The Spectacular Now, Short Term 12, 12 Years a Slave
Most underrated film: The Place Beyond the Pines

Most overrated film: Saving Mr. Banks

Biggest surprise: Side Effects

Biggest disappointment: Out of the Furnace

Best ensemble casts: Her, Drinking Buddies, The Wolf of Wall Street, The Place Beyond the Pines, Prisoners

Bottom five of the year (from bad to worst): 42, Quartet, Now You See Me, Man of Steel, A Good Day to Die Hard

Most anticipated unseen films: Blue Is the Warmest Color, Dallas Buyers Club, The Great Beauty, In a World…, Philomena, Snowpiercer, The Wind Rises

Others receiving votes: The Act of Killing, Ain’t Them Bodies Saints, All Is Lost, The Hunt, It’s a Disaster

10. Short Term 12 (directed by Destin Cretton)

 

One of the great under-the-radar movies of the year was Destin Cretton’s expansion of his terrific short film. Short Term 12 follows Grace (breakout star Brie Larson), a worker at a foster care facility that watches and guides troubled underprivileged kids. There is a deep heartache and pain in the story, especially as more of Grace’s past gets revealed and shows why she is such a committed and caring worker. It features some of the truly elite scenes of the year, chief among them the “So You Know What It’s Like” original song by young actor Keith Stanfield, which clearly was the best song of 2013. Short Term 12is not a movie that will sit well with a lot of audiences since it is so understated and sad, but there is a sense of warmth that we feel following the movie that makes it very rewarding, and in a way, beautiful.

9. The Spectacular Now (directed by James Ponsoldt)

This is a very personal inclusion on this list. I love movies that ooze nostalgia, and this is the best one its kind in several years. James Ponsoldt, who also directed last year’s indie gem Smashed, has become a go-to director for independent comedy-dramas. All of his movies thus far have been in some way about alcoholics, but none of them have been as perceptive and meaningful as this one. It is about Sutter (the excellent Miles Teller) and Aimee (Shailene Woodley). They form the most endearing movie couple of the year. Ponsoldt has a knack for creating characters with flaws that we cannot help but care for. Sutter is the hard-partying high schooler, and Aimee is the outcast. They begin an unlikely friendship and form a bond that no one expected, least of all the two of them. In the end of this little movie, we feel undeniably bittersweet, satisfied, and melancholic. It puts sentimentality away and leaves the audience to view this rich and realistic story in all its nostalgia and ordinary beauty. Ponsoldt could be the next Alexander Payne.

8. Inside Llewyn Davis (directed by Joel Coen, Ethan Coen)

This is the best American music film since 2007’s indie masterwork Once. The Coen brothers have outdone themselves with this brilliantly detailed and darkly hilarious little film. At no point does the movie try to be popular. It features some of the most unlikable characters the Coens have created, yet, we care all too much. Llewyn Davis (Oscar Isaac) is a struggling folk singer in the 1961 New York, and he lives for his music. He lives his life in the way described in his lyrics. There is no glamour in this story, no happy ending. It is all realism. We drop in on Llewyn’s life and watch him navigate the folk scene for a period of time, and we could not be more grateful after the movie is over. It is a remarkable movie and one that only gets better as time goes by. You will be humming the extraordinary soundtrack for the foreseeable future. I was aching to see it again in the days following.

7. Gravity (directed by Alfonso Cuaron)

There was no greater movie miracle in 2013 than Gravity. There were basically just two cast members, and one of them is gone for the majority of the film. We are essentially watching Ryan Stone (Sandra Bullock) floating through space and trying to find any way to survive without any real working communication. It sounds like a short film’s premise, but it is edited in a way that creates the most intense movie-going experience of the year. It is also the best use of 3D maybe ever (if not, then #2 behind Avatar). The creativity and imagination that this movie took, as well as the attention to detail makes a movie that would otherwise seem ridiculous feel absolutely involving and realistic. It is one of the truly magical films of 2013.

6. 12 Years a Slave (directed by Steve McQueen)

This is perhaps the only instant classic 2013 film. While watching the long, inspiring struggle of the human spirit in Solomon Northup (Chiwetel Ejiofor), a free man who was drugged and enslaved for 12 years, the audience just feels like they are watching an already polished film classic. Each and every scene is vital to the tone of the story. It is difficult to watch, to be sure. However, there is no more rewarding experience that one can have from a 2013 film. 12 Years a Slave is an important piece of cinema and one that will undoubtedly be looked back on as a crowning achievement of this era.

