Other Notable Films of 2014

As I previously stated; 2014 was a difficult year to watch the latest and "greatest" cinema releases. The following are a few others that I felt weren't necessarily my favourites of last year, but were notable in their own little ways:

Dawn of the Planet of the Apes: A surprisingly enjoyable sequel to the surprisingly enjoyable first film of this rebooted franchise. Great performances all round and a story that’s thankfully restrained in scale but retains an essence of grandeur. 

Guardians of the Galaxy: A slick and highly energetic first outing for this band of unusual and very likeable characters. Strong performances, great visuals, plenty of action and an underlying level of humour offers something fresh in this increasingly saturated and morbid genre. The villain’s a bit of a letdown though.

Interstellar: Christopher Nolan’s latest sci-fi epic was visually stunning and sounded amazing, Matthew McConaughey’s performance. But to be brutally honest was rather mediocre. It’s a notable addition to 2014 because of the spectacle.

Killers: Don’t be fooled into expecting balls-to-the-wall, martial arts action by the “producers of The Raid” marketing ploy. This is a slick thriller with a disturbing and uncompromising story of murder, torture and revenge. While it’s final act is too outlandish, this is an visceral and thoroughly engaging film.

 

The Lego Movie: While the insufferable theme song is still engraved in my brain, this was a captivating and very funny film about toy bricks. Let me reiterate; a captivating and very funny film about toy bricks. Fantastic animation, hilarious characters and a creative script provided laughs and endless smiles from my podgy face. 

  

Noteworthy Films of 2014: Nightcrawler

Nightcrawler proved to be another film that highlighted how one magnificent performance can elevate a fairly standard story into something memorable and thrilling. While the narrative’s themes of the TV news industry and the questions of morality and ethics are interesting, they’re never explored past the confines of Jake Gyllenhaal’s character. But Gyllenhaal’s sleazy performance shines through the entire picture, becoming the film’s predominant strength. His overly confident and absolute willingness to do anything offers an interesting perspective to both the “cutthroat” nature of TV news and Los Angeles as a city. His gaunt face with slick back hair along with his uneasy, twitchy personality create an utterly detestable being whose sole intention is to gain recognition and wealth without any morale compass. Yet it’s his lack of morality and absence of restraint that makes Nightcrawler’s progressive nature engrossing. There’s an unpredictability to his actions that blurs our preconceptions of his character and the film as a whole.  

Riz Ahmed puts in a firm shift as Lou’s desperate sidekick, while Rene Russo is superb in a volatile performance as a news director with similarly no moral compass. Meanwhile, Robert Elswit’s cinematography is well-executed as always with some slick camerawork. Street lighting, the glow from neon signs and the flashing blues and reds of patrol cars give Los Angeles a seedy and squalid look that suits the overall tone of the film. The editing department also deserve praise for matching the film’s fluctuating pace and mood consistently. 

Nightcrawler is a strong directorial debut from Dan Gilroy, and showcases his ability to get the best out of his cast and crew. By itself, the film isn’t necessarily a culmination of tightly written and composed elements and I was slightly disappointed by its reserved attempts to explore its distinct premise. But some clever dialogue, skilled cinematography and Gyllenhaal’s striking performance propels this from the depths of mediocrity and into something genuinely engaging and noteworthy. 

Quick Video Review: Under the Skin

I've done a podcast, so the natural progression would be video reviews. This is my first attempt at a short video review of Under The Skin (that I had previously written).

Noteworthy Films of 2014: 22 Jump Street

I was really surprised at how good 21 Jump Street was back in 2012, but I wasn’t necessarily looking for a sequel. Inevitably with its success at the box office, the critical praise it garnered and Hollywood’s general lack of originality, we ended up with 22 Jump Street. And I’m glad that we actually did. Decent comedy sequels are a rarity amongst the lazy, schlock that gets served up on a regular basis.  And to be brutally honest, the comedy genre itself has become a haven for juvenile, indistinguishable crap that audiences unfortunately sink millions into. But every now and then a handful of films prove this generalisation wrong: Hot Fuzz, Pineapple Express, Neighbors and now 22 Jump Street. 

