As inspired by some of my favourite critics, I've decided to do a half-time examination of 2014. With any year, there will be things to discuss on the cinematic landscape. But with 2014, it's a bit difficult. Why? Because, in all honesty, there has been a lot of greatness in the past six months. Both those outside and inside Hollywood have shown a great deal of care, intelligence and respect in their various undertakings.
Seeing as there were many films which I've thoroughly enjoyed thus far this year, I'm going to have some runners-up before I go into my Top Ten list. Also, since the area I live in rarely gets films on nationwide release and I don't always have the money to see them when they do, I still haven't seen some films released this year. I will only do a Top 10 Best list here, as I haven't seen any films so far this year which I dislike to that extent (although, given the negative word-of-mouth surrounding Mrs. Brown's Boys: D'Movie and Transformers: Age of Extinction, that could change quite soon). Finally, this is just my opinion at the time of publication. Based on how much I think about these films and how much I watch them, my opinions could change.
Runners-Up:
The Double - For anyone who has doubts about Jesse Eisenberg's portrayal of Lex Luthor in the upcoming Batman Vs. Superman, I urge you to seek out The Double. For anyone who has faith in Eisenberg... Well, I still urge you to watch it, as Eisenberg gives one of his best performances yet. There is plenty more to enjoy, whether it be the strong supporting cast, the bleak visual style which feels like a blend of Terry Gilliam's Brazil and David Lynch's Mulholland Drive, the witty and humourous script and the assured direction of The It Crowd's Richard Ayoade. But the star attraction is Eisenberg, who truly shows his range as an actor by being simultaneously suave, pitiful, sympathetic and menacing. As a showcase for an actor who arguably doesn't get as much appreciation as he sometimes deserves, The Double does a very impressive job.
The Amazing Spider-Man 2 - Yes, let's get the problems out of the way. The plot is messy and tries to tackle too much. Much like its predecessor, it feels more like a set-up for future film than its own identity, to the point where certain events feel a bit rushed. While Jamie Foxx's performance is strong, the character of Electro is painted in broad strokes. Finally, the foreshadowing of a particular event is ridiculous, to the point where I had to believe that it was a wink-and-nod to the comic-savvy crowd. But, despite all of those and perhaps a fair few more, I think that there is still a lot to like in The Amazing Spider-Man 2. The action and visual effects are arguably the best the series have had to offer, aided by some well-deployed 3D; the opening Spider-Man sequence, in particular, is dazzling. In the director's chair, Marc Webb shows more confidence than previously. The supporting cast is uniformly strong, with Dane Dehaan a maliciously compelling highlight as Harry Osborn. But the real reason to see this film is the brilliant work of Andrew Garfield and Emma Stone as Peter Parker and Gwen Stacy. Their relationship is pure romantic perfection, and their adorable chemistry propels the film over most rough spots which can be found. Come the fantastic conclusion, the emotional connection offered by the characters overcomes the obvious franchise-building going on here and overall keeps me interested in seeing what comes next.
Only Lovers Left Alive - It's refreshing when a film offers such a new view on something like vampires. Director Jim Jarmusch crafts a fantastic romance where the two participants happen to be ancient vampires. In the leads, Tom Hiddleston and Tilda Swinton exhibit terrific chemistry and make fantastic guides for the audience. They're supported brilliantly by performances from Anton Yelchin, Mia Wasikowska, Jeffrey Wright and John Hurt in small roles. The city of Detroit also serves as a great setting, capturing the isolation of the characters and their struggle to still remain relevant. The cinematography is beautiful, the writing is wonderful and the editing allows the film to move at a brilliantly unhurried pace. As a portrait of the vampires of old in a new light, Only Lovers Left Alive is immensely engaging.
