I've already ranted about the dismal slate of movies we were given last year, and how disappointing it was that so many critics were in love with them. Still, there are at least five movies from 2014 that I think you should see, and they are:
Dawn of the Planet of the Apes
A powerful allegory of many of today's societal problems, "Dawn of the Planet of the Apes" might even be better than its predecessor from three years before. The visuals surely look better, and if it weren't for the breathtaking visual effects of Christopher Nolan's "Interstellar," this would certainly land a Best Visual Effects Award at the Oscars.
Leviathan
I like movies that make me think of allegories. The obvious parallel of "Leviathan" is to the story of Job in the Bible; this is where the title comes from, for ancient religious texts refer to sea creatures (or whales) as such. (Director Andrey Zvyaginstev also has described how the real-life situation of Marvin Heemeyer in the United States inspired the story.) But there's another likely inspiration: Thomas Hobbes. His famous philosophical work, calling for an absolute sovereign to rule, shares the title, and the cover features the biblical text from Job: "There is no power to be compared to him." How is that relevant? The film "Leviathan" has been described by Ethan Gates in the New Republic as the movie Hollywood loves but the Russian government hates. There are not so unobtrusive criticisms of Russian corruption, and so it's as if the film makers are saying that there is no power compared to Putin, and that's not necessarily a good thing. (This is a powerful sentiment considering how popular Putin is in Russia.) In "Leviathan," there are also moralistic Orthodox clergymen and moments of sexual violence sprinkled throughout the film. And this all, ultimately, follows the expected path -- the total opposite of American movie's usual trajectory -- that "all's well that ends unwell." This is a dark, depressing movie that, allegory or no allegory, requires a bit of patience, but it's certainly well worth it.
Pride
"Pride" is the reason movies should still exist. This is a film that with ease marries the belief that movies should be about something with the simple requirement that they should entertain. And entertain "Pride" does. I think Dominic West dancing to "Shame Shame Shame" was the best thing I saw in the movies all year. Based on the true story of a queer organization coming to help striking miners in rural Wales, this often does feel like a pretty standard message-film, but it's a lot more than that. It's funny, it's heartfelt, it's smart, it has terrific acting. It embraces cliches, but who cares? Messages about friendship and acceptance can sometimes be forgiven for this. One of the best moments in when the group, Lesbians and Gays Support the Miners, drags the leader of the local striking miners to a gay bar in London, and practically pushes him on stage to thank them for their support. While the crowd isn't exactly thrilled to see him, he eventually, like a natural, gives a genuine moment of thanks: "What I'd really like to say to you tonight is thank you. If you're one of the people that's put money in these buckets, if you've supported LGSM, then thank you, because what you've given us is much stronger than money. It's friendship. When you're in a battle against an enemy so much bigger, so much stronger than you, well, to find out you had a friend you never knew existed, well, that's the best feeling in the world. So, thank you."
The Babadook
"The Babadook" isn't necessarily scary because it features some kind of demon-ghost haunting a mother and her son; it's scary because of what it represents. Even the most amateur film historian will recognize the tribute to early cinema German expressionism, but it's deeper than that; consider what one blogger has said about expressionism, that it is "at its bare essence taking the internal and making it external. Expressionists seek to express meaning and emotional experiences -- often radically to reflect mood and tone -- rather than physical reality." Sure, the monster (or whatever the hell it is) is terrifying, as is the poem that accompanies him (where, "if it's in a rhyme or it's in a book, you can't get rid of the Babadook..."). But what's more horrifying is (slight spoiler alert) the way this movie demonstrates, primarily through Essie Davis' character, that the fall into madness is one of the true horrors of life, that real demons are what's inside us, what often can only be put at bay rather than defeated outright. Understanding this will potentially help viewers understand the ambiguous ending a bit more clearly.
(Another good movie from 2014 about mental health is "Two Days, One Night" from France.)
Life Itself
"Life Itself" was by far the best film of the year, and yet this year's Academy Awards would certainly never give you that impression. I wasn't demanding a Best Picture nomination, which it definitely deserved, but Best Documentary is obvious, and yet, now the overrated "Citizenfour" will go home with the win. Why the film was ignored is something I don't understand, though the film's summer release probably didn't help, as the Academy has a terribly short memory. As I wrote back in July, "Life Itself," the documentary tribute to Roger Ebert, is of course a story largely exploiting our love of nostalgia, for there is a lot of footage of Ebert and his partner Gene Siskel dueling over movies. But "Life Itself" is also the best romance of the year and a truly heartfelt homage to the man who most would agree was the film critic of his time.