22 Jump Street doesn’t fall into the traps of comedy sequels; their incessant need to one-up themselves, or their inability to leave the comforts of the previous instalment. It’s clear from the off that the film doesn’t take itself too seriously. Breaking the forth wall indirectly, analysing it’s own flaws and the very notions of a remake and sequel, 22 Jump Street is smartly written and genuinely funny. From the assortment of weird and comical personalities, to drug induced high jinx, everything feels very familiar, which the film regularly points out, but simultaneously fresh. Action set-pieces manage to maintain the laughs through sheer silliness and hilarity. A car chase through the campus involving a motorised, over-sized football helmet is particularly memorable. 

While the writing is sharp and has the jokes, the performances really bring the best out of the script. The strong chemistry between Channing Tatum and Jonah Hill is the main reason why the two films have been so successful. Tatum in particular, continues his surprisingly good form as a comedic actor while simultaneously bringing the best out of Hill’s style of comedy. Their bickering and arguing never tires and their entire “bromance” relationship adds an underlying charm to the film.  The supporting cast also do a fantastic job with a constantly enraged Ice Cube and Jillian Bell’s blank expression and delivery offering some great moments. 

22 Jump Street is a highly entertaining sequel that managed to produce the funniest laughs of the year. Channing Tatum and Jonah Hill excel with the smart writing, and self-awareness of the overall film. While I have steadily lost interest in the genre, if we could see a comedy with a similar sentiment and mentality as this every year, then I’d be pretty happy. Just no more Melissa McCartney please.  

Noteworthy Films of 2014: Gone Girl

David Fincher’s last film The Girl With The Dragon Tattoo was a slick yet ultimately unnecessary remake of the Swedish thriller of the same name. Fincher’s dark, brooding style has become inseparable from the thriller genre and continues to garner critical acclaim and box office profits. It was therefore fairly predictable that Gone Girl, an adaptation of Gillian Flynn’s novel, wouldn’t be a massive departure from the director’s usual morbid and intense offerings. And while it lacks a certain distinctive edge within the genre, it’s still a captivating and sophisticated thriller with great lead and supporting performances. 

Dealing with the manipulative sensibilities of the press, the mundanity of suburban life, the economic crisis, the modern concept of “family”, depression, and murder, Fincher seems to be at home in an environment of unhappiness and spitefulness. And it becomes progressively clear through the course of the film that he intends to throw the audience head first without buoyancy and restraint. While the motives and the sequences of events are questionable at times, Gone Girl’s sheer temperament and ever-changing pace proves to be rather engrossing.

As with most of Fincher’s work, the term “likeable” never truly fits into his characters' compositions. Gone Girl is no different. Glimmers of compassion and goodwill come from Carrie Coon and some light humour from a surprisingly good Tyler Perry, but they’re battling an uphill struggle against the grim themes of the film. Rosamund Pike’s mentally unstable Amy, brings back memories of a crazed Glenn Close in Fatal Attraction. With a spectacularly vocal and physical presence, she easily steals every scene and arguably the entire film. Her pale complexion, starry gaze and machiavellian smile leave a lasting impression that lingers throughout. Meanwhile Ben Affleck’s acting renaissance continues as the conflicted and clueless husband tumbling through the consequences of both his and Amy’s actions. The film’s depiction of a conflicted household and local community is an uncomfortable yet engaging one that draws comparisons with Thomas Vinterberg’s magnificent The Hunt, which I highly recommend. 

Gone Girl isn’t a perfect film. The story can be incoherent and absurd at times, and happiness never breaches the harsh surface of misery and bitterness. Yet from the superb production design and cinematography to the uncompromising subject matter and memorable characters, this is unquestionably a David Fincher film. And a very good one at that. 

Noteworthy Films of 2014: The Grand Budapest Hotel

Wes Anderson’s last film, Moonrise Kingdom, was a rather laborious affair that, while maintained the quirks of his previous work and was helped by some fantastic supporting performances, offered little in the way of narrative engagement. While I wouldn’t describe myself as a diehard fan of Anderson’s work, he has created some of the most visually charming films of the last two decades. The Fantastic Mr Fox, Rushmore and The Royal Tenenbaums are filled to the brim with personality, vitality and humour, and The Grand Budapest Hotel is no different.  

