2014: 10 Best Films
A magnificent year of cinema overall. 2014 encompassed innovative works of spine-tingling horror (see heart-stopping mumblegore It Follows, for example, and the bone-chilling The Babadook) as well as some spectacularly well-crafted sci-fi stories like Christopher Nolan's jaw-droppingly ambitious Interstellar, and Predestination, the latter an unparalleled and fiendishly clever exploration of time travel. Action spectacle in abundance came courtesy of Dawn of the Planet of the Apes, Godzilla, and Edge of Tomorrow; comedy gold was well and truly mined in the riotous 22 Jump Street and in the idiosyncratic Bollywood satire PK, and Marvel snazzily dished out both action and comedy in the breezily infectious Guardians of the Galaxy. Additionally, an array of awards deservedly recognised remarkable achievements in cinematography, acting, and visual effects through the utterly unique Birdman, intriguing Turing biopic The Imitation Game, and the absorbing, engrossing Ex Machina.
So, although some films I haven't yet watched are all potential challengers (Inherent Vice, The Infinite Man, and '71 come to mind), here are my ten favourites from 2014.
10.) FRANK (dir. Lenny Abrahamson)
Frank is a fresh, witty, and infinitely likeable music-based tale laced with deeply impactful melancholy, combining elements of multiple genres to produce a unique tragicomedy anchored by a sympathetic Domnhnall Gleeson. The film is a stunningly realised insight into the operation of an idiosyncratic band populated by larger-than-life figures such as the aggressive Maggie Gyllenhaal, and led by the wonderfully enigmatic Frank. Played with great aplomb by the unparalleled Michael Fassbender (who brings gravitas and depth to a complicated portrayal of mental illness) the character is by far the most memorable creation in a film brimming with imagination. From the spellbinding original songs serenading "ginger croutons" and "itchy britches" to the eponymous musician's arresting papier-mâché head, Frank is a resounding success and a potent ode to the power of music in bringing people together.
9.) KINGSMAN: THE SECRET SERVICE (dir. Matthew Vaughn)
An enthralling and delightfully irreverent tribute to the spy genre, Kingsman brings the flashy, humour-laden, stylish action of Matthew Vaughn's Layer Cake and Kick-Ass together with giddily enjoyable escapism. Its modern fairytale-esque story is told with glorious enthusiasm in a decidedly non-fairytale way, and Taron Egerton makes the perfect breakthrough as unlikely hero Eggsy, an anti-establishment youth with a penchant for puppies and My Fair Lady. The rest of the cast is roundly excellent, especially Colin Firth's Bond-baiting gentlemanly mentor and Samuel L Jackson's unforgettable scenery-chewing turn as a lisping megalomaniac. This is ultimately such a barnstorming good time due to both its action and comedy, with the particular brand of hyper-violent and neatly-choreographed fight sequences nicely balanced by a consistently funny script that punkishly eschews convention yet manages to emphasise character as much as spectacle.
8.) WHAT WE DO IN THE SHADOWS (dir. Jemaine Clement and Taika Waititi)
Easily the funniest film of 2014, the latest effort from Kiwi icons Jemaine Clement and Taika Waititi is a raucously funny mockumentary about suburban Wellington vampires and profanity-conscious werewolves which benefits from a stellar cast that leans fully into the deadpan tone of the film's killer script. Breezily dissecting vampiric horror movie tropes in a comical low-budget style, the talented creative team combines genius puns with amazing fish-out-of-water comedy; Clement's ancient former tyrant utilising eBay to do his "dark bidding" is a particular highlight of a consistently laugh-out-loud script. With the quirky style of humour that set apart Waititi's previous works such as Eagle vs Shark and Boy, in addition to the commendable success at making post-Twilight vampire comedy fresh again, What We Do in the Shadows is effortlessly rewatchable and joyously silly.
7.) PADDINGTON (dir. Paul King)
Oozing likeability and charm, Paddington is a heartwarming and refreshingly funny tale about a small bear with a huge heart. The film is quintessentially British in its sharp wit and plucky spirit; the hilarious script is brought to life by King's exuberant direction and a distinctively quirky cinematic style packed with arresting visual gags and tongue-in-cheek references. Furthermore, the cast is perfect (most notably Ben Whishaw's adorable wide-eyed innocence in the titular voice role), uniformly dedicated to the slightly absurd but consistently earnest story. As that rare family film which is genuinely enjoyable for all ages, and which channels the spirit of a beloved children's classic into fresh new ideas, Paddington is simply unmissable.