Noah - Darren Aronofsky's Biblical epic is an unwieldy film, but it's also an ambitious one with plenty to inspire awe. Noah is a visually stunning film with genuine grandeur and a strong cast (including a powerful Russell Crowe). But what really makes the film something special is its final act, which asks potent and chilling questions about how far men are willing to take their faith and is bolstered by stellar work from Crowe, Jennifer Connelly and Emma Watson. It may be silly and over-portentous at points, but when Aronofsky's style serves his ambition well, Noah is an impressive and strong film.
22 Jump Street - Much like its predecessor, 22 Jump Street is hit-and-miss with its humour. Sometimes, the improvisational style seems strung out, building up to a laugh with providing much along the way. However, when directors Phil Lord and Christopher Miller and writers Michael Bacall and Oren Uziel strike comedic potential, they milk it for all it's worth with some hysterical results. The film is particularly funny when tackling the the conventions and expectations of sequels. The bromantic chemistry of Jonah Hill and Channing Tatum is just as brilliant as before; Tatum, in particular, continues to impress with his comedic skill and timing. And while there is a lot of laugh-out-loud humour, there are some very clever instances of humour which, like all of Lord and Miller's films, will take multiple viewings to uncover. Come the terrifically over-the-top closing credits, 22 Jump Street has proven itself to be a worthy sequel with more than enough jokes working to balance out those which don't.
Only Lovers Left Alive - It's refreshing when a film offers such a new view on something like vampires. Director Jim Jarmusch crafts a fantastic romance where the two participants happen to be ancient vampires. In the leads, Tom Hiddleston and Tilda Swinton exhibit terrific chemistry and make fantastic guides for the audience. They're supported brilliantly by performances from Anton Yelchin, Mia Wasikowska, Jeffrey Wright and John Hurt in small roles. The city of Detroit also serves as a great setting, capturing the isolation of the characters and their struggle to still remain relevant. The cinematography is beautiful, the writing is wonderful and the editing allows the film to move at a brilliantly unhurried pace. As a portrait of the vampires of old in a new light, Only Lovers Left Alive is immensely engaging.
Noah - Darren Aronofsky's Biblical epic is an unwieldy film, but it's also an ambitious one with plenty to inspire awe. Noah is a visually stunning film with genuine grandeur and a strong cast (including a powerful Russell Crowe). But what really makes the film something special is its final act, which asks potent and chilling questions about how far men are willing to take their faith and is bolstered by stellar work from Crowe, Jennifer Connelly and Emma Watson. It may be silly and over-portentous at points, but when Aronofsky's style serves his ambition well, Noah is an impressive and strong film.
22 Jump Street - Much like its predecessor, 22 Jump Street is hit-and-miss with its humour. Sometimes, the improvisational style seems strung out, building up to a laugh with providing much along the way. However, when directors Phil Lord and Christopher Miller and writers Michael Bacall and Oren Uziel strike comedic potential, they milk it for all it's worth with some hysterical results. The film is particularly funny when tackling the the conventions and expectations of sequels. The bromantic chemistry of Jonah Hill and Channing Tatum is just as brilliant as before; Tatum, in particular, continues to impress with his comedic skill and timing. And while there is a lot of laugh-out-loud humour, there are some very clever instances of humour which, like all of Lord and Miller's films, will take multiple viewings to uncover. Come the terrifically over-the-top closing credits, 22 Jump Street has proven itself to be a worthy sequel with more than enough jokes working to balance out those which don't.
And here's my Top Ten...
