After a lot of deliberating and discussing, we compiled this list of the Best 50 Movies that came out between 2010 and 2014. These are films we love, cherish, and suspect we will remember years and years from now. A lot has changed with film in the last 5 years, but the quality of the creative output only seems to keep getting better. Here’s to an amazing first half of the decade, and let’s hope the next five years lead to even bigger and better things.

Every day this week we will release ten films from our list, here is #40 through #31.

Best 50 Movies Of The Decade So Far
(#40 – #31)

Spring Breakers

Harmony Korine’s Spring Breakers is a diabolically delicious assault of bleached-out colors, alcohol, and synthesized sounds. All of which makes for a ferociously dazzling watch. From its mesmerizing opening depicting hundreds of young adults participating in grossly outrageous spring break shenanigans,—while sounds of robotic vomiting (courtesy of dub-master Skrillex) discharge on the audio track—up until the final scene, a gun fight eruption (lit up with bright neon tints) at a South Floridian Oceanside manor, the film grabs hold tightly. So seldom are films released that are this audacious. The film follows four young college girls who will stop at nothing (and I mean nothing) to have the greatest spring break ever. The film is essentially a terrifying, unrelenting montage; we see the girls go from parties to robberies to gunfights and back again. James Franco owns every inch of the film while he’s on screen as cornrow-flowin’, gold teeth-showin’ drug lord/rapper Alien. He is on fire here in a career best performance that should’ve gotten him an Oscar nomination. While stars Franco, Vanessa Hudgens, Selena Gomez and Rachel Greene are all excellent, the real star here is Harmony Korine, who has found a way to sell his weird, subverted look at humanity to the masses. Spring Breakers is an instant classic. [Blake]

All is Lost

A spellbinding exercise in visual storytelling, J.C. Chandor’s All is Lost is a tale of survival at sea and a fascinating study in male ego. Robert Redford stars as the nearly-wordless film’s unnamed subject, a man alone on a boat in the middle of the ocean whose will to survive is immovable. Despite the elements threatening to rip his precious vessel to shreds, he fights tooth and nail to keep the boat (and his spirits) afloat. While his dogged refusal to perish at first looks a lot like bravery, as it becomes clear his efforts are futile, heroism turns into stubbornness. At what point does giving up become a virtuous act? Redford has enough experience to keep his performance reality-based, maintaining a deadpan expression in moments where lesser actors would look to the heavens with a face that screams, “Why me!?” He’s simply behaving, letting his body do the talking rather than relying on high drama and facial flourishes. The film’s presentation is as stunning and engrossing as Gravity’s, a similar film that came out in 2013 as well. (I prefer All is Lost’s grit and realism to Gravity’s sometimes maudlin tendencies.) If you haven’t seen this one, find it and make sure you watch it on a big screen with a muscly sound system. [Bernard]

The Wolf of Wall Street

Even in his 70’s, Martin Scorsese proves he’s intrinsically capable of capturing the enticing aspects of capitalism within the context of a searing indictment of greedy stock brokers. The Wolf of Wall Street may feel like an ode to opulence and apathy for those Wall Street bankers who allegedly cheered for the film’s characters in their most despicable moments, but for those in the audience with an understanding for the real world implications of Wolf, Jordan Belfort & Co. look like the band that played while the Titanic sank. Worse, they feel like the band’s onlookers. Among the most telling anecdotes from the film is one in which Belfort reminisces in voiceover about a ménage à trois he and Donnie Azoff (Jonah Hill) shared with the future wife of their co-worker. Belfort recounts with glee the lurid aspects of their tryst only to end the anecdote by mentioning that his co-worker later slit his wrists in a bathtub, before Belfort sighs and moves on to his next deplorable indulgence. That juxtaposition allows Scorsese’s film to serve as a criticism without coming across as preaching. The Wolf of Wall Street creates an engaging experience without neglecting substance. [Zach]

Melancholia

Leave it to Lars Von Trier to make one of the best films ever made about depression. The titular planet at the center of Melancholia, which winds up annihilating Earth by smashing into it, isn’t exactly the most subtle allegory, but Von Trier makes it work. He understands how depression can be such a large, destructive, all-encompassing force, and by equating it with the end of existence he finds the perfect way to evoke the true power of despondency. With jaw-dropping visuals and sound (it’s hard to get tired of hearing Wagner), as well as two astounding performances from Kirsten Dunst and Charlotte Gainsbourg, Lars Von Trier wound up making one of his best works with Melancholia. [CJ]

Midnight in Paris

Not reading anything about Woody Allen’s fantastical and joyous comedy Midnight in Paris was the best choice I could have made. Admittedly, I didn’t do this on purpose; it was more by happenstance than anything. I say I didn’t know anything about the film, but actually knew that it stared Owen Wilson and it took place in Paris. If you’ve never been to Paris (like myself) the opening 5 minutes is a basically a montage of everything you’ve always dreamed about experiencing in the sprawling French capital. The food. The music. The people. The museums. If you have been to Paris, it’ll have you pining to go back. The film’s plot centers on Wilson (never better) as he peruses Paris and discovers a magical world that awakens at night, one that makes his wildest dreams come true. Allen’s film is a nostalgic fever dream aimed at those who wish to have lived and experienced an era unbeknownst to them. The Wilson character fantasizes about the wild nights in which Picasso, Hemingway and Fitzgerald drank alcohol and told old, grand stories about love lost. Allen has essentially made a film a year since the late ’60s; this is easily in his top five. Romantics and old souls will revel in Allen’s glorious world. [Blake]

Shame

Before Steve McQueen earned a Best Picture Oscar for 12 Years A Slave (which also made our list) and became a household name, he made a grueling, yet exquisite film about sex-addiction called Shame. Despite all the acclamation for Michael Fassbender’s flattering full-frontal scenes, the film itself offers little else to cheer for. McQueen presents a depressing look into the life of Brandon (Fassbender), a man who’s constantly in search of his next orgasm, though he never finds any kind of meaningful pleasure in them. He’s completely lost his ability to connect with people on an emotional level. The only emotions he experiences are dissatisfaction and shame (hence the title). As you’d probably expect, watching a man slip deeper and deeper into sexual addiction is emotionally exhausting, but Shame remains a profoundly powerful experience thanks to McQueen’s fearless filmmaking and brilliant vision. Shame is not an easy watch, but the discomfort is absolutely worth it. [Dustin]

The Place Beyond the Pines

A perfect example of the idea that a story isn’t nearly as important as how it’s told, The Place Beyond the Pines strives in its every moment to defy categorisation. Its three acts are entirely unlike one another in genre, and yet are harmoniously strung together in their aesthetic and thematic content. What begins as an honest insight into the lives of the working class ends as an introspective on the notion of how our lives eventually come to affect those of our children, in ways we don’t expect. What truly stands out about this film, however, is how bold every choice is, from the opening shot to a 15 year jump in the plot. Directed by Derek Cianfrance, who also co-wrote the script, the film allows its characters to develop as authentic people by providing foundations upon which the actors can build highly convincing emotions. Ryan Gosling, Bradley Cooper and Eva Mendes are all unforgettable in their own ways, and yet the film handles melodrama with the lightest touch, keeping emphasis firmly on the humanity behind its events. [Pavi]

Gravity

Gravity does two things extraordinarily well. In fact, it does one of those things so well it’s worth overlooking the film’s flaws. The out-of-this-world photography, aided by a partnership of special effects and star Sandra Bullock’s physicality, is the reason the film belongs on this list and will be remembered for a long, long time. There isn’t a film that looks like Gravity, and there honestly may never be another. Looks aside, the film’s ability to create intense emotional stakes is also remarkable. If our connection with astronaut Ryan Stone (Bullock) throughout her crazy journey was missing, it wouldn’t matter how amazing everything looked. But we do connect, thanks to Bullock, who gives a remarkable (I’d even argue underrated) performance, as well as the success of its excellent (though much-derided) script. Screenwriters Alfonso and Jonás Cuarón trade in big sci-fi mythology for a streamlined, simple approach, and it works. Not all of the dialogue plays well, but there is a beating heart at the center of Gravity that makes it more than just a pretty face. Additionally, the film’s achievements in 3D filmmaking are groundbreaking. Gravity wonderfully melds forward-thinking technological concepts in filmmaking with an old-fashioned, emotionally charged story—an uncommon balance pulled off extremely well. [Aaron]

13 Assassins

13 Assassins, despite being a remake of a different film, could easily be summed up as Seven Samurai for the 21st century, a leaner, meaner take on Akira Kurosawa’s classic. The film’s first hour briskly sets up the situation: a samurai gathers 12 other assassins to take out the Shogun’s tyrannical half-brother. Once all the pieces get put into place, 13 Assassins spends its second hour unleashing one of the great action sequences of this century, an epic battle between an army of hundreds and the small group of samurai. Takashi Miike, one of the most prolific and versatile directors working today, directs 13 Assassins with a level of classicism and efficiency that’s a complete breath of fresh air compared to today’s action films. 13 Assassins is near-flawless genre filmmaking of the highest order. [CJ]

Stories We Tell

There is a common misconception that documentaries must be concerned with the truth, and with facts. Stories We Tell is a documentary film that seems to be uncovering truth at its surface, but in reality is examining something much more human. Director Sarah Polley’s goal may at first seem to be uncovering the truth about her mother, but as the film progresses, we can see that it is specifically her family’s memories of her mother that she is actually interested in. This ties together the essence of family itself, highlighting the way in which her family continues to remain supportive of each other and place their relationships above all else. Taking an unusual but effective approach to her discoveries, Polley focuses not on creating an accurate narrative of her mother’s life, but on displaying the complexities inherently involved in storytelling. It is through this portrayal that a film about her family becomes much more universal, allowing us to partake in the shared memories even if only through our own nostalgia. After all, the past is only as significant as the story it tells. [Pavi]

See the rest of our Best Movies Of The Decade lists!

View Other Lists of this Feature:
Best 50 Movies Of The Decade So Far (#50 – #41)
Best 50 Movies Of The Decade So Far (#30 – #21)
Best 50 Movies Of The Decade So Far (#20 – #11)
Best 50 Movies Of The Decade So Far (#10 – #1)

We get it, it’s the time of year when theaters are pushing ghosts, creepy possessed dolls, and axe-murderers onto the masses. But that’s not everyone’s jam. No taste for the supernatural but still want that rush of adrenaline? We’ve got you covered. Here are 13 of the most formidably frightening films we could think of, guaranteed to set your skin crawling and max out your energy bill with how many lights you’ll need on. Forget those psycho villains, the wide world of cinema offers plenty more thrills without ’em.