Blending comedy, drama, action and a hint of romance, the film isn’t one to simply loiter in it’s splendid visuals and Alexandre Desplat’s magnificent soundtrack. Split between three different time frames, The Grand Budapest Hotel travels from monasteries atop snowy mountains to the confines of a prison, exploring an array of colourful personalities from murderers to bakers. What always amazes me about Wes Anderson’s direction and writing, is that he manages to retain the energy and momentum throughout the entire film, yet still convey the depth and emotion of each scene and character. Ralph Fiennes is superb as the shrewd and rapid-firing concierge Monsieur Gustave H, a role that truly showcases the breadth of his talent. Meanwhile relative newcomer Tony Revolori offers a endearing performance as Zero, the hotel’s lobby boy and Gustave’s loyal sidekick. Jeff Goldblum, Edward Norton, William Dafoe and F. Murray Abraham are a few names from an overwhelming cast of incredible talent who all manage to leave a lasting impression even when they occasionally amount to little more than cameo. 

While visually and thematically The Grand Budapest Hotel doesn’t stray too far from Anderson’s usual artistic style, it’s still gorgeous to watch. Miniature sets and clever shifts in aspect ratios harken back to the “Golden Age” of cinema and give further personality to the film. An abundance of colour, careful set design and intelligent camerawork gives a distinct look that outshines the grit and murk that modern cinema has become all too obsessed with. 

With a smart and funny story, great performances all round, a beautiful visual tone and fantastic soundtrack, The Grand Budapest Hotel is easily one of Wes Anderson’s best. 

Noteworthy Films of 2014: Her

Spike Jonze has been a director that I’ve never been terribly fond of. I didn’t share the same admiration for Magnolia as many critics did, yet Being John Malkovich did strike a cord. His latest film, Her, was one that felt all too relevant in modern day society’s inseparable relationship to technology. While the concept of an over-intelligent A.I. is one that often churns up unsavoury predictions of Judgement Day or the Apocalypse, Her builds its premise around the melancholy of failed love and the resulting vulnerability. From a glance, it could be taken as a soppy, artsy piece of schlock, but with some fantastic writing and magnificent performances Her is radiant and poignant in its unique approach to the romance genre. 

The notion of A.I/ Human intimacy is one that is often frowned upon or joked at, yet Spike Jonze’s direction strangely translates the “man and software” premise into a degree of normality. Samantha, the film’s A.I., never becomes a physical entity as so often happens in this types of films. Yet the entire relationship feels somewhat grounded and surprisingly believable. Skipping the “child-like discovery” filler, Her presents Samantha as a sophisticated personality that quickly experiences the progression and imperfections of humanity, and the complexity of emotion. 

But it’s the pair’s comforting conversations and mannerisms that manages to project this as reminiscent of two actual loved ones communicating just through voice. The unavoidable awkwardness is present and on display in some of the film’s more emotionally intense moment, but Jonze plays it as the fragility of any human relationship. Additionally there’s a vulnerability through the entire picture and within each character that all stem from collapsed romances. From Joaquin Phoenix’s timid and introverted personality after his divorce, to Amy Adam’s own struggles with her partner, the film never glosses over or belittles this sympathetic theme. 

Key to the entire film’s success is its performances. Scarlett Johansson’s vocal work is fabulous, managing to convey a range of emotions and experiences through subtle intonations and changes in intensity. Meanwhile Phoenix does a terrific job playing the overly melancholy lead, maybe a bit too well. It’s the believability of the two’s interactions and exchanges that really sells this “unnatural” relationship and the film’s premise. With a supporting cast of Amy Adams and Rooney Mara, Her is awash with fine talent and it shows.

I’ve never been a fan of romantic dramas, but Her acts as a distinct and thought-provoking study into the labyrinth of “love”, meanwhile exploring the notions of human and technology’s connections. With a vividness and radiancy to the cinematography which uses ambient lighting and the abundance of colour, and a soundtrack that similarly offers emotional texture to the entire drama, Her is a beautiful film that undoubtably left an impression on me. 