10. Godzilla - It was a close call for the number 10 spot on this list. In the end, I decided to go for the film which appealed to me the most personally. Don't get me wrong; Godzilla is flawed. The lead actor (much like in Pacific Rim) gives a performance which is little more than adequate, the characters are clearly built on disaster film stereotypes, there are some stupid moments (why do professional soldiers keep taking their gas masks off around exposed nuclear material?) and the teasing by director Gareth Edwards can be a bit much at times. However, with the exception of Aaron Taylor-Johnson's lead turn and those stupid moments, the faults do have upsides. The superb supporting cast manage to transcend their stereotypes; Bryan Cranston is particularly powerful and delivers some emotionally explosive work. And while the teasing of destruction, only for the film to cut to the aftermath, is somewhat annoying, it does form a palpable sense of build-up and expectation which the final 45 minutes delivers on in spectacular style. In fact, the final 45 minutes arguably has the most well-executed blockbuster spectacle of the year thus far. With strong storytelling, a terrific sense of atmosphere, stupendous visual effects and Alexandre Desplat's typically exceptional musical accompaniments, Godzilla delivers some genuine, crowd-pleasing movie magic in the same vein as Jurassic Park. The big guy has never looked better.
9. Captain America: The Winter Soldier - Marvel Studios is one of the most reliable studios when it comes to providing big-screen entertainment nowadays, and Captain America: The Winter Soldier doesn't disappoint. In fact, it's one of their most impressive offerings. It works as a thrilling action film, a gripping character study and a terrific political thriller (arguably the first of its kind in terms of comic-book films). Plus, the filmmakers aren't afraid to take genuine chances within its cinematic universe, which deserves major props. Criticised by many at the beginning of their runs, Chris Evans and Scarlett Johansson have now proved that they were ideal casting as Captain America and Black Widow respectively. Both actors add fantastic shades to their characters here, and are backed up by first-rate support from Samuel L. Jackson, Anthony Mackie and Robert Redford. The writers understand the characters and show that proudly, while brothers Joe and Anthony Russo do stellar work in their first big-budget directorial outing. Based on this outing, I can't wait to see the Cap, Black Widow and co. re-unite in The Avengers: Age of Ultron.
7. Edge of Tomorrow - For a Hollywood sci-fi blockbuster, it is refreshingly invigorating to find a potent strain of edginess running through Edge of Tomorrow. I feel that director Doug Liman, capturing the same energy and intelligence which he brought to 2002's The Bourne Identity, is the main person to thank for this. However, that should in no way be read as me underestimating the terrific performances of Tom Cruise and Emily Blunt, who both relish playing characters somewhat different to the roles they usually inhabit. The concept is brilliantly executed and also allows both the characters and action to influence each other. The script is brilliantly written and full of wit, and the visual effects and cinematography make the film a sensational blockbuster spectacle with just enough crazed verve to allow it to stand out from its fellow blockbuster ilk (the antagonistic Mimics, in particular, are jittery and intimidating creatures of barely-contained ferocity). The only negatives are some sci-fi discussions which push the suspension of disbelief and a ending which abandons the edginess found elsewhere in favour of a 'Hollywood-approved' conclusion. However, there are still some terrific things to be found amidst those two flaws, such as the limitations surrounding Cruise's predicament and the wonderful final interaction. Overall, Edge of Tomorrow stands as one of the year's biggest and best surprises.
6. The Rocket - It is rare that a film provides a glimpse into a culture which hasn't been cinematically explored before, but The Rocket achieves this. If that was the film's only accomplishment, it would still be noteworthy. Thankfully, The Rocket comes equipped with a terrifically heartfelt story, loveable characters and genuine surprise and suspense. The lead character's predicament shows how The Rocket is both a strong exploration of the culture and a powerful piece of storytelling, as it both indicates cultural beliefs and makes him instantly sympathetic to the viewer. There is also a sad undercurrent in The Rocket related to small cultural environments being overwhelmed by industrial beliefs, made even more powerful by writer/director Kim Mordaunt seizing the opportunity to immerse the viewers in the world of the characters.
5. Under the Skin - The title definitely fits. This film crawls under you skin and refuses to budge. From the chilling opening scene, Under the Skin captures a style which echoes Kubrick while also capturing its own terrifying identity. The film has some of the most disturbingly jaw-dropping sci-fi horror sequences I have seen for a long time, and the stunning shots of Scotland create a eerie portrait of isolation which makes the premise all the more frightening to comprehend. Scarlett Johansson delivers a fascinating turn as the principal character which stands as one of her career-best, shifting brilliantly as humanity starts to slowly change her. Credit goes to director Jonathan Glazer for using the cold, detached style which this film deserves, and from not shying away from some dark visuals and suggestions. This is 'hard' sci-fi, which almost automatically means that it will not be for everyone. Personally, I highly respect how much it has to offer in terms of production values, visual style and the lead performance.
4. The Raid 2 - The first Raid film was an absolute treat for action fans. For 90 minutes, the film never let up with its series of blistering, brutal and stunningly choreographed action sequences. The sequel shows a higher level of ambition with a gang war, numerous characters and a running time a whole 60 minutes longer than the original. Sometimes this is problematic; some of the subplots and characters are superfluous (particularly a character portrayed by an actor who played a different character in the original, which led to some confusion for my self and my girlfriend) and the film does drag at points. But when it hits its stride, especially in the final 45 minutes when the gloves come off and all hell breaks loose, this is just as awesome, if not more so, as its predecessor. The choreography and staging of the action is still spectacular, and credit should go to director/editor Gareth Evans and cinematographers Matt Flannery and Dimas Imam Subhono for avoiding 'shaky-cam' in favour of capturing the action in all of its messy glory. Plus, the acting and characters are surprisingly strong for the most part. Stand-out honours go to Arifin Putra as the petulant Uco.
3. X-Men: Days of Future Past - While the final 45 minutes of Godzilla is the most spectacular blockbuster film-making of the year so far, X-Men: Days of Future Past is my favourite blockbuster overall of the year so far. It has fantastic spectacle, for sure, but there is so much more to love here. There is an array of terrific performances (it's difficult to pick the cream of the crop, but I'm partial to James McAvoy's beautifully human work as the young Professor X), the fantastic script is packed with wit and crowd-pleasing moments and John Ottman does wonderful work at both editing and composing (it was great hearing the theme from X2 again). But the star of the show is director Bryan Singer, who returns to the series for the first time since X2 and brings the heart, intelligence and thrills on display there back to the series. I've been a fan of the X-Men film series since it began in 2000, and after the beautiful conclusion in Days of Future Past, I can't say I've ever felt more rewarded as an X-Men fan.
1. The Grand Budapest Hotel - At the top of my list stands Wes Anderson's brilliantly whimsical ode to story-telling and how it is passed down through the ages. In The Grand Budapest Hotel, Anderson laces his usual style with hints of darkness and tension which displays a sense of growing maturity from the filmmaker. Led by a hilariously bravura performance from Ralph Fiennes, the cast delivers terrific portrayals; Tony Revolori is immensely likeable in his big-screen debut as Zero, while Willem Dafoe and Adrien Brody are stand-outs in the villainous roles. The cinematography is beautiful and stands out in numerous scenes, particularly one set in a museum. Alexandre Desplat's work is once again brilliantly unique; Desplat is one of my favourite composers working today, and his work for Godzilla and this film reward my faith in him. The practical effects are wonderfully old-fashioned and typically Anderson. Finally, the script is beautifully written, with Anderson's usual quirky dialogue being interspersed with surprisingly hilarious, dark and emotional notes. While it is a delightful piece of cinematic confectionary, there are hidden depths which make The Grand Budapest Hotel a wonderful piece of surprisingly crowd-pleasing entertainment. I adore this film, and it will have to be a spectacular remaining six months for this to fall outside my top five of the year. As it is, it currently stands as my favourite film of the year.
So far, it's been a great year for films. And with promising titles like How to Train Your Dragon 2, Dawn of the Planet of the Apes, Guardians of the Galaxy, Interstellar, Boyhood, Sin City: A Dame to Kill For, Lucy, Exodus: Gods and Kings, Paddington, The Hunger Games: Mockingjay - Part 1 and The Hobbit: The Battle of the Five Armies still on the way (just to name a few), here's hoping it gets even better.