Jurassic Park

Jurassic Park was the first movie my parents went to see on their own before deciding to let my brother and I see it in theaters. Not a bad idea as I was 10 and he was 9 when it released in 1993. Even with their blessing, in my first viewing of the film I had to leave the theater during the iconic t-rex chase scene because the adrenaline rush was too much for little me. As one of Stephen Spielberg’s absolute masterpieces, what makes this tale of extinct animals brought to life so thrilling is the perfect combination of Spielberg’s expert pacing and detailed visuals. Incorporating some of the first truly successful CG elements with elaborately crafted mechanics, the film had children and adults alike wondering if Spielberg had actually recreated dinosaurs. In one of the film’s most panic-inducing scenes, two kids (who 10-year old me identified with a little too well) crawl in fear around a stainless steel kitchen to elude two smart velociraptors. Their clacking claws on the kitchen tile, their echoing barks, and roving eyes searching for their prey still cause me to breakout in a cold sweat. [Ananda]

Gravity

First off, watching Gravity outside of a theater is significantly easier to handle than when the endless vacuum of space is projected onto a huge eyeball encompassing screen. Second, I can say from experience that seeing this film on a first date may cause you to relate stressful feelings toward that person and may impede the success of future dates. As Sandra Bullock’s Dr. Stone spins uncontrollably into the dark depths of space when her astronaut team is hit by an unexpected debris shower hurtling at them, viewers are introduced to a nightmare they’d previously been unable to imagine without actual space travel exposure. The never-ending inertia of zero-gravity and the utter loneliness of space are so absolutely realistic as we remain fixed inside Dr. Stone’s helmet, floating with her. A true survival tale, every difficulty she encounters is petrifying. Forget “edge of your seat,” this film has you clinging to the seat back, feet lifted, doubting everything you ever learned about physics and solidifying that those silly childhood dreams you had of being an astronaut were really, really not thought out. [Ananda]

Rear Window

The official “Master of Suspense” excelled at films that weren’t strictly speaking “horror” but were always enthralling. The one that presents the most uncomfortable feelings of distress for me as I watch it is my favorite of Hitchcock’s, Rear Window. Jimmy Stewart’s wheelchair-bound photo journalist Jeff starts to notice his neighbor in the apartment complex across the way has been behaving quite suspiciously. A scenario made incredibly relatable as his daily observances seem to affirm his rising paranoia. As he and his beautiful girlfriend Lisa (Grace Kelly) push boundaries, eventually breaking into the man’s apartment, Hitchcock leaves us feeling just as vulnerable as Jeff is when forced to watch as the man comes home during the break-in and catches on to Jeff. Using Jeff’s telescopic camera lens to focus in on the scene, there’s hardly a shot so chilling as when the burly man turns to look straight at Jeff, and the audience, instilling instant fear. [Ananda]

A Clockwork Orange

This 1971 Kubrick directed dystopian crime thriller is spine-chilling entirely because of the lurid actions of its main character, Alex. A sociopathic hoodlum, Alex leads his band of thugs on a crime spree that includes plenty of raping and pillaging. With the same creepy effervescence of a clown, Alex’s enjoyment of his actions and the way these scenes are drawn out and narrated with his cockney slang all add to the difficulty of watching it. From the gang’s outfits to their brutal actions, there is plenty of truly disturbing imagery. The moog-filled soundtrack by Wendy Carlos only adds to the ill-feeling. Not even Alex’s eventual capture and brainwashing lead to any sort of relief as the film leaves us with a sense that a “cure” for sociopathy is simply impossible. [Ananda]

Deliverance

This one’s for city slickers like me. Maybe it was my upbringing, or my longtime aversion to sleeping on the ground (others think “sleeping under the stars”; I think “sharp rocks on my spine”), but nature always frightened me. The four businessmen who choose to leave the concrete jungle and spend a weekend retreat floating down a river in the middle of nowhere in John Boorman’s Deliverance serve as filmic vindication of my fear of the great outdoors. (That’s how I look at it, at least.) While their excursion starts out pleasantly enough, the nightmarish events that await down the river subsequently ravage their minds and bodies, and while Boorman’s film is a pretty one (those trees…), it’s also given us some of the most iconically disturbing moments in movies. The film, starring the great Jon Voigt and Burt Reynolds, doesn’t fit squarely into the horror genre, but it’s as freaky as they come. Hillbillies give me the willies. [Bernard]

Requiem for a Dream

Darren Aronofsky’s quick-cut tale of addiction is one of the few films I’ve ever had to turn off and finish when there was more daylight to be had. Watching it alone isn’t just scary, the sensory overload may lead us sensitive folk straight into full-blown panic attacks. Following four different people, each with different drug addictions, it’s hard to decide which storyline is most traumatizing. For me Ellen Burstyn’s character, Sara, was most relatable as she starts taking over the counter amphetamine pills to aid in her obsession to lose a little weight. Her jitters, teeth grinding, and sedative-induced hallucinations aren’t even the hardest scenes of the film to watch, but a scene where she experiences the delusion that her own fridge attacks her will make anyone reconsider crash dieting. And then there’s all the heroin addicts that make up the rest of the characters. Not an easy watch, but the closest thing non-users will get to experiencing the actual horrors of drug addiction. [Ananda]

Hard Candy

Before David Slade made the hellish Alaskan vampire chiller 30 Days of Night (and later, one of those Twilight movies), he made a more subtly terrifying movie in his directorial debut, Hard Candy. The revenge fantasy stars Ellen Page as a 14-year-old girl who dupes a man she believes is a pedophile (Patrick Wilson) into letting her into his home. She then proceeds to outsmart and physically abuse the guy in gruesome fashion (the film came out when torture films like Audition and Hostel were cool), she threatens to expose him for the predator he is. It’s such a sadistic, monstrous film not because of gore or jump scares, but because of the psychological trauma we suffer along with the man as the girl toys with his precious…manhood. Revenge is messy, and deep down, although we hate to admit it, the whole “eye for an eye” philosophy exists on the ugly side of human nature. [Bernard]

127 Hours

Sometimes movies are scariest not when we’re shown the quick, flashy death of a faceless victim, but when we’re allowed to spend time with a person as they face death itself, feeling the weight of mortality sink into our bones and theirs, the character’s face growing pale along with ours. 127 Hours is the most extreme example of this there is. Based on a true story (which makes it scarier), James Franco plays real-life mountain climber Aron Rolston, who on a solo hike got trapped under a boulder in the middle of nowhere and had to do the unthinkable (with a small knife) to attempt to free himself from the crag. “What if that were me?” is the thought that’s on repeat as you watch Danny Boyle’s minimalistic meditation on the human spirit, and while most consider the film a story of heart and resiliency, the film plays more like a living nightmare for those like me who are scared shitless of mountain climbing, suffer from mild claustrophobia, and have never broken a bone. Much like Deliverance, 127 Hours demonstrates just how disastrous things can get when you’re out in the wild. [Bernard]

Martha Marcy May Marlene

Elizabeth Olsen plays Martha, a girl who attempts to reunite with her family after spending years away on a hippy cult compound, in Martha Marcy May Marlene, an unsettling mind-fuck drama by Sean Durkin. In the role that announced her as a serious talent to watch, Olsen is a picture of mental collapse as her soul-sick eyes telling most of Martha’s twisted story. The always-excellent John Hawkes delivers one of his spookiest performances as the cult leader who strips Martha of everything, mentally and physically, damning her to a life of perpetual paranoia and torment. Indoctrination and loss of identity are horrible things to think about, and Martha makes you think about them from every angle until your blood curdles and you’re as deeply troubled as the poor girl on-screen. [Bernard]

Shock Corridor

It’s typically a beautiful thing when someone devotes their life to their craft, but Shock Corridor serves as a stark warning that, yes, there is a line, and if you cross it you may not come back. (You hear that, Shia?) In Sam Fuller’s mind-bending masterpiece, Peter Breck plays Johnny Barrett, a journalist who feigns mental sickness to get himself committed to an insane asylum where he hopes to solve a murder three inmates were the only witnesses to. Off the deep end he goes. It’s a decidedly melodramatic film with lots of over-acting and pretentious dialogue, but the wackiness of it all sort of makes it scarier, distancing the film from the firm ground of reality in a way that’s really quite disturbing. Barrett’s “fake it ’til you make it” approach may have gotten him into the looney bin as planned, though “fake it ’til you break it” seems a more apt phrase for what happens to his brain once he’s locked in. [Bernard]

Willy Wonka & the Chocolate Factory

So much of Willy Wonka & the Chocolate Factory is enchanting and fun and delightful that it’s easy to forget the crazy levels of creepiness it reaches in a handful of unforgettably weird scenes. For one, the kids who fail Wonka’s cleverly orchestrated morality tests meet their fates in ways so bizarre and twisted you could look at the film as a loose precursor to recent Rube Goldberg death extravaganzas like the Saw series. On top of that, there’s Gene Wilder’s climactic spluttering tirade that reminds you of that time your dad caught you drawing on the wall with crayons when you were a kid. Traumatic! And don’t get me started on that acid-trip boat ride. “Is it raining is it snowing? Is a hurricane a’blowing?” You’re freaking me out, man! Just give me some snozberries and let me off the boat! [Bernard]

Mulholland Drive

Choosing only one of Lynch’s films to include in this list proves quite difficult, we mentioned in our latest podcast just how frightening a phone call in Lost Highway was and I mention that almost every scene of Eraserhead gives me the willies, but the Lynch film that is so genuinely start-to-finish utterly unnerving that it almost classifies as horror is without a doubt Mulholland Drive. Every scene of this dream-like film is confusingly creepy, one of the earliest scenes even includes a man who literally dies of terror when a nightmare he had proves to be reality. And that’s why this film is so scary, it can’t be trusted. No character is set in stone (not all of them even know who they are at any given moment) and the storyline literally snaps part of the way through and starts again with a whole new set of rules. Trying to make actual sense of the film isn’t advised, but the tension is real in every feverish scene that makes up the whole. [Ananda]

Sleeping With The Enemy

The most terrifying scenarios in film, to me, are those based in very real situations. It’s a sad reality that spousal abuse is one such real situation and no film has left me more scarred by the extent to which a controlling abusive spouse will go then this 1991 thriller. In it, Julia Roberts plays Laura, a young wife whose marriage to an affluent physically abusive jerk becomes unbearable. Laura fakes her own elaborate death and takes off to start a new life in a small town. But her husband starts to doubt her death, obviously there was no body found, and starts the hunt for her. There are plenty of close-call hold-your-breath types of scenes but the most formidable aspect is that feeling a good thriller permeates viewers with, which is a total sense of the villain’s ceaseless energy to pursue his weak prey. The climax, where Laura realizes her husband has found her because her bathroom towels have been aligned in his obsessive perfectionist style, is an exercise in slow dawning terror. [Ananda]

Over the past several weeks we have provided an extensive individual breakdown for all of the major Oscar categories. Today we have compiled our 2014 Oscars Predictions on a convenient one sheet for you, along with links to our previous analysis. Oscar night is right around the corner, so be sure to tune in to see how well we predicted.

86th Academy Awards will air March 2, 2014 at 7 p.m. ET on ABC.