Noteworthy Films of 2014: The Raid 2

The Raid rejuvenated my love for martial arts films back in 2013, and I eagerly awaited it’s sequel. 

With a heftier story, an assortment of memorable characters and an overall larger scale, the film once again showcases the action set-pieces and visceral nature that we’ve come to expect and love from director Gareth Evans and his team. 

As a direct sequel I admire Evan’s attempts to add weight to the film’s plot. The first instalment’s bare-bones story merely provided light context for the hard-hitting action, but The Raid 2 attempts to adds narrative significance and consequence to the brawls and casualties with relative success. From the Indonesian gangster underworld to the Japanese Yakuza, betrayal, corruption and the overarching “undercover” thread, Evan’s has thrown everything into the sequel and the result is an engaging story running at a breakneck pace. 

Escaping the confines of the tower block, The Raid 2 explores everywhere from Jakarta’s prisons and back alleys to it’s nightclubs and restaurants. The stark contrast between the city’s differing lifestyles, while offers new environments for the brutal exchanges, gives a welcomed essence of life and variety to The Raid 2’s world. 

But it’s the martial arts that are once again the champion of the film. The unbelievable choreography and action scenes are in abundance, managing to surpass those of The Raid. From shootouts to car chases, everything feels grander and even more brutal than last time. Head’s are blown apart by shotguns, breaking bones is part of Rama’s daily routine and blood splatter plasters the deteriorating walls. Nothing is left to the imagination. Yet even with it’s overriding brutality and non-stop tempo, there are some very strong performances on offer. Iko Uwais’ Rama isn’t the stone-faced “superhero” that has plagued the action genre, but a conflicted individual who is fearful of the circumstances he finds himself force into. Meanwhile Arifin Putra also puts in a solid shift as the youthful and volatile antagonist. 

The film’s cinematography and editing perfectly capture the events and the film’s overall ferocity The multiplicity and methodology on and behind the camera is incredible to watch. From the intimacy of a car’s interior to the rugged expanse of a prison’s yard, each is filmed beautifully and meticulously.

The Raid 2 is an exhilarating assault to both the eyes and ears. Rarely pausing, Gareth Evan’s isn’t afraid to cram the 150 minute runtime with broken bones and blood soaked floors. Great performances and choreography, slick cinematography and editing, and an uncompromising and brutal demeanour make this one of the most enjoyable films of 2014. The unfortunate side effect of The Raid series now, is that watching western action films has becoming increasingly stale, slow and obsolete.

Noteworthy Films of 2014: The Wind Rises

2014 proved to be a turbulent and worrying time for Studio Ghibli. Miyazaki’s “official” retirement,  and the studio’s announcement of radical in-house changes prompted fans to fear the worst. Yet it was a relatively busy period for Ghibli with the releases of The Tale of Princess Kaguya and The Wind Rises in the west and the unfortunately disappointing When Marnie Was Here in Japan. Being a massive fan of their work, it was slightly shocking to read the headlines so soon after their recent accession to the global limelight. It’s therefore fortunate that Miyazaki’s long, acclaimed career ends on a distinguished high with The Wind Rises. 

A story of perseverance, drama and romance amidst pre-war Japan, The Wind Rises continues Ghibli’s more realistic and grounded approach to it’s narratives. While definitely more light-hearted than Grave of the Fireflies, The Wind Rises still touches on some very mature themes even with it’s undercurrent of humour and tenderness. While it avoids to really delve into the heavy themes of war as Japanese cinema tends to do (my article), and constitutes more of a fictionalised version of Jiro Horikoshi’ s career in Japanese military aviation, the story is a thought-provoking and genuinely poignant one. 

The flowing and dynamic nature of the studio’s iconic animation style is present as always. With the aeronautical nature of the story, the sense of speed and fragility as prototype aircraft tear the skies is exhilarating and gorgeous to watch. Body language and interactions are intricately depicted giving vast amounts of personality to the characters and film in general. As with all their previous films it’s the small details that really add uniqueness to Ghibli’s work. Whether it’s their careful attention to a bookcase in the background or the light glistening off the sea, their pursuit for perfection is evident. As too is Joe Hisaishi’s impassioned score. 