5. The Place Beyond the Pines (directed by Derek Cianfrance)

This was the biggest surprise masterpiece of 2013. The movie is separated into three segments, and there is a passing of the torch between them. The segments are of course intertwined, but unlike several other movies with this layout, the bridges are not predictable. Each segment sports an astonishing leading performance (Ryan Gosling, Bradley Cooper, Dane DeHaan) and by a seemingly different genre (crime drama via Drive, cop drama via Copland, indie drama via In the Bedroom). The further along the story rolls, the more we get into it and become aware of the fate of the characters. When the end credits start, we realize that 140 minutes have gone by and we still want more.

4. Nebraska (directed by Alexander Payne)

I have a fondness for Payne movies that cannot be overstated. His movies are so realistic and different. I felt like after Sideways that I would never be able to truly be blown away by one of his films, but I was wrong. This movie is one of the purest and painfully funny movies I have seen in years. Payne did not write this movie, but it is one of his movies at its core. It is his finest directed job as well. The black-and-white format takes away all outside factors and just lets the characters be. We are essentially just following Woody Grant (Bruce Dern) and his son David (Will Forte) on an ill-conceived cross-country trek. Road trip movies are common; this one is not. It is written as a sad, depressing drama, yet its flawlessness in developing relatable quirks in the characters is what causes the laughs and makes the movie tick. It may not have the ambition of other films on this list, but it is just about perfect.

3. The Wolf of Wall Street (directed by Martin Scorsese)

Zach and I clearly disagree on this one, but this movie really is a daring and hilarious piece of work. The story is about Jordan Belfort (Leonardo DiCaprio), the scamming leader of Stratton Oakmont, a firm who sells worthless stocks to unwitting consumers, scheming out millions every week. On paper, yes this movie is unappealing. Who wants a true story comedy (or sorts) about criminals who never really get caught or get what is coming to them? Well, that is exactly what Scorsese thought. He focuses in on Belfort, and lets him tell the story. It is frustrating, and it is only hilarious because we want it to. It doesn’t play for laughs, but the characters and situations are so outrageous that we can’t help but laugh at their expense. It is loaded with drugs, women, and greed. In format and subject, it is nearly identical to Goodfellas. Under normal circumstances, that would bother me. This is not a normal case. It is the most thrilling and unrelenting 3 hour movie I have ever seen.

2. Her (directed by Spike Jonze)

Spike Jonze has made himself an A-list director in just four films. He has a style and subtlety that no one else has. This movie has less Being John Malkovich and Adaptation in its visuals, but there is every bit as much quirkiness and sadness in their stories. Like his most recent masterwork Where the Wild Things Are, this is a passion piece. From the opening shots of the film, we are completely glued to a movie about a man (Joaquin Phoenix) falling in love with his computer operating system (Scarlett Johansson). It sounds strange until you actually see it happen. It could be the next The Truman Show in terms of creating an atmosphere and visionary look at where we are heading as a society. In its comedy, it is equal parts The 40 Year Old Virgin, Punch-Drunk Love, and Eternal Sunshine. There is also a fair amount of Lost in Translation in how the characters and story are treated. It is nothing like any of those, however. It is a complete original, and it just feels like a landmark piece of cinema.

1. Before Midnight (directed by Richard Linklater)

Unless something drastic happens in the next couple months of 2013 video releases, then this will remain my #1 of the year. Like the previous two installments in this series (1995’s Before Sunrise, 2004’s Before Sunset), this film is strictly dialogue. Even more so than its predecessors, Midnight could not exist without the previous ones. Every word of it is drawing from the bank of passion and commitment that we feel for Jesse (Ethan Hawke) and Celine (Julie Delpy), the two disarming main characters of this decades-long romantic saga. This film is not as much about broken hearts and charming romances; this one is relaxed. At least it feels that way right up until our two protagonists are alone. The entire third act is in a hotel room, and it contains the most brilliant, devastating, heated conversation I have ever seen in a movie in recent memory. It has all the makings of a title bout without a single punch thrown. The audience is left on edge and inevitably begging for more after it is over. Please, Mr. Hawke, Mr. Linklater, and Ms. Delpy…give us more in 2022. I am already making arrangements for seeing it on opening night.

