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Tag Archives: A Most Violent Year
Every year I get an email from Indiewire inviting me to submit my 10 best list for inclusion in its survey of industry-types. And every year I miss the deadline because I feel like I haven’t seen enough of the films yet. But as anyone who follows me on Twitter knows, I’ve been assiduously plowing through as many of the films released this past year as possible, which, when added to those I’ve seen at the various festivals I attend, now add up to enough to feel I can share my list with a clear conscience. It’s also my chance to offer up my thoughts in slightly more than 140 characters.
I must add that this list is alphabetical even though I could easily have ranked them, because as a voting member of the Academy, BAFTA and the PGA, I am sworn to secrecy about my actual votes. So without giving anything away, here are my top 10 films of 2014.
This film is a case of profundity created through simplicity. Linklater’s 12-year stunt pays off by adding a level of subtext that deepens the experience. As we watch the actors age on screen, the film has a documentary-like impact that make us feel our own passage through time, and as such makes the film far more moving than its simple plot would have earned in a more traditional narrative. I would put it in the category of being more “special” than truly great, but it’s an amazing achievement.
When I saw this film at Cannes last year, I was completely smitten. I was recommending it to everyone I saw, describing it as “Scenes From A Marriage” meets “The Shining.” From the opening images of the film, the mood is portentous and unsettled, and from there it veers from surprising turn to even more surprising turn, from near tragedy to a sort of droll Scandinavian comedy. Beneath it all, it’s a touching portrait of how sometimes the people we are closest with are the ones we know the least. (more…)