Full review HERE
6.) BOYHOOD (dir. Richard Linklater)
There is simply nothing like Boyhood, Richard Linklater's long-gestating passion project which follows the transformation of protagonist Mason from boy to man through puberty and the swiftly changing family dynamics which swirl inexorably outside his control. Filmed over 12 years, Mason's life unfolds beautifully yet tempestuously via touching, deeply affecting, and fundamentally human vignettes anchored by the astonishing development of lead actor Ellar Coltrane from precocious tyke to begoateed college student. Linklater's previous work (from Dazed and Confused, his masterful ode to the unforgettable meaningless of high school, and his seminal Before trilogy, an unparalleled tripartite examination of romantic relationships) has set him apart as something of an expert on the human condition. Presenting tiny moments and intricate interpersonal connections as having earth-shattering importance to the lives of the subjects in his character studies, and aided by superbly dedicated long-haul performances from Ethan Hawke and Patricia Arquette, Linklater thus combines amazing realism with rich sociological insight and unmissable dramatic flair in this spellbinding epic.
5.) WHIPLASH (dir. Damien Chazelle)
A taut and explosive music-themed drama with the pace of a high-stakes thriller, Whiplash is a nail-biting experience of a film which ends up being one of the most intense movies I've ever seen. Contorting the simple premise of Miles Teller's jazz-obsessed student desperate to prove himself and find success into a nightmarish portrayal of abuse and desperation, the film quickly establishes itself as a mesmerising white-knuckle tale. JK Simmons is utterly unforgettable as brutal conductor Fletcher, whose stone-faced and acid-tongued tirades rank among some of the year's scariest moments. Chazelle's blistering direction, much like Fletcher's relentless perfectionism, does not allow for a single moment of complacency or low-tempo rumination, instead diving headfirst into a cutthroat world of jazz warfare where drumming gets bloody and perfect really is the enemy of the good.
4.) NIGHTCRAWLER (dir. Dan Gilroy)
Picking the highlight of Jake Gyllenhaal's illustrious career thus far is no mean feat, but his terrifying turn as sociopathic crime scene vulture Lou Bloom in Dan Gilroy's electrifying noirish thriller makes a good case for top spot. Gyllenhaal gives his all in an unforgettable performance, combining an almost inhuman mantis-like physicality with disturbing tics such as his piercing demented stare and spine-chilling fake laugh. Nightcrawler is soaked in moral ambiguity and social commentary, whilst succeeding both as an intense character study of a uniquely deranged antihero and a tightly plotted hair-raiser that delves into a little-considered aspect of the well-documented world of seedy American crime. The murky relationship between the vampiric soullessness of the US news media fixated on increasingly grisly crimes (personified by a cold Rene Russo) and twisted 'entrepreneurs' such as Bloom is ultimately nothing short of breathtaking.
Full review HERE
3.) GONE GIRL (dir. David Fincher)
Gillian Flynn's searing mystery novel is a tightly plotted affair populated by unreliable narrators and laced with sardonic wit, serving as a scathing insight into gender roles and the institution of marriage whilst building intricate levels of suspense. This is perfect territory for David Fincher to translate these themes to the screen; his stylish, unparalleled handling of dark themes and twisted mystery (Zodiac, The Girl With the Dragon Tattoo) is ideal for this supremely gripping thriller. Thus, though the movie's main success is in the cutting-edge story crafted by Flynn, it is Fincher's inimitable style which makes it so unforgettably memorable, bringing a new level of crushing tension and murky uncertainty to a story which may be familiar to readers of the book.
In addition to its wildly unpredictable and utterly fascinating plot, the vivid characterisation of central characters Nick and Amy is compelling. The intriguing complexity of their novel counterparts is brought to life in an electrifying manner by stellar performances from actors Ben Affleck and Rosamund Pike, whilst the pair is supported by impressively against-type dramatic work by comedic heavyweights Tyler Perry and Neil Patrick Harris. Furthermore, the thoroughly engaging screenplay penned by Flynn herself retains the savage wit and postmodernist nuance of her novel, making Gone Girl an unmissable movie certain to hook viewers from start to finish.
2.) THE GUEST (dir. Adam Wingard)
The Guest is a fiendishly entertaining retro thriller structured like a horror, a hugely enjoyable burst of darkly comic thrills and unpredictable plotting masterminded by horror guru Adam Wingard (You're Next). The film is centred around the wonderfully enigmatic creation of central character David, whom lead actor Dan Stevens imbues with pitch perfect charisma undercut with mysterious ferocity. This