Complete List of 2014 Oscar Predictions:

Best Picture:

American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
12 Years a Slave
The Wolf of Wall Street

Best Director:

David O. Russell – American Hustle
Alfonso Cuarón – Gravity
Alexander Payne – Nebraska
Steve McQueen – 12 Years a Slave
Martin Scorsese – The Wolf of Wall Street

Best Actor:

Christian Bale – American Hustle
Bruce Dern – Nebraska
Leonardo DiCaprio – The Wolf of Wall Street
Chiwetel Ejiofor – 12 Years a Slave
Matthew McConaughey – Dallas Buyers Club

Best Actress:

Amy Adams – American Hustle
Cate Blanchett – Blue Jasmine
Sandra Bullock – Gravity
Judi Dench – Philomena
Meryl Streep – August: Osage County

Best Supporting Actor:

Barkhad Abdi – Captain Phillips
Bradley Cooper – American Hustle
Michael Fassbender – 12 Years a Slave
Jonah Hill – The Wolf of Wall Street
Jared Leto – Dallas Buyers Club

Best Supporting Actress:

Sally Hawkins – Blue Jasmine
Jennifer Lawrence – American Hustle
Lupita Nyong’o – 12 Years a Slave
Julia Roberts – August: Osage County
June Squibb – Nebraska

Best Original Screenplay:

Eric Warren Singer and David O. Russell – American Hustle
Woody Allen – Blue Jasmine
Craig Borten & Melisa Wallack – Dallas Buyers Club
Spike Jonze – Her
Bob Nelson – Nebraska

Best Adapted Screenplay:

Richard Linklater, Julie Delpy, Ethan Hawke – Before Midnight
Billy Ray – Captain Phillips
Steve Coogan and Jeff Pope – Philomena
John Ridley – 12 Years a Slave
Terence Winter – The Wolf of Wall Street

Best Foreign Film:

The Broken Circle Breakdown
The Great Beauty
The Hunt
The Missing Picture
Omar

Best Cinematography:

Philippe Le Sourd – The Grandmaster
Emmanuel Lubezki – Gravity
Bruno Delbonnel – Inside Llewyn Davis
Phedon Papamichael – Nebraska
Roger A. Deakins – Prisoners

Best Animated Film:

The Croods
Despicable Me 2
Ernest & Celestine
Frozen
The Wind Rises

Best Documentary:

The Act of Killing
Cutie and the Boxer
Dirty Wars
The Square
20 Feet from Stardom

Best Film Editing:

Jay Cassidy, Crispin Struthers and Alan Baumgarten – American Hustle
Christopher Rouse – Captain Phillips
John Mac McMurphy and Martin Pensa – Dallas Buyers Club
Alfonso Cuarón and Mark Sanger – Gravity
Joe Walker – 12 Years a Slave

Best Original Score:

John Williams – The Book Thief
Steven Price – Gravity
William Butler and Owen Pallett – Her
Alexandre Desplat – Philomena
Thomas Newman – Saving Mr. Banks

Best Original Song:

“Happy” – Despicable Me 2
“Let It Go” – Frozen
“The Moon Song” – Her
“Ordinary Love” – Mandela: Long Walk to Freedom

Best Production Design:

American Hustle
Gravity
The Great Gatsby
Her
12 Years a Slave

Best Costume Design:

American Hustle
The Grandmaster
The Great Gatsby
The Invisible Woman
12 Years a Slave

Best Makeup & Hairstyling:

Dallas Buyers Club
Jackass Presents: Bad Grandpa
The Lone Ranger

Best Sound Editing:

All Is Lost
Captain Phillips
Gravity
The Hobbit: The Desolation of Smaug
Lone Survivor

Best Sound Mixing:

Captain Phillips
Gravity
The Hobbit: The Desolation of Smaug
Inside Llewyn Davis
Lone Survivor

Best Visual Effects:

Gravity
The Hobbit: The Desolation of Smaug
Iron Man 3
The Lone Ranger
Star Trek Into Darkness

Best Short Film (Live Action):

Aquel No Era Yo
Avant Que De Tout Perdre
Helium
Pitääkö Mun Kaikki Hoitaa?
The Voorman Problem

Best Visual Short Film (Animated):

Feral
Get a Horse!
Mr. Hublot
Possessions
Room on the Broom

Best Documentary (Short Subject):

CaveDigger
Facing Fear
Karama Has No Walls
The Lady in Number 6: Music Saved My Life
Prison Terminal: The Last Days of Private Jack Hall

Last week we predicted that Gravity’s Alfonso Cuarón would get the win for Best Director, so historically speaking that would mean Gravity should have a 73% chance of winning Best Picture because of how closely tied those categories are. However, we do not have to go back very far to see split category winners. Last year Ang Lee received Best Director for the visually impressive Life of Pi, while Ben Affleck’s historic thriller Argo was awarded Best Picture. This year has a very similar setup. Winning the award at the Director’s Guild of America puts Cuarón in good position for Best Director, however, his technical marvel Gravity may be edged out by Steve McQueen’s historical drama 12 Years a Slave. Last week’s BAFTA (British Oscar equivalent) win for 12 Years a Slave was a major victory for the film. But make no mistake, this is still a very close race between the two films.

Marketing departments for the rest of the field will not likely be upgrading their materials beyond “Best Picture Nominated”. While it is still a monumental honor just to be nominated, Spike Jonze and company should feel disheartened that Her is not in contention. Though they are probably just happy their futuristic love story did not fly over the heads of the Academy whose median age is 62.

Because 2013 was such solid year for film, there are plenty of titles that deserved to be nominated: Blue Is the Warmest Color, Blue Jasmine, The Place Beyond the Pines, Frances Ha, Before Midnight, and Fruitvale Station just to name a few. But my top pick for the film that did not receive a nomination that should have is Short Term 12. Destin Cretton’s film blasted on to everyone’s radar after rave reviews from critics at its SXSW premiere. It is unfortunate that the film’s marketing budget and small distribution are its biggest flaws, because the film will make you laugh, cry, and smile more than most films that actually did get nominated.

Category Predictions

Best Picture Nominees

American Hustle (review)

Captain Phillips

Dallas Buyers Club (review)

Gravity (review)

Her (review)

Nebraska (review)

Philomena (review)

12 Years a Slave (review)

The Wolf of Wall Street (review)

Previous Category Analysis

Best Shorts
Best Supporting Actress
Best Supporting Actor
Best Original Screenplay
Best Adapted Screenplay
Best Foreign Film
Best Documentary
Best Actress
Best Actor
Best Director

The 67th British Academy Film Awards was this past Sunday, February 16th. Sometimes providing a potential glimpse at what Oscar night may bring, the winners were fairly safe bets and may prove as consolation prizes if Academy members vote rogue this year. Gravity took home the most statues with 6 wins, including Best Director and the ambiguously titled Best British Film.  12 Years a Slave took home the top honor of Best Picture, a feat that may prove more difficult in the States, where it’s up against 8 other films rather than the BAFTA’s 4 others.

Chiwetel Ejiofor and Cate Blanchett took the top acting awards, but considering the BAFTA’s gave literally no love to The Dallas Buyers Club, they’ve left out a slew of serious contenders who will be putting up a fight at the Oscars this year. The Academy isn’t as likely to hand out an Oscar to a first timer, so Barkhad Abdi’s BAFTA for Best Supporting Actor may be his only win, but Jennifer Lawrence, who took home the Best Supporting Actress statue Sunday night, has as much a chance as anyone in this year’s highly competitive pool for the Oscars.

Rounding out the evening the Academy Fellowship, the highest honor given out at the BAFTA’s was awarded to Dame Helen Mirren.

Complete list of BAFTA winners:

Best Picture: 12 Years A Slave
Best British Film: Gravity
Best Director: Alfonso Cuarón, Gravity
Best Actor: Chiwetel Ejiofor, 12 Years a Slave
Best Actress: Cate Blanchett, Blue Jasmine
Best Supporting Actor: Barkhad Abdi, Captain Phillips
Best Supporting Actress: Jennifer Lawrence, American Hustle
Best Original Screenplay: American Hustle, Eric Warren Singer, David O. Russell
Best Adapted Screenplay: Philomena, Steve Coogan, Jeff Pope
Best Foreign: The Great Beauty, Paolo Sorrentino, NicolaGiuliano, Francesca Cima
Best Documentary: The Act of Killing – Joshua Oppenheimer
Best Animation: Frozen, Chris Buck, Jennifer Lee
Best Cinematography: Gravity, Emmanuel Lubezki
Best Editing: Rush, Dan Hanley, Mike Hill
Best Production Design: The Great Gatsby, Catherine Martin, Beverley Dunn
Best Costume Design: The Great Gatsby, Catherine Martin
Best Make Up and Hair: American Hustle, Evelyne Noraz, Lori McCoy-Bell
Best Sound: Gravity, Glenn Freemantle, Skip Lievsay, Christopher Benstead, Niv Adiri, Chris Munro
Best Original Music: Gravity, Steven Price
Best Special Visual Effects: Gravity – Tim Webber, Chris Lawrence, David Shirk, Neil Corbould,Nikki Penny
Best British Short Animation: Sleeping with the Fishes, James Walker, Sarah Woolner, Yousif Al-Khalifa
Best British Short Film: Room 8, James W. Griffiths & Sophie Venner
Outstanding Debut by a British Writer, Director or Producer: Keiran Evans (Director/Writer), Kelly + Victor
The EE Rising Star Award (voted for by public): Will Poulter

This morning the official announcement of nominations for the 2014 Oscars came in with Gravity and American Hustle on top with an impressive total of 10 nominations each. Not far behind was 12 Years A Slave which hauled in 9 nominations. The Best Picture race will almost certainly be between American Hustle and 12 Years A Slave with Gravity almost a lock to pick up several technical achievement awards. A pleasant surprise for me was to see the Academy’s love for Spike Jonze’s Her, which nabbed 5 nominations including Best Picture, while the Coen Brothers film Inside Llewyn Davis received nominations only for Best Cinematography and Best Sound Mixing.

Other surprises were Jonah Hill getting a Best Supporting nod for The Wolf of Wall Street, Saving Mr. Banks only receiving a single nomination for Best Original Score, despite many believing it had Best Actor and even Best Picture potential (though I agree with the Academy’s decision on this one). Another surprise were Blackfish and Stories We Tell getting nudged out of the Best Documentary category, as 20 Feet From Stardom slips in. The biggest disappointment for me was seeing Blue Is the Warmest Color getting snubbed in the Best Foreign Film category.

The 86th Academy Awards will air March 2, 2014 at 7 p.m. ET on ABC.