Thoughts? Your top 10? Anyone else adore Jesse and Celine like I do? Comment below…

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2014 Oscar Predictions: Final (Arts and Techs)

Here is the continuation of my full final Oscar predictions. Enjoy!

Link to the big 8 categories: FINAL OSCAR PREDICTIONS

BEST CINEMATOGRAPHY

1. Gravity

 

2. Inside Llewyn Davis

3. Rush

4. 12 Years a Slave

5. The Great Gatsby

BEST PRODUCTION DESIGN

1. The Great Gatsby

2. Gravity

3. 12 Years a Slave

4. American Hustle

5. Oz the Great and Powerful

BEST COSTUME DESIGN

1. 12 Years a Slave

 

2. American Hustle

3. Saving Mr. Banks

4. The Great Gatsby

5. Lee Daniels’ The Butler

BEST SOUND MIXING

1. Gravity

2. Captain Phillips

3. All Is Lost

4. 12 Years a Slave

5. Elysium

BEST EDITING

1. Gravity

 

2. 12 Years a Slave

3. American Hustle

4. Rush

5. Captain Phillips

BEST SOUND EFFECTS EDITING

1. Gravity

 

2. Rush

3. All Is Lost

4. Pacific Rim

5. Elysium

BEST VISUAL EFFECTS

1. Gravity

 

2. The Hobbit: the Desolation of Smaug

3. Elysium

4. Iron Man 3

5. Pacific Rim

BEST MAKEUP/HAIR

1. American Hustle

2. The Lone Ranger

3. Dallas Buyers Club

BEST ORIGINAL SONG

1. “Ordinary Love” – Mandela: Long Walk to Freedom

 

2. “Let It Go” – Frozen

3. “I See Fire” – The Hobbit: The Desolation of Smaug

4. “Happy” – Despicable Me 2

5. “Amen” – All Is Lost

BEST ORIGINAL SCORE

1. 12 Years a Slave

2. Gravity

3. The Book Thief

4. Captain Phillips

5. Frozen

BEST DOCUMENTARY FEATURE

1. Blackfish

2. 20 Feet from Stardom

3. The Square

4. Cutie and the Boxer

5. God Loves Uganda

BEST ANIMATED FEATURE

1. Frozen

 

2. Monsters University

3. Despicable Me 2

4. The Wind Rises

5. A Letter to Momo

BEST FOREIGN LANGUAGE FILM

1. The Great Beauty

 

2. The Hunt

3. The Broken Circle Breakdown

4. The Grandmaster

5. Omar

Predicted Nominations Count

12 Years a Slave: 12 noms / 4 wins

Gravity: 10 noms / 6 wins

American Hustle: 8 noms / 3 wins

Captain Phillips: 6 noms

Nebraska: 5 noms

Dallas Buyers Club: 4 noms / 2 wins

Rush: 4 noms

Blue Jasmine: 3 noms / 1 win

Frozen: 3 noms / 1 win

The Great Gastby: 3 noms / 1 win

All Is Lost: 3 noms

August: Osage County: 3 noms

Elysium: 3 noms

Saving Mr. Banks: 3 noms

The Wolf of Wall Street: 3 noms

Mandela: Long Walk to Freedom: 2 noms / 1 win

Descpicable Me 2: 2 noms

The Hobbit: The Desolation of Smaug: 2 noms

Lee Daniels’ The Butler: 2 noms

Pacific Rim: 2 noms

Philomena:  2 noms

Blackfish: 1 nom / 1 win

The Great Beauty: 1 nom / 1 win

20 Feet from Stardom: 1 nom

Before Midnight: 1 nom

The Book Thief: 1 nom

The Broken Circle Breakdown: 1 nom

Cutie and the Boxer: 1 nom

Enough Said: 1 nom

Fruitvale Station: 1 nom

God Loves Uganda: 1 nom

The Grandmaster: 1 nom

Her: 1 nom

The Hunt: 1 nom

Inside Llewyn Davis: 1 nom

Iron Man 3: 1 nom

A Letter to Momo: 1 nom

The Lone Ranger: 1 nom

Monsters University: 1 nom

Omar: 1 nom

Oz the Great and Powerful: 1 nom

The Square: 1 nom

The Wind Rises: 1 nom

Omissions? Predictions? Thoughts? Hit me up in the comments.

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