Apart from a rather rushed conclusion, The Wind Rises is a touching and beautiful piece of cinema.   With a career spanning 5 decades, Hayao Miyazaki has continued to deliver heart-warming and enchanting stories and characters to fans of animation and general cinema. I have a sneaky suspicion that this won’t necessarily be the last we see from him, but looking back it’s been an esteemed career that will entertain and captivate children and audiences forever. 

Noteworthy Films of 2014: Under The Skin

“Pretentious” is a word that has been heavily linked to Jonathan Glazer’s skeletal adaptation of Michel Faber’s sci-fi novel. And while it’s not hard to understand this criticism, Under The Skin was the only film that I felt warranted a second viewing. Inarguably a challenge to fully comprehend, the film’s somewhat basic plot is hurled into an intense atmosphere of unease and dread skilfully crafted by the film’s visuals and the haunting score. While it has proven to be a polarising affair between critics and audiences, Under The Skin’s trance-like approach was one of the year’s best cinema “experiences”, and I emphasise the use of term “experience”. 

Those looking for a conventionally structured sci-fi story, will be undoubtably frustrated by the film’s general lack of substance. Taking fragments from the original novel, Glazer and screenwriter Walter Campbell never truly delve into the novel’s original structure of internal monologues from the alien seductress and her victims. The result is a purposely worked ambiguity to the whole feature that offers uncertainty rather than definitive answers. With the absence of extensive dialogue, Scarlett Johansson’s performance is mainly conveyed through body language and subtly. And it’s a relatively strong one. 

Visually, Under The Skin has a distinct, dreamy wash throughout. From the actual “harvesting” process to the aggressive nature of the film’s Scottish locations, the film is simply stunning. Long, drawn out shots of scenery, and the sparsity of cuts are unfortunate stereotypes of “art house” cinema and while they’re present here, they’re used with a sincere level of restraint. Scotland’s wilderness and cityscapes offer a striking contrast in flux with the changing demeanour of the film. Meanwhile the radiant light from car dashboards and Glasgow’s street lights highlights interesting perspectives and temperaments. Coupled with this is the soundtrack. Mica Levi’s score is strangely hypnotic and suitably haunting, with long drawn-out strings and sharp shifts in tone that complements the surreal nature of the visuals. It’s probably my favourite soundtrack of the year. 

A genuinely unnerving and intense affair, Under The Skin was more an experience than a film per say. Patience is paramount as the visuals and the score flood the senses, leaving a grin to cover for a slightly traumatised psyche. 

Noteworthy Films of 2014: Captain America: The Winter Soldier

While Captain America: The First Avenger was a rather mediocre affair, it’s sequel highlighted a very different approach to the character, the genre and Marvel Studio’s overall direction. Look back throughout the history of “superhero” cinema and it’s clear that the origin story and the standard “arrival of a new threat” approach has been done to death. However Winter Soldier evoked memories of 1970’s espionage thrillers such as Tinker Tailor Soldier Spy and The Conversation, maintaining a strong balance between action and an engaging plot. Suspicion, conspiracy and ulterior motives provided a narrative that felt refreshing and relevant both to the character and the nature of S.H.I.E.L.D. The rise of Hydra and fall of S.H.I.E.L.D has indefinitely left a creative platform for Avengers: Age of Ultron and Captain America: Civil War to build on, which should be interesting to see how it all plays out.

Captain America is quickly becoming my favourite superhero character alongside Black Widow, and this has been helped by Chris Evans. He lives for the role, and it’s clear that he has melded perfectly with the character, providing a touch of charm and genuine charisma to the role. Meanwhile Scarlett Johansson’s Black Widow and Anthony Mackie’s surprisingly enjoyable Falcon offered a strong supporting cast, so too did Robert Redford as the film’s main antagonist. Marvel Studio’s first menacing villain makes his appearance, the Winter Soldier, and even though he’s only a small part of the bigger picture, he still proved an impressive and formidable adversary with some impressive set-pieces and brawls. 