Full List of 2014 Oscar Nominations:

Best Picture:

American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
12 Years a Slave
The Wolf of Wall Street

Best Director:

David O. Russell – American Hustle
Alfonso Cuarón – Gravity
Alexander Payne – Nebraska
Steve McQueen – 12 Years a Slave
Martin Scorsese – The Wolf of Wall Street

Best Actor:

Christian Bale – American Hustle
Bruce Dern – Nebraska
Leonardo DiCaprio – The Wolf of Wall Street
Chiwetel Ejiofor – 12 Years a Slave
Matthew McConaughey – Dallas Buyers Club

Best Actress:

Amy Adams – American Hustle
Cate Blanchett – Blue Jasmine
Sandra Bullock – Gravity
Judi Dench – Philomena
Meryl Streep – August: Osage County

Best Supporting Actor:

Barkhad Abdi – Captain Phillips
Bradley Cooper – American Hustle
Michael Fassbender – 12 Years a Slave
Jonah Hill – The Wolf of Wall Street
Jared Leto – Dallas Buyers Club

Best Supporting Actress:

Sally Hawkins – Blue Jasmine
Jennifer Lawrence – American Hustle
Lupita Nyong’o – 12 Years a Slave
Julia Roberts – August: Osage County
June Squibb – Nebraska

Best Original Screenplay:

Eric Warren Singer and David O. Russell – American Hustle
Woody Allen – Blue Jasmine
Craig Borten & Melisa Wallack – Dallas Buyers Club
Spike Jonze – Her
Bob Nelson – Nebraska

Best Adapted Screenplay:

Richard Linklater, Julie Delpy, Ethan Hawke – Before Midnight
Billy Ray – Captain Phillips
Steve Coogan and Jeff Pope – Philomena
John Ridley – 12 Years a Slave
Terence Winter – The Wolf of Wall Street

Best Foreign Film:

The Broken Circle Breakdown
The Great Beauty
The Hunt
The Missing Picture
Omar

Best Cinematography:

Philippe Le Sourd – The Grandmaster
Emmanuel Lubezki – Gravity
Bruno Delbonnel – Inside Llewyn Davis
Phedon Papamichael – Nebraska
Roger A. Deakins – Prisoners

Best Animated Film:

The Croods
Despicable Me 2
Ernest & Celestine
Frozen
The Wind Rises

Best Documentary:

The Act of Killing
Cutie and the Boxer
Dirty Wars
The Square
20 Feet from Stardom

Best Film Editing:

Jay Cassidy, Crispin Struthers and Alan Baumgarten – American Hustle
Christopher Rouse – Captain Phillips
John Mac McMurphy and Martin Pensa – Dallas Buyers Club
Alfonso Cuarón and Mark Sanger – Gravity
Joe Walker – 12 Years a Slave

Best Original Score:

John Williams – The Book Thief
Steven Price – Gravity
William Butler and Owen Pallett – Her
Alexandre Desplat – Philomena
Thomas Newman – Saving Mr. Banks

Best Original Song:

“Alone Yet Not Alone” – Alone Yet Not Alone
“Happy” – Despicable Me 2
“Let It Go” – Frozen
“The Moon Song” – Her
“Ordinary Love” – Mandela: Long Walk to Freedom

Best Production Design:

American Hustle
Gravity
The Great Gatsby
Her
12 Years a Slave

Best Costume Design:

American Hustle
The Grandmaster
The Great Gatsby
The Invisible Woman
12 Years a Slave

Best Makeup & Hairstyling:

Dallas Buyers Club
Jackass Presents: Bad Grandpa
The Lone Ranger

Best Sound Editing:

All Is Lost
Captain Phillips
Gravity
The Hobbit: The Desolation of Smaug
Lone Survivor

Best Sound Mixing:

Captain Phillips
Gravity
The Hobbit: The Desolation of Smaug
Inside Llewyn Davis
Lone Survivor

Best Visual Effects:

Gravity
The Hobbit: The Desolation of Smaug
Iron Man 3
The Lone Ranger
Star Trek Into Darkness

Best Short Film (Live Action):

Aquel No Era Yo
Avant Que De Tout Perdre
Helium
Pitääkö Mun Kaikki Hoitaa?
The Voorman Problem

Best Visual Short Film (Animated):

Feral
Get a Horse!
Mr. Hublot
Possessions
Room on the Broom

Best Documentary (Short Subject):

CaveDigger
Facing Fear
Karama Has No Walls
The Lady in Number 6: Music Saved My Life
Prison Terminal: The Last Days of Private Jack Hall

Tina Fey and Amy Poehler continued hosting duties for the second consecutive year for the Hollywood Foreign Press Association’s Golden Globe awards. Over the course of the award ceremony there were many big winners which include: American Hustle which won three awards (Best Motion Picture Comedy, and two acting awards), 12 Years a Slave which surprisingly only won Best Motion Picture for Drama, and Alfonso Cuaron getting Best Director for Gravity. Some surprising but pleasing winners were: Jared Leto getting Best Support Actor for his wonderful role in Dallas Buyers Club, the deserving Spike Jonze winning for Best Screenplay for Her, and Amy Adams beating out Meryl Streep for Best Actress (Comedy/Musical). Some disappointments were Bono winning Best Song, All Is Lost winning Best Original Score, and the biggest disappointment of all, Blue Is The Warmest Color losing to The Great Beauty (even though it was good) for Best Foreign Film.

List of 2014 Golden Globes award winners:

(Winners are highlighted in bold red font)

FILM

Best Motion Picture – Drama
12 Years a Slave
Captain Phillips
Gravity
Philomena
Rush

Best Picture – Comedy/Musical
American Hustle
Her
Inside Llewyn Davis
Nebraska
The Wolf Of Wall Street

Best Director
Alfonso Cuaron – Gravity
Paul Greengrass – Captain Phillips
Steve McQueen – 12 Years a Slave
Alexander Payne – Nebraska
David O. Russell – American Hustle

Best Actress – Drama
Cate Blanchett – Blue Jasmine
Sandra Bullock – Gravity
Judi Dench – Philomena
Emma Thompson – Saving Mr. Banks
Kate Winslet – Labor Day

Best Actor – Drama
Chiwetel Ejiofor – 12 Years a Slave
Idris Elba – Mandela: Long Walk to Freedom
Tom Hanks – Captain Phillips
Matthew McConaughey – Dallas Buyers Club
Robert Redford – All Is Lost

Best Actress – Comedy/Musical
Amy Adams – American Hustle
Julie Delpy- Before Midnight
Greta Gerwig – Frances Ha
Julia Louis-Dreyfus – Enough Said
Meryl Streep – August: Osage County

Best Actor – Comedy/Musical
Christian Bale – American Hustle
Bruce Dern – Nebraska
Leonardo DiCaprio – The Wolf of Wall Street
Oscar Isaac – Inside Llewyn Davis
Joaquin Phoenix – Her

Best Supporting Actress In A Motion Picture
Sally Hawkins – Blue Jasmine
Jennifer Lawrence – American Hustle
Lupita Nyong’o – 12 Years a Slave
Julia Roberts – August: Osage County
June Squibb – Nebraska

Best Supporting Actor In A Motion Picture
Barkhad Abd – Captain Phillips
Daniel Brühl – Rush
Bradley Cooper – American Hustle
Michael Fassbender – 12 Years a Slave
Jared Leto – Dallas Buyers Club

Best Screenplay
Spike Jonze – Her
Bob Nelson – Nebraska
Jeff Pope, Steve Coogan – Philomena
John Ridley – 12 Years A Slave
Eric Warren Singer, David O. Russell – American Hustle

Best Original Score
Alex Ebert – All Is Lost
Alex Heffes – Mandela: Long Walk To Freedom
Steven Price – Gravity
John Williams – The Book Thief
Hans Zimmer – 12 Years A Slave

Best Original Song
Chris Martin, Guy Berryman, Jonny Buckland, Will Champion – Atlas (Hunger Games: Catching Fire)
Kristen Anderson Lopez, Robert Lopez – Let It Go (Frozen)
Bono, The Edge, Adam Clayton, Larry Mullen, Jr., Brian Burton – Ordinary Love (Mandela: Long Walk to Freedom)
Ed Rush, George Cromarty, T Bone Burnett, Justin Timberlake, Joel Coen, Ethan Coen – Please Mr Kennedy (Inside Llewyn Davis)
Taylor Swift, Jack Antonoff – Sweeter Than Fiction – (One Chance)

Best Animated Feature Film
The Croods
Despicable Me 2
Frozen

Best Foreign Film
Blue is the Warmest Color
The Great Beauty
The Hunt
The Past
The Wind Rises

TELEVISION

Best Television Series – Drama
Breaking Bad
Downton Abbey
The Good Wife
House Of Cards
Masters Of Sex

Best Performance by an Actress In A Television Series – Drama
Julianna Margulies – The Good Wife
Tatiana Maslany – Orphan Black
Taylor Schilling – Orange Is The New Black
Kerry Washington – Scandal
Robin Wright – House Of Cards

Best Performance by an Actor In A Television Series – Drama
Bryan Cranston – Breaking Bad
Liev Schreiber – Ray Donovan
Michael Sheen – Masters of Sex
Kevin Spacey – House of Cards
James Spader – The Blacklist

Best Television Series – Comedy Or Musical
The Big Bang Theory
Brooklyn Nine-Nine
Girls
Modern Family
Parks and Recreation

Best Performance by an Actress In A Television Series – Comedy Or Musical
Zooey Deschanel – New Girl
Lena Dunham – Girls
Edie Falco – Nurse Jackie
Julia Louis-Dreyfus – Veep
Amy Poehler – Parks and Recreation

Best Performance by an Actor In A Television Series – Comedy Or Musical
Jason Bateman – Arrested Development
Don Cheadle – House of Lies
Michael J. Fox – The Michael J. Fox Show
Jim Parsons – The Big Bang Theory
Andy Samberg – Brooklyn Nine-Nine

Best Mini-Series Or Motion Picture Made for Television
American Horror Story: Coven
Behind The Candelabra
Dancing on the Edge
Top of the Lake
White Queen

Best Performance by an Actress In A Mini-series or Motion Picture Made for Television
Helena Bonham Carter – Burton and Taylor
Rebecca Ferguson – White Queen
Jessica Lange – American Horror Story: Coven
Helen Mirren – Phil Spector
Elisabeth Moss – Top of the Lake

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Matt Damon – Behind the Candelabra
Michael Douglas – Behind the Candelabra
Chiwetel Ejiofor – Dancing on the Edge
Idris Elba – Luther
Al Pacino – Phil Spector

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Jacqueline Bisset – Dancing on the Edge
Janet McTeer – White Queen
Hayden Panettiere – Nashville
Monica Potter – Parenthood
Sofia Vergara – Modern Family

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Josh Charles – The Good Wife
Rob Lowe – Behind the Candelabra
Aaron Paul – Breaking Bad
Corey Stoll – House of Cards
Jon Voight – Ray Donovan

Now that you have gotten a chance to read Way Too Indie’s Best Films of 2013, a cumulative list from our staff, check out the individual Top 10 Lists from the eight staff members that created the list. The differences between the cumulative site list and these individual ones are actually quite different. First of all, even though mathematically Gravity was our overall #1 film for 2013, it only appears in the #1 spot in one of the eight lists below. Also, because a film had to get at least two mentions to quality for our cumulative list, you’ll find quite a few different titles down below: Leviathan, Paradise: Love, Blackfish, A Hijacking, The Past, and many more.

Staff Top 10 Lists For 2013

Dustin’s Top 10

Jansen’s Top 10

Ananda’s Top 10

Bernard’s Top 10

Amy’s Top 10

Pavi’s Top 10

Blake’s Top 10

CJ’s Top 10

Apparently 2013 was a good year to have the number twelve in your movie title (12 Years a Slave and Short Term 12) as well as an abstract meaning of the word color (Blue Is the Warmest Color and Upstream Color). And speaking of color, a couple highly praised films (Frances Ha and Nebraska) were shot only in black-and-white. While some films void of color such as Escape From Tomorrow and Computer Chess did not make our list, a film set in the black void of space did (Gravity). It was especially a good year for Matthew McConaughey and Brie Larson as each of them are in multiple films on our list.

Eight members of our staff voted on their favorite films of the year by submitting their own ranked list—those individual lists were mathematically converted into the list you see below. Before you dive into the results it is important to note that we were unable to see three potential list-changers before our voting deadline (Her, American Hustle, and The Wolf of Wall Street).

Way Too Indie’s Best Films of 2013

#25  Wadjda

Veiling undercurrents of politics and gender inequality with the simple tale of a smart girl who wants a bike is nothing short of genius – particularly when the story is done with so much gumption. Wadjda, both the first film to be shot in Saudi Arabia as well as the first to be directed by a Saudi woman, may not be infallible, but it is a sharp commentary that pierces to the heart of things just as well as its eponymous protagonist pierces our own hearts with her quirky, rebellious ways. It’s hard not to be inspired by her, and she’s bound to be a fantastic role model for young children everywhere, reminding us in small yet tenderly humorous ways how ridiculous prescribed gender identities can be. As WTI’s very own Bernard Boo points out in his review of the film, the male characters in this film are secondary, which is such a fantastic way for first-time director Haifaa Al-Mansour to give her female characters a prominent voice. Wadjda is not just a commendable debut; it’s an inspiring and charismatic journey. [Pavi]
Wadjda Review | Watch Trailer

#24  All is Lost

Emerging director JC Chandor’s debut, Margin Call, was a wordy chamber piece featuring an all-star cast, but for his second effort, All is Lost, he takes a refreshingly approach, shrinking his cast to a sole lead (the legendary Robert Redford) and giving him a mere three lines of dialog. Redford and Chandor’s tale of a lone man at sea is a textbook on visual and auditory harmony, with the sights and sounds of the swirling elements pounding Redford’s boat transporting us to another place entirely (an astonishing cinematic feat only matched this year by Alfonso Cuaron’s Gravity). We’re given virtually zero background about Redford’s character, but by the end of the film, we learn volumes about his mental, physical, and spiritual resilience. Is his fight for survival an exhibition of courage, or is it all for naught? [Bernard]
All is Lost Review | Watch Trailer

#23  About Time

I was so full of optimism and adoration for Richard Curtis when I left the cinema after seeing About Time. He was able to once again capture the hearts of all wishful thinkers and hopeless romantics, including myself. A really lovely tale staring two great leads that you fall in love with almost immediately, however, as Ananda states in her review, anyone more concerned with space-time continuums or time travel paradoxes should just bypass this film, as it really is just another Richard Curtis movie and thus all sense of reality should be left at the door.

But it is another great British classic to go alongside Bridget Jones, Love Actually and Notting Hill – you know those select few films that you’re never sure it’s okay to admit loving, but everyone really wants to. Well I’m singing it loud and proud, I thoroughly enjoyed About Time as much as any film I have seen this year and I can’t wait for its purchase release so that I can re-watch it over and over again. [Amy]
About Time Review | Watch Trailer

#22  Drinking Buddies

Considering Drinking Buddies had roughly ten times the amount of budget that director Joe Swanberg had for previous films, many thought this to be his crossover into the Hollywood system. And in some ways it is true. But considering the budget was only half a million dollars (well under most films you see nowadays), it really puts in perspective where Swanberg came from. For the first time in his career Swanberg is able to afford household names (Olivia Wilde, Jake Johnson, Anna Kendrick, and Ron Livingston) to star in his film. Drinking Buddies explores the dangers of getting too romantically involved with your close friends by utilizing familiar and relatable situations. Through the use of improvised dialog the film comes across as natural feeling as a film can be. The best moments of Drinking Buddies are when emotional tension is displayed without dialog because the characters are so well established that we know exactly what they are thinking. [Dustin]
Drinking Buddies Review | Watch Trailer

#21  The World’s End

The final film in Edgar Wright’s Cornetto Trilogy and by far the best. The World’s End is a highly entertaining science fiction/comedy hybrid that constantly fires on all cylinders. Simon Pegg leads a fantastic cast with the likes of Rosamund Pike, Martin Freeman, Paddy Considine, Eddie Marsan and Pierce Brosnan. Pegg, who has never been better, is Gary; an alcoholic who still holds on to memories of him and his mates trying to finish off the world’s toughest pub crawl. They try again 20 years later only this time find themselves in the midst of a colossal fight with intergalactic androids. The film is typical Wright, but as The World’s End barrels along to its conclusion, it starts to unravel a lot of layers that were not present at the beginning. What starts out as a high flying comedy soon turns into unexpected drama about alcoholism. Wright and his compatriots blaze a wonderful yarn about a group of men trying to reconnect with their youth and at the same time Wright constructs a meaningful film about poor souls who fall prey to the bottomless pits of despair. The World’s End is high class entertainment. [Blake]
Watch Trailer

#20  A Hijacking

Known to most people as that other film about Somalian pirates that came out this year (both of which were covered here), A Hijacking is one of many terrific dramas to make its way out of Denmark in the last several years. A corporate executive (Søren Malling), who starts the film giddy about successfully negotiating a sale, faces a tougher battle when one of his company’s ships is taken over by pirates. Malling’s character and a chef on the overtaken ship (Pilou Asbæk) are the film’s main focus, and as both men are trapped (one psychologically with guilt and a bruised ego, the other physically) we see them slowly crack under the pressure. Director Tobias Lindholm knows how to pile on the tension too: Negotiation scenes are filmed from Malling’s end, making them unbearably tense when things go awry, and the film’s biggest shocks come from its casual way of letting the audience see the passing of time. Captain Phillips may get all the fame this year, but A Hijacking gets the glory. [CJ]
Watch Trailer

#19  Mud

Mud was one of my Sundance London spotlight films; I had never seen McConaughey in such a sincere role. A story based upon one man’s pursuit to survive after being crushed by the undefeatable higher powers of the world. Mud (Matthew McConaughey) banishes himself to a deserted island surrounded on all sides by the Mississippi Rivers so that he will not be imprisoned for the crime he has been accused of committing in defence of the woman he loves. Two adventurous boys stumble upon Mud and once captured by the thrill of their secret mission to help him, do everything in their power to fight for what they believe to be right, freeing a man of the burdens that he carries and to find the woman he loves. [Amy]
Mud Review | Watch Trailer

#18  Stoker

Arriving the same year American Spike Lee would remake his seminal Oldboy, Park Chan Wook’s highly anticipated first English-language feature proved a kind of poetic statement of call-and-response to the tendency for North American cinema to re-make excellent films not just more linguistically palatable, but better while they’re at it.

Stoker stood in the face of this logic, bringing Park’s every lurid aesthetic chop together with richly stylized performances to deliver one of the year’s most disturbing, incessantly watchable, so-bad-it’s-brilliant American pictures. Matthew Goode is like a porcelain mask bound to crack and cut, his Uncle Charlie sharing a fascinating, not-so-deftly suggestive relationship with Mia Wasikowska’s elliptical India that’s at Stoker‘s brittle core. But it’s the boldness of violence – both physical and psychological – and consistency of vision that elevates the picture: at this rate, Park could direct the phone book and it’d be among the most considerately art-designed films of the year. [Jansen]
Stoker Review | Watch Trailer

#17  Side Effects

Who knew that Steven Soderbergh’s supposedly final theatrical feature would turn out to be his one of his most entertaining? Beginning with a stressed out wife (Rooney Mara) unable to handle her white-collar criminal husband (Channing Tatum) returning home after serving his sentence, she starts seeing a therapist (Jude Law) who prescribes her a new drug that apparently cures Mara of all her troubles. That is, until she winds up murdering her husband without any recollection of performing the act. The film’s first half is an unsettling look at the way prescription meds can alter one’s body, but it’s Soderbergh’s (and Scott Z. Burns’ terrific screenplay’s) distinct shift in the second half that elevates the film to something more than basic genre fare. Some people may be upset at the film’s blatant manipulation, but it makes a chilling impact. Just how much do we know about what we put in our bodies, and what it can make us capable of? Side Effects‘ second half makes us question everything we’ve seen beforehand, all while indulging in elements from 70s paranoia and 80s/90s psychosexual thrillers. The fact that Soderbergh can weave all these things together seamlessly speaks to his talents, and we can only hope that he’ll reconsider his early retirement from filmmaking. [CJ]
Side Effects Review | Watch Trailer

#16  Fruitvale Station

Following slain 22-year-old Bay Area resident Oscar Grant’s last day on earth, docu-drama Fruitvale Station is a resounding debut feature from young director Ryan Coogler, who’s as prone to take Hollywood by storm as his star, Michael B. Jordan. Coogler’s script pushes forward forcefully and cuts deeply, and along with Jordan’s breakout performance as Grant it helps to remind us of the humanity at stake in headline-grabbing travesties of this nature. [Bernard]
Fruitvale Station Review | Watch Trailer

#15  Dallas Buyers Club

Matthew McConaughey’s towering turn as HIV-positive Texas tough-guy and alternative drug entrepreneur Ron Woodruff in Dallas Buyers Club has earned the once oft-shirtless Hollywood hunk much deserved universal praise. But standing right alongside him, towering perhaps even taller, is Jared Leto, whose eerily lived-in portrayal of gregarious transsexual Rayon is one of the most entertaining and charming actor transformations of the year. The script is solid, as are the supporting players, directing (by Jean-Marc Vallée), and visuals, but the dual career-defining performances by the male leads propel Dallas Buyers Club up to the #15 slot on our list. [Bernard]
Dallas Buyers Club Review | Watch Trailer

#14  Spring Breakers

I went back and forth many times on whether or not to place Harmony Korine’s visual and aural sensation of a film as the #1 on my personal list before eventually settling for the #2 slot. Korine’s Spring Breakers perfectly captures and presents the ethos of American youth. I realize most kids are not gun toting, sex zealots like the heroines presented here, the mentality of “I’m gonna get mine at any cost,” reverberates incessantly throughout the film. Spring Breakers is a visual wonderland. Korine uses every trick in the book to fully illustrate the colorful scenery of the Floridian debauchery-soaked landscape. His brilliant visuals are backed by a maniacal score by dubstep master Skrillex and electro wizard Cliff Martinez. Even though the film may be tough to watch at times, there’s no denying the magnetic power Korine holds over you. Spring Breakers is dazzling. [Blake]
Spring Breakers Review | Watch Trailer

#13  The Great Beauty

Immediately after watching Paolo Sorrentino’s The Great Beauty I had a sudden urge to go visit a city that I have not considered before. This is due to the dazzling imagery of the landscapes, architecture, and culture of a modern-day Rome that is contained within this appropriately titled film. Every frame in the film feels like it could be made into a painting, then showcased in an art museum, and be admired by the very same people that are portrayed in the film. The film is ultimately about a man who has trouble finding true beauty in his elegant lifestyle even though beauty is all around him. Sorrentino certainly finds this great beauty while making a statement about the current Italian culture. [Dustin]
The Great Beauty Review | Watch Trailer

#12  The Place Beyond The Pines

Because The Place Beyond The Pines came out so early in the year (March) it is easy for the film slip under the radar for end of the year lists. Fortunately, Derek Cianfrance’s film has stuck with me the entire year due to the amazing cinematography (one of the best opening sequences of the year) that pairs perfectly with the unsettling score of the film. This is a classic three act story that is best experienced going into it without knowing much about it—which the trailer brilliantly abides by not giving away too much details. The acting performances from Ryan Gosling and Brady Cooper are simply stunning. If I had to vote for 2013’s Most Forgotten About Film, The Place Beyond The Pines would be at the top. [Dustin]
The Place Beyond The Pines Review | Watch Trailer

#11  The Spectacular Now

As much about coming of age as it is about love in its many forms, The Spectacular Now is a sweet yet poignant tale that tips its hat to the American high school drama whilst thoroughly surpassing it in the best way. Our expectations of the genre are as humbled as popular high-school kid Sutter is when he meets Aimee, the quiet nerdy girl he’s never noticed before. Sutter has a “live in the now” philosophy, but Aimee’s arrival in his life switches everything up, forcing them both to confront their deepest issues. Director James Ponsoldt gives us all of the teen awkwardness and curiosity with none (or at least very little) of the melodrama, and Miles Teller and Shailene Woodley are spectacular leads; though the film is primarily about Sutter, Woodley steals the show with her quiet love and concern that manifest themselves so plainly in her every expression. This film feels familiar and yet so much more complicated than anything we know, all at the same time. [Pavi]
The Spectacular Now Review | Watch Trailer

#10  Upstream Color

How to recommend a film that will undoubtedly leave you scratching your head and utterly perplexed? Perhaps by saying, never have you enjoyed being confused in so lovely a fashion. Upstream Color, the second of Shane Carruth’s bewildering directorial feats, is about two people who find each other after going through traumatic experiences where their minds were manipulated and now they are missing memories and much of their bank accounts. It’s a film full of beautiful scenery and strange happenings. It’s about many things: falling in love, finding and creating identity, solving a mystery, exacting revenge, and all sorts of other weird things one could only start to fathom upon repeat viewings. However you interpret it, there’s no denying Upstream Color is truly intriguing to watch. [Ananda]
Upstream Color Review | Watch Trailer

#9  The Hunt

Mads Mikkelsen is at his best as a teacher who is wrongly accused of molesting a young girl at his school. The Hunt is undoubtedly hard to watch at times as family and close friends turn their back on him, all while Thomas Vinterberg’s direction ratchets up the intensity with each passing minute. Everything about the film is top notch and the supporting actors are great; but the film is owned by Mikkelsen (Best Actor Winner at Cannes) who is onscreen for nearly every second. Sure, its melodrama, but Vinterberg and company are more than up for the challenge; and they succeed with flying colors. [Blake]
The Hunt Review | Watch Trailer

#8  The Act of Killing

No other film this year touches Joshua Oppenheimer’s The Act of Killing when it comes to the amount of jaw-dropping, shake your head in disbelief moments. Whether it’s former generals happily describing how they strangled innocent people with razor wire, government officials openly extorting business owners, a talk show audience applauding war crimes, or the sight of one of these generals dry heaving as he comes to understand what he did, The Act of Killing has no shortage of completely surreal and unbelievable moments. And I haven’t even described the re-enactments of the Indonesian military coup that the film uses as its starting point, all of which accentuate the stomach-churning feeling that goes on throughout Oppenheimer’s film. But what really makes The Act of Killing such a landmark documentary is the way Oppenheimer turns the footage around on viewers. Does Indonesia’s explicit endorsement of these actions somehow make them better or worse than the way Americans (or more generally people in the first world) implicitly endorse similarly oppressive and reprehensible behaviour? What makes The Act of Killing such a sickening film to watch is the realization that, as bone-chilling and incomprehensible this world is, it isn’t too far off from ours. [CJ]
The Act of Killing Review | Watch Trailer

#7  Nebraska

I grew up spending several weeks a year in my grandparent’s Midwestern town of 300 people. A town where the local bar was the only hangout and where many a conversation among neighbors revolved around the cars they drove and the farming equipment they operated. Alexander Payne (a fellow Midwesterner and Nebraska native) might as well have been writing about that town, tapping into the subtle humor found in the mundane of Midwestern life portrayed in Nebraska. I could go on and on about Bruce Dern’s performance as an old man duped into believing a marketing scheme is actually promising him a million dollars if he travels back to his native Nebraska to claim it, but the truth is his son, played with affable sincerity by Will Forte, provides a vantage point that is easy to relate to. A son coming to understand, or at least accept, the motivations that fuel his father forward and make up the man he has become in old age. Shot in beautiful black and white, which only adds to the lost-in-time feel of a small town, the film is quiet and hilarious, not to mention deeply touching. [Ananda]
Nebraska Review | Watch Trailer

#6  Short Term 12

A film that centers around a foster care facility, Short Term 12 could have been a clichéd attempt at manipulating our emotions with contrived characters and scenes. Instead, thanks to heartfelt direction from Destin Cretton as well as spectacular performances from the cast, it is exactly the opposite – a touching, genuine film that quietly leaves its mark in our hearts. Brie Larson gives the performance of her career, and possibly of the year, as Grace, a young woman who supervises at the facility, and is much loved by the children there. When a new arrival means she begins to confront her own past, and the traumas that lie within it, we’re drawn even further into her world, sympathizing with her emotions as though they touch us in our very flesh. The supporting cast are no less captivating, coming together to create a beautifully crafted film that confronts us with the reality of many lives. [Pavi]
Short Term 12 Review | Watch Trailer

#5  Blue Is the Warmest Color

Controversy has surrounded Blue Is The Warmest Color ever since the film premiered Cannes and won the grand Palm d’Or prize. Early on the debate was if the powerful ten minute lesbian sex scene was too graphic, too long, or just simply too taboo. However as time passed the lead actresses admitted to feeling mistreated during the filmmaking process (especially in the sex scenes) which sparked a whole new round of controversy. But with all this attention on the film, perhaps it proves that sometimes bad press is good press.

Putting aside all of the buzz surrounding the film, what you need to know is that Blue Is the Warmest Color is first and foremost about self-discovery and the intimate passion of love. The acting performances from the two female leads (Adèle Exarchopoulos and Léa Seydoux) are so effective that their love for each other is never in question. However, the film does not sugar cost the reality of love when it displays the tragedy of heartbreak. Blue Is the Warmest Color worth seeking out regardless of your stance on the film’s subject matter. This is masterful filmmaking and among the best cinema has to offer this year. [Dustin]
Blue Is the Warmest Color Review | Watch Trailer

#4  12 Years a Slave

One advantage to press screenings, sometimes, is there’s not yet much hype or disdain for a film. I had no idea going in the effect 12 Years a Slave would have on me. I knew director Steve McQueen was known for his effectiveness with serious subject matter, but am ashamed to admit I had never actually gotten around to watching one of his films. And now I worry that all the hype will actually deter some people from seeing the film, because when does one ever get in the mood to watch a film I personally described as “sobering and immensely difficult to watch”? But this film is in the Top 5 for good reason. Amazing performances and gripping imagery aside, 12 Years a Slave is storytelling at its most powerful. And partly what makes it so powerful is because it’s a true story. Every American should be made to watch this film, because each of us have exactly what this character/man of history, Solomon Northup, had, lost, and then regained: freedom. And McQueen’s cinematic reminder of just how invaluable a thing like that is, will always be timely. [Ananda]
12 Years a Slave Review | Watch Trailer

#3  Before Midnight

The third in Richard Linklater’s unprecedented touristic walk-n-talk romance series, Before Midnight checks in on Celine and Jesse 9 years after Before Sunset and 18 years after Before Sunrise. The couple’s once fresh, vigorous attraction to one another has begun to sour a bit as mounting mid-life stresses strip their romance bare, but Delpy and Hawke’s unparalleled chemistry is as crackling as ever. The progressively contentious (and riveting) interactions between the now-jaded lovers bring a raw intensity not found in the film’s predecessors, and as the stinging reality begins to emerge that the yappy soul mates may have reached the end of lovers’ lane, a profound feeling of desperation rocks their world, and ours. This is the first time we’re seeing these precious-to-many characters get their hands dirty, and not only is this the best film in the series, it’s damn near close to perfection. [Bernard]
Before Midnight Review | Watch Trailer

#2  Frances Ha

What can I say about Noah Baumbach’s Frances Ha? The film is totally original and rare gem unlike anything I have ever seen before. I can honestly say that I’ve never felt so connected to a character as I did with Frances (wonderfully played by Greta Gerwig); she is the embodiment of every emotion and defeat we go through. Yet, instead of actually being defeated she rises and she fights—never letting the wavering flame of hope burn out, and that is what I found humbling, encouraging, and powerful. The script found in Frances Ha was flawless and brilliant; it was stylistic in every sense of the word. Frances Ha has my sincerest recommendation and is completely worthy of its high rank on our list. I challenge you to watch the film and not fall in love with Frances. [Amy]
Frances Ha Review | Watch Trailer

#1  Gravity

Our film of the year is a fitting champion in form, tone, and technique within such a banner year for the art precisely because it worked counter to so many worrying trends pervading in the industry as of late. A muscular 90 minute story in a sea of 2 1/2 hour-plus 3D action epics released every year, perhaps the highest praise we can offer Gravity is that it can (and often does) work without words. Is storytelling through visuals not cinema at its most romantic? Does that not emphatically harken back to movies at their most alluring and pure?

Gravity is a feat of virtuoso visuals and its excellent use of 3D technology goes without saying; it’s been said everywhere. But what most impressed me is Alfonso Cuaron’s unsentimental, almost ruthlessly direct narrative: you-are-there at tis most cathartically palpable, and relentlessly potent. This is space. and these are the turmoils of space. and here are two characters that can help you relate: even if you didn’t buy into the higher allegorical ambitions of Gravity, that much of the story, at least, touches everybody. And that is a thrilling thing for cinema. [Jansen]
Gravity Review | Watch Trailer

Our Best Films of 2013 Infographic

Not only is Alfonso Cuaron’s Gravity one of the most visually immersive moviegoing experiences in memory, it’s also one of the handful of films that utilize 3-D technology to enhance the cinematic experience in a significant way. The “survival” element of Cuaron’s outer-space survival epic is unquestionably enhanced by the 3-D effect, which helps to convey the infinite vastness that constantly threatens to devour stars Sandra Bullock and George Clooney.

In this short vignette, which is essentially a showcase for View-D 3-D convergence technology, we’re shown an example of exactly what’s going on behind the curtain to make the 3-D in Gravity look so damn good. Here’s a description of the clip from the original post:

In this Artist Breakdown we analyse a scene from ‘Gravity’ starring Sandra Bullock and George Clooney. Prime Focus World’s Richard Baker (Creative Director, View-D) and Matthew Bristowe (SVP, Production) take you on a step by step journey through the stereo conversion of the shot, describing how PFW’s View-D conversion process allows for the full integration of the VFX and conversion processes.

There will surely be more of these neat little breakdowns to come in the coming weeks, so keep an eye out for those!

Certainly no sci-fi film, and packed with more adrenaline than the average action film, it’s impossible not to have a physical reaction to the film Gravity. From the opening scene where astronaut Matt Kowalski (George Clooney) and medical engineer Dr. Ryan Stone (Sandra Bullock) work high above the earth, the perspective is entirely disorienting. Voices from Houston check in on the astronauts, asking Dr. Stone if she’s feeling sick, and her queasy expression is easy to sympathize with. While the sensory impact of Gravity is what will make this film hard for any viewer to shake, it’s focus on every human’s instinct for survival and even human connectedness is what makes it a good film.