Honorable Mentions: "Guardians of the Galaxy," "The Overnighters," "In Bloom," "Snowpiercer"
Dawn of the Planet of the Apes
A powerful allegory of many of today's societal problems, "Dawn of the Planet of the Apes" might even be better than its predecessor from three years before. The visuals surely look better, and if it weren't for the breathtaking visual effects of Christopher Nolan's "Interstellar," this would certainly land a Best Visual Effects Award at the Oscars.
I like movies that make me think of allegories. The obvious parallel of "Leviathan" is to the story of Job in the Bible; this is where the title comes from, for ancient religious texts refer to sea creatures (or whales) as such. (Director Andrey Zvyaginstev also has described how the real-life situation of Marvin Heemeyer in the United States inspired the story.) But there's another likely inspiration: Thomas Hobbes. His famous philosophical work, calling for an absolute sovereign to rule, shares the title, and the cover features the biblical text from Job: "There is no power to be compared to him." How is that relevant? The film "Leviathan" has been described by Ethan Gates in the New Republic as the movie Hollywood loves but the Russian government hates. There are not so unobtrusive criticisms of Russian corruption, and so it's as if the film makers are saying that there is no power compared to Putin, and that's not necessarily a good thing. (This is a powerful sentiment considering how popular Putin is in Russia.) In "Leviathan," there are also moralistic Orthodox clergymen and moments of sexual violence sprinkled throughout the film. And this all, ultimately, follows the expected path -- the total opposite of American movie's usual trajectory -- that "all's well that ends unwell." This is a dark, depressing movie that, allegory or no allegory, requires a bit of patience, but it's certainly well worth it.
Pride
"Pride" is the reason movies should still exist. This is a film that with ease marries the belief that movies should be about something with the simple requirement that they should entertain. And entertain "Pride" does. I think Dominic West dancing to "Shame Shame Shame" was the best thing I saw in the movies all year. Based on the true story of a queer organization coming to help striking miners in rural Wales, this often does feel like a pretty standard message-film, but it's a lot more than that. It's funny, it's heartfelt, it's smart, it has terrific acting. It embraces cliches, but who cares? Messages about friendship and acceptance can sometimes be forgiven for this. One of the best moments in when the group, Lesbians and Gays Support the Miners, drags the leader of the local striking miners to a gay bar in London, and practically pushes him on stage to thank them for their support. While the crowd isn't exactly thrilled to see him, he eventually, like a natural, gives a genuine moment of thanks: "What I'd really like to say to you tonight is thank you. If you're one of the people that's put money in these buckets, if you've supported LGSM, then thank you, because what you've given us is much stronger than money. It's friendship. When you're in a battle against an enemy so much bigger, so much stronger than you, well, to find out you had a friend you never knew existed, well, that's the best feeling in the world. So, thank you."
The Babadook
"The Babadook" isn't necessarily scary because it features some kind of demon-ghost haunting a mother and her son; it's scary because of what it represents. Even the most amateur film historian will recognize the tribute to early cinema German expressionism, but it's deeper than that; consider what one blogger has said about expressionism, that it is "at its bare essence taking the internal and making it external. Expressionists seek to express meaning and emotional experiences -- often radically to reflect mood and tone -- rather than physical reality." Sure, the monster (or whatever the hell it is) is terrifying, as is the poem that accompanies him (where, "if it's in a rhyme or it's in a book, you can't get rid of the Babadook..."). But what's more horrifying is (slight spoiler alert) the way this movie demonstrates, primarily through Essie Davis' character, that the fall into madness is one of the true horrors of life, that real demons are what's inside us, what often can only be put at bay rather than defeated outright. Understanding this will potentially help viewers understand the ambiguous ending a bit more clearly.
(Another good movie from 2014 about mental health is "Two Days, One Night" from France.)
Life Itself
"Life Itself" was by far the best film of the year, and yet this year's Academy Awards would certainly never give you that impression. I wasn't demanding a Best Picture nomination, which it definitely deserved, but Best Documentary is obvious, and yet, now the overrated "Citizenfour" will go home with the win. Why the film was ignored is something I don't understand, though the film's summer release probably didn't help, as the Academy has a terribly short memory. As I wrote back in July, "Life Itself," the documentary tribute to Roger Ebert, is of course a story largely exploiting our love of nostalgia, for there is a lot of footage of Ebert and his partner Gene Siskel dueling over movies. But "Life Itself" is also the best romance of the year and a truly heartfelt homage to the man who most would agree was the film critic of his time.
Honorable Mentions: "Guardians of the Galaxy," "The Overnighters," "In Bloom," "Snowpiercer"
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