Winter Soldier is my favourite film from the Marvel, blending intense action with an engrossing plot that feels relevant to the character and the franchise. Though the burdensome prospect of a yearly barrage of superheroes over the next 5 years is worrying, I still have hope for Captain America’s own cinematic progression.

Under The Skin Review

Released back in March, Jonathan Glazer’s latest film Under the Skin is one that has been praised by critics but panned by “cinema-goers”. I’m not a big fan of overly-pretentious crap that tries too hard. Either I lack the patience or the capacity to read into ambiguous shots of nothing and drawn out sequences that revolve around random imagery and convoluted editing. So Under the Skin’s theatrical trailer didn’t especially sell me. That being said, the premise of an alien “succubus” prowling and luring the simple-minded folk of Glasgow to be processed into a delicacy back home, is one that is hard to overlook. And then there’s the whole “never judge a book by…..” proverb which I’ve unfortunately forgotten to abide by a few times. 

Originally a book written by Michel Faber, Under The Skin had a rather turbulent pre-production span. The screenplay changed hands between numerous writers and underwent constant tweaking too. Taking a step back from the uncomfortable detail and ferocity of the book, Jonathan Glazer and screenwriter Walter Campbell have maintained the shocking and unsettled nature of the novel, but have used the visual essence of the film to create a “dreamscape” exploring the realms of surrealism, ambience and ambiguity. This might sound pretentious enough, but Under The Skin remains an “experience” above all else. Yes there’s a narrative and a basic three act structure, but to categorise it would be a challenge. Loosely blending elements from horror, sci-fi, thriller and drama, even after watching it twice I still can’t determine it’s genre.  

Scarlett Johansson’s performance is one of subtly. While I wouldn’t go as far as saying it’s “iconic”, as some have commended, she proves to be an enchanting temptress, managing to convey the alien’s changing temperament towards humanity and “her” occupation. While her blank expressions, and failed concept of human interaction can be slightly awkward at times, she strangely builds a sympathetic angle towards her situation. That being said, there really isn’t a true “character” in the film. The supporting cast, which consists of a mixture of professional actors and the actual “hapless victims“ from the streets of Glasgow, don’t leave a lasting impression. But that’s to be expected with a plot of an extraterrestrial stalking young males to their cold and isolated doom. 

Glazer has employed both atmosphere and tension to create a production that’s captivating and engaging. Under The Skin presents this through both its soundtrack and imagery. Mica Levi’s soundtrack is one that further adds to the general unease of the film. The three note melody of long stringed notes and altered pitch, mixed with plodding percussion provides a hypnotic trance that sends chills down the spine. The entire soundtrack for that matter, creates a surreal and rather uncomfortable atmosphere that matches perfectly with the film’s dreamy cinematography and the actual events that take place. The track “Love” perfectly demonstrates the flowing and transforming nature of the story and personality, with a blend of drawn out inflections in tone and intensity. 

The overriding aura of pretentious filmmaking is one that the film narrowly avoids.  The use of overly long, panning and random wide shots are still here, but a wise level of restraint has been employed. The varied and beautiful landscapes of Scotland are tinted into a dreary haze that conceals the hidden disposition and dangers in each location. And the visual styling towards the actual “harvesting-process” is simply stunning. My only issue is the lack of explanation. We easily comprehend the basic story the film presents, but it becomes overly difficult and cryptic to fully understand the events, especially in the third act. I like a film with ambiguity, but there’s a certain point where it can cause a loss in focus or purpose and Under The Skin’s ambiguity is near fatal. While I myself was still able to produce a smile as the credits rolled, I’m not sure others will share the same admiration and sentiment. 

Under The Skin will undoubtably be on my favourites list of 2014. While I can understand many’s frustration towards the film’s pretentiousness, I feel that it just about avoids “flying up its own arse”. A strong performance by Scarlett Johansson, and the film’s hypnotic shifts to the senses, Under The Skin is an experience that left me deeply satisfied but slightly traumatised. There are easy ways to turn this concept into an action film or an X-Files episode (I’m sure there’s probably been one). But Glazer has crafted something that looks and sounds distinct and entrancing. With an unnerving soundtrack and some gorgeous cinematography, Under The Skin isn’t one to take lightly.