Gravity, while groundbreaking in its visuals, does rely upon them a bit heavily. The story is obvious by Hollywood conventions. Veteran astronaut Kowalski is finishing his final spacewalk, while Dr. Stone is on her first mission and not much of a space traveler. All seems to be going well in their mission to perform minor repairs on a space shuttle. A third astronaut, whose voice is all the character we’re really given of him, glides through space gleefully, as though to mock the tethers that keep him from spinning out into the cosmos. Then Houston gives them the command to abort. The Russians, (them again!), have destroyed one of their satellites and its remnants are hurtling in orbit directly toward them. A moment later they are bombarded with the high-speed pieces. Kowalski tries to hold on to Stone, but she is sent spiraling away from him. Thus begins her dizzying nightmare.

At times Alfonso Cuaron pulls the perspective into Stone’s helmet. Which, in that first harrowing moment, is the unending spinning of the universe as Dr. Stone demonstrates the laws of physics in sickening fashion. The universe has never seemed so big as in the drawn out minutes that Stone spends alone spinning into space unable to stop herself. Kowalski is able to reach her after a time, but their nerve-shattering journey to survive has only begun. With oxygen depleting, Kowalski’s jetpack running out of fuel, and the orbit of the earth set to bring the debris hurtling back at them in 90 minutes it’s a race against time and space, (sorry, I couldn’t resist), to survive.

Cuaron has been working on Gravity for almost four years, since the release of his last tale of human survival, Children of Men. Clearly drawn to stories of perseverance, Gravity isn’t as poignant as he is likely aiming for, but is most definitely a standout survival film. Cuaron’s decision to use Bullock in a space-based thriller may not seem the likely choice, but she was clearly a great decision. Her character is given the entirety of the sentimentality of the film to carry, including some hackneyed and hokey dialogue. But Sandy B. is America’s Sweetheart for good reason. She’s just so easy to root for. Each line delivered with just enough of an emotional waver in her soft voice to pull at the heart. Clooney is equally as typecast with his easy confidence and dulcet-tones that could talk anyone to safety. So while neither actor may be doing anything entirely new in their careers, they certainly do what they do best.

Choreographed and staged with intricate detail, the film’s visuals are like nothing ever experienced before in film. Forget ‘edge of your seat’, Gravity has its audience clinging to their seats and leaving with a newfound appreciation of terra firma. Never has 90 minutes felt so long. Alfonso Cuaron’s breathtaking film puts every viewer up into space in a way never before possible. Though admittedly in a way that may make any future space travelers think twice. Gravity is a healthy reminder of human smallness in a vast universe, but also successfully demonstrates the phenomenal strength of the human spirit.

Full disclosure: I personally do not like 3D movies, I feel that they are distracting to the true art of filmmaking. That being said, I saw the advanced screening of Gravity in 3D, however, my review would likely be no different for its 2D counterpart.

Gravity brings the long awaited return of Children of Men director Alfonso Cuarón. Set almost entirely in space, this sci-fi thriller with a dash of humor has stunning special effects and dedicated 3D scenes. Actors George Clooney and Sandra Bullock play characters Commander Matt Kowalsky and Mission Specialist Dr. Ryan Stone. Within the first 15 minutes viewers are taken from a light-hearted and even slightly humorous conversation between three astronauts outside a shuttle to an adrenaline packed thrill ride. The focus then turns to Bullock’s character who must now overcome the cornucopia of challenges that comes with trying to get back on Earth when you’ve just been flung into empty space by a large cloud of increasingly speeding satellite debris (all caused by the Russians of course).

I wish I could tell you the rest, but I’m guessing you would not like the spoilers. Besides, I forgot it all within 2 minutes of leaving my seat. It’s just not that memorable. What I can tell you is that it’s filled with dazzling special effects and “3d-ness” that is sure to wow and perhaps even shock some audiences. However, I thought it was overkill. With such a small amount of dialogue, you have more time to focus on the scenes that often were tilted or flipped, but I was severely disappointed by the lack story development through the somewhat meager pace of the movie. Bullock’s character has an emotional back story but that emotion remains untapped for the most part. The storyline itself is decent, though Gravity certainly left me begging for more development in both the story and the characters.

The two redeeming qualities in my opinion are the fact that it’s set in space and that the sound score was decent. Something that seems to have become more popular, but does not entirely distract from the poor storyline development and what to me are overly done special effects. It is sure to win something for it’s massive technical feats. Warning – if you just happen to be an astrophysicist or a nerdy space geek, you will shudder at the sight some of the scenes, just keep in mind it’s purely science fiction.

Gravity premieres October 4th for its wide release. Despite what I mentioned above, I suggest you go see it in theaters…perhaps with an astronaut’s helmet on if your local theater permits such awesomeness (and if it does not, you may want to find another theater). If you do decide to see it, keep a lookout for Marvin the Martian’s cameo appearance.

Gravity trailer:

Over the last 2 weeks my opinions have changed towards some of the films I’ve seen. Watching up to 4 films in one day can be exhausting, and sometimes through reflection films can seem better or worse in retrospect. In other words, if there are inconsistencies between my list and the reviews/ratings I gave, deal with it.

My Top 20 Films from the 2013 Toronto International Film Festival:

#20 – The Strange Colour of Your Body’s Tears

It’s amazing how much Cattet/Forzani’s style worked in Amer, and how much it didn’t work here. At the start I was thinking it might be the best film I saw at TIFF up to that point. At the end it felt like nails on a chalkboard.
The Strange Colour of Your Body’s Tears review

#19 – Moebius

This only gets ranked above Strange Colour purely by the fact that I could watch it without a problem.
Moebius review

#18 – The Green Inferno

Half of the movie is poorly acted and written drivel. The other half’s nastiness and excellent make-up by KnB make it more tolerable, but this belongs right alongside the other horror films only available on VOD.
The Green Inferno review

#17 – Like Father, Like Son

A complicated moral tale destroyed by its director making his characters spend 2 hours catching up to agree with his point of view (which is established immediately). A snooze.
Like Father, Like Son review

#16 – A Field in England

A cheap, nonsensical and mind-maddening period piece involving alchemists and hallucinogenic mushrooms. Some fun moments when things go berserk editing-wise, but that’s about the only entertainment value I got out of it.
A Field in England review

#15 – Night Moves

Kelly Reichardt is still terrific behind the camera, but she put all her eggs in the wrong basket this time. Nothing really works here on a fundamental level, leaving the visuals and cast to do their best.
Night Moves review

#14 – October November

Gotz Spielmann’s disappointing follow-up to Revanche tries to tell a dramatic story with no real drama in it. An admirable effort, but nothing more than that.
October November review

#13 – Canopy

An amazing debut on a technical level, but ultimately lacking. Still, Aaron Wilson will be a name to look out for if he makes another film.
Canopy review

#12 – R100

At times hilarious, but completely baffling overall. Hitoshi Matsumoto’s usual brand of off-kiler humour and self-aware jokes just don’t mix as well as his other films this time.
R100 review

#11 – The Sacrament

Ti West’s attempt to document a modern-day Jonestown hasn’t been aging well with me. It’s still well-done, and has some excellent warming up in the first two acts, but it isn’t making much of an impact in the way his previous films have with me. The subject matter seems a little bit in poor taste too if you know what it’s based on, but it’s still an effective horror film.
The Sacrament review

#10 – Under the Skin

I have my issues with it, but I can’t deny Under the Skin‘s power. It’s one of the more Kubrickian films I’ve seen in years, and I still can’t shake some images from it out of my head. I wish the shift in the second half was handled better, but in time I feel like I’ll grow to appreciate Under the Skin much more than I already do.
Under the Skin review

#9 – Gravity

It’s disappointing from Cuaron, but I can’t deny how much of a technical marvel this is. Expect this to win all the technical awards at the Oscars. There won’t even be a competition.
Gravity review

#8 – Manakamana

One of the most fascinating films I saw at the festival, and it further establishes Harvard’s Sensory Ethnography Lab as one of the best documentary producers today. It was a pleasant surprise when Cinema Guild picked this up for distribution, and I hope that people are willing to give it a chance.
Manakamana review

#7 – Blind Detective

Johnnie To loses his mind, and the results are just as entertaining as many of his other films. Even when he’s switching genres between films (or within the films themselves), To proves he’s one of the more consistent filmmakers working today.
Blind Detective review

#6 – Why Don’t You Play In Hell?

Sono is back on form with his absolutely insane love letter to 35mm filmmaking and projection. It’s gloriously bonkers, simultaneously all over the place and tightly controlled, and a fun time for the most part.
Why Don’t You Play In Hell? review

#5 – The Past

Asghar Farhadi makes yet another well-done drama, with a terrific cast playing people who can’t escape the tragedies from (say it with me) their pasts. Farhadi seems to be the only filmmaker doing stories like this today, and we’re all the better for it.
The Past review

#4 – Oculus

Mike Flanagan lives up to the potential he showed in Absentia. It’s a horror film that understands the power of story, with a terrifying villain and a terrific script that uses its single location brilliantly. Hopefully audiences will discover Oculus, as the horror genre needs more people like Flanagan.
Oculus review

#3 – Stranger By The Lake

Gorgeous, seductive and a total nail-biter by the end. Stranger is an amazingly well-constructed film that will resonate with anyone who watches it.
Stranger By The Lake review

#2 – Only Lovers Left Alive

A film where one can live vicariously through its characters, and Jarmusch nails the carefree tone he’s clearly going for. It’s a big, long kiss to great artists throughout history, and it’s a total blast to watch.
Only Lovers Left Alive review

#1 – Stray Dogs

Tsai Ming-Liang’s swan song pushes the limits of his style (and his actors!) further than ever before. It’s a film where the weight of time on its characters are fully understood, and a showcase of just how masterful Tsai is when it comes to form. If it truly is his last film, he’ll be going out with one of his best films to date.
Stray Dogs review

My previous day at TIFF was originally going to comprise of four films as well, but unfortunately I had to bail out of one film due to pure tiredness (I’ll keep the film’s title unnamed here, but if it wasn’t for my physical limitations I would have stayed since it was good from what I saw). Luckily, I was able to chug through my second four-film day without a hitch, but I’ve learned now that it’s not something I should try more than once.

Night Moves

I decided to start my big day with Night Moves, which turned out to be the worst possible film to choose as a starting point. I’ve been a fan of Kelly Reichardt’s work from what I’ve seen, and was excited to see her approach being used on a genre film. Three activists from different walks of life get together to pull off a dangerous act of ‘eco-terror’: They buy a boat and rig it with explosives, hoping to blow up a dam. Theoretically what Reichardt is attempting here is interesting in its own right. Her stripped down style getting applied to a thriller makes for some neat moments, and the way things unravel so the three characters become corrupted by the same selfish behavior they abhor is a nice development.

The only problem is that Reichardt’s approach is bone dry, sucking out all of the tension and forward momentum. Paradoxically, while the main group (played by Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard who all do their best at understating as much as possible) feel well-defined and realistic as characters, the tone of the film is so distant it’s impossible to feel anything about them. The last time Reichardt took a crack at a genre film it was the western with Meek’s Cutoff, which worked wonderfully. This time I think she simply picked the wrong area to work with. Hopefully next time she’ll be successful again with whatever she chooses.

RATING: 5.9

Gravity

Next up was the film that I had been waiting for since it was announced back in July: Gravity. Alfonso Cuaron spent seven years developing his follow-up to the brilliant Children of Men, and it’s apparent from the start just how much effort went into this film. The special effects are incredible, and it will be impossible to watch this without wondering exactly how they pulled off some moments. So Gravity does deliver in the spectacle department, but that’s mostly it. Granted it’s really good at it, and it’s an easy recommendation, but this is far from the new classic that people have been going on about.

Gravity is merely a well-done thriller that never lets up pacing-wise. Starting right in space with Ryan Stone (Sandra Bullock), a new astronaut, and a veteran on his last mission (George Clooney), it takes all but 10 minutes before debris from a satellite crash has Bullock and Clooney flying in opposite directions with nothing to hold on to. That’s merely the start of the many, many problems Bullock encounters while she frantically tries to make it back to Earth alive, and by the end the amount of near-death experiences become absurd (and it drew some laughter from the audience as well).

There really won’t be anything better this year on a technical level, but Gravity is far too basic to enjoy beyond the surface. Bullock and Clooney are terrific in their roles, making the most of the little material they’re given. Bullock is given some backstory to work with, but the film’s suffocating and repetitive pace drown out any emotional impact. I know that what I’m saying sounds very negative about the film, but it’s mostly because I came away disappointed that Gravity did not live up to my high expectations. There are some truly incredible sequences in here, and for a studio tentpole it’s quite original, but don’t expect a masterpiece.

RATING: 7

October November

Continuing my strange tonal shifts in films throughout the day, I went to check out October November. Gotz Spielmann’s last film Revanche blew me away when I saw it years ago, and at the beginning I was expecting more of the same riveting drama when an actress (Nora von Waldstätten) is confronted by the wife of a man she’s having an affair with. That scene turns out to be the only moment where fireworks go off, as the focus shifts to the actress’ sister (Ursula Strauss) who runs a small hotel in the countryside owned by her father.

The two sisters reunite when their father takes a heart attack, and the tensions between them form the basis for October November. Strauss is jealous of her sister leaving to be successful while she was forced to stay at home, and Waldstätten feels like she has no idea who she really is. It’s another existential European drama, and Spielmann really doesn’t seem to know how to get these issues across. The majority of October November is a no-stakes drama until the final act sees the two daughters waiting for their father to finally pass away. Despite being superbly shot and acted, there really is very little to get interested in. There’s no doubt that Spielmann is still a mature and terrific writer/director, but he seems to have invested in subject matter that returns very little.

RATING: 6

Under the Skin

I ended my day with Jonathan Glazer’s Under the Skin, and what a way to close off my long weekend at TIFF. I’m not over the moon like some people who have seen this, but I can’t blame them for being so ecstatic. Glazer is a master of style, and his 9 year absence seems to have made his images even more striking. The film’s first half, which simply follows Scarlett Johansson’s alien character around as she seduces men to a horrific fate, works as an excellent mood piece. Glazer has created some shots that will probably stick with me more than any other film I’ve seen here, and Micah Levi’s score is one of the best of the year by leaps and bounds.

It pained me a lot when Under the Skin didn’t coalesce into something wholly terrific for me. The second half of the film, in which Johansson gains human qualities and gets hunted down by her alien superiors, is a step down from the beautifully expressive and original first half. Glazer seems to have a hard time getting across what he wants to say at some points (his goal, to show Earth through an outsider’s perspective, wasn’t exactly successful in my eyes), and while Johansson is great her role is too enigmatic to make any of the final acts resonate. At times horrifying, beautiful and strange, Under the Skin is a classic case of a film not adding up to the sum of its parts.

RATING: 6.9

Next up:

Ben Wheatley’s hallucinogenic trip through A Field in England, and the best film I’ve seen at TIFF.

With 288 features set to play over 11 days, it was a tough process to narrow down our top picks for the Toronto International Film Festival. TIFF can function as a way to catch up on some of the hotter festival titles from earlier this year, or as a sign of what 2014’s films will look like. Our list, which you can read below, covers a wide range from genre films to Cannes winners and even some movies generating Oscar buzz. Way Too Indie will be covering the Toronto International Film Festival this year, and we hope to catch as many films on this list as we possibly can along with many other films as well. This year the Toronto International Film Festival takes place from September 5th to 15th.

Way Too Indie’s 10 Must See Films at TIFF 2013

#10 – The Sacrament

It’s safe to say that Ti West is one of the best American horror filmmakers working today. The House of the Devil is one of the best horror movies in the last ten years, a nostalgic and atmospheric throwback to the 80’s that still causes the creeps even on repeat viewings. His follow-up, The Innkeepers, was a ghost story that had the audacity to spend time (!) developing its characters before putting them in horrifying situations. Now West is back with The Sacrament, a film that takes its inspiration from Jim Jones’ cult in the 1970’s. A reporter takes a camera crew along with him to investigate a cult that his sister ran off to, where presumably things will take a turn for the worse. With Eli Roth producing, The Sacrament might finally expose mainstream audiences to something truly scary for once. [CJ Prince]

#9 – The Great Beauty

I’m quite the admirer of Paolo Sorrentino’s last film, This Must Be the Place (I believe I placed it at #2 on my top ten list of that respective year). I thought it was a very well-directed piece on the oddities that liter America, spearheaded by a delicious lead performance by Sean Penn (one of his best). Sorrentino has finally followed up that overlooked gem with The Great Beauty. The film played at Cannes earlier in the year, where it was met with a lot of acclaim. Our very own Dustin Jansick liked the film too. The Great Beauty has been described as a 2.5 hour love letter to Rome, its history and its beauty. If I were attending this year’s edition of Toronto, this film would be near the top of my must see list. [Blake Ginithan]

#8 – Devil’s Knot

“The West Memphis Three.” No, that’s not the name of the bluegrass band that plays at your local farmer’s market. It’s the handle that was given to three teenagers who were wrongfully accused of brutally murdering three children in 1993 and subsequently sentenced to life in jail, despite the lack of hard evidence. Devil’s Knot, Atom Egoyan’s (The Sweet Hereafter, Chloe) crime drama take on the murderous tale as inspired by Mara Leveritt’s book of the same name, has got an interesting assemblage of a cast gracing the screen: the criminally underrated Elias Koteas; the mysterious, moody up-and-comer Dane DeHaan (Chronicle); the always-solid-sometimes-great Reese Witherspoon; the supremely talented Colin Firth. And that’s just a handful. The reaction coming out of TIFF (where it’s making its world premiere) will likely be a good indication of how big a splash the genre thriller will make in the domestic market. [Bernard Boo]

#7 – Dallas Buyers Club

Matthew McConaughey has been a popular name across the festival circuit this year. I had the chance to see his memorable performance in Mud at Sundance London in April and was extremely impressed by both actor and film. I’d love for Dallas Buyers Club to be another example of McConaughey’s diversity as the plot has a lot of potential to explore controversial topics and utilise the dramatic undertones which should ensue. [Amy Priest]

#6 – The Double

Not to be confused with the awful film of the same name starring Richard Gere from a couple years ago, The Double is Richard Ayoade’s directorial follow-up to his fantastically whimsical and charming coming-of-age film Submarine. The Double follows a man (Jesse Eisenberg) who discovers his doppelganger (also played by Eisenberg) who is constantly one-upping him in life and at work. Billing itself as a comedy comes as no surprise given Ayoade’s comedic background in The IT Crowd, The Mighty Boosh, and Garth Marenghi’s Darkplace, which are all reasons even for some to get excited for the newest work baring his name. [Dustin Jansick]

#5 – Kill Your Darlings

In addition to getting some of the best buzz out of Sundance this year, Kill Your Darlings already has almost unanimous approval among critics who’ve seen it. The film dreams up the early beginnings of the Beat generation’s founding heroes, Allen Ginsberg (Daniel Radcliffe), William S. Burroughs (Ben Foster), Jack Kerouac (Jack Huston), and Lucien Carr (Dane DeHaan). Brought together during their time at Columbia University in the 40s, their friendship was made bond by a gruesome murder, which sets the backdrop to what appears to be an edgy, sexy and intriguing film. These sexually-curious, substance-abusive, and creatively-unconventional icons provide excellent inspiration for a young cast and relatively young director. John Krokidas’s film is, as he put it in an interview, a sort of “origin” story for these influential anti-conformist heroes. Furthermore, with change happening all over the world as more accepted norms are challenged, it’s no surprise that several films have been released of late focusing on this historic cultural shift. I look forward to it’s October release to see it myself. [Ananda Dillon]

#4 – Blue is the Warmest Color

It’s a little difficult, after seeing the movie poster—the soft, pale skin; the snow-white background; the seductive, dangerous, staring eye; the shimmering splash of arctic-blue hair accompanied by color-matched brushstrokes that spell out B-L-U-E—to not be more than a little intrigued by Abdellatif Kechiche’s upcoming French drama, Blue is the Warmest Color. Then there’s the massive, snowballing hype surrounding the film that’s been steadily picking up speed ever since it came out of Cannes as the belle of the ball—critics adored it, and it won the Palme d’Or, which pretty much secures it a spot in the “must-see” column in the back of every cinephile’s mind. If that’s not enough to entice you, the film has received an NC-17 rating due to the extended, “is it porn?” lesbian sex scenes between stars Adéle Exarchopoulos and Léa Seydoux. [Bernard Boo]

#3 – Don Jon

Written, directed and starring Joseph Gordon-Levitt, this comedy is set to impress many at TIFF this year as many film fans are already calling it a “great directorial debut” and with recommendations across the board. Jon Martello (Levitt) is the modern day Don Juan who objectifies everything in his life, especially women. His journey is focused on learning about love and appreciating life. I’m very excited to see it succeed, but also very sad I’ll have to wait for it’s UK release on 15th November compared to my lucky U.S. friends who’ll catch it on 27th September. [Amy Priest]

#2 – Gravity

I have been waiting for Alfonso Cuaron to follow up Children of Men for 7 years. Seven. Years. Well folks, he’s finally back and boy does it seem like he’s ready to drop another masterpiece on us. Already being met with raves from the Venice Film Festival, Gravity is ready to take the fall awards circuit by storm. Certainly on its way to getting multiple technical Oscar nominations, Cuaron’s Gravity tells the story of two astronauts who, after a freak accident, are stranded in the nothingness of space. George Clooney and Sandra Bullock anchor the film’s heart and soul, but it’s the Mexican director and his cinematographer (Emmanual Lubezki) who will probably steal the show here. Word is that Cuaron still loves his long tracking shots and Gravity has one that is nearly 13 minutes in length. This isn’t just my most anticipated film of the festival, it’s my most anticipated of the year. [Blake Ginithan]

#1 – 12 Years A Slave

It is almost hard to believe that 12 Years A Slave will only be Steve McQueen’s third feature film because an amateur quality is never sensed in his work. Going by his (short) track-record of films we can expect two things from this new film; a commanding narrative with powerful cinematography and Michael Fassbender (who has appeared in every film of his to date). McQueen’s last film Shame stunned audiences all-over, including its premiere at the Venice Film Festival, but because of the explicit sexual content in the film it earned the dreaded NC-17 rating, which essentially forfeited its chances to receive any Oscar nods. However, people are already gossiping about 12 Years A Slave being an Oscar contender ahead of its premiere because the film has all the checkmarks the Academy favors: American historical drama, award winning cast, and an mid-October release date. Time will tell how much, if any, accolade 12 Years A Slave will earn, but we will count earning the top spot on our list as its first. [Dustin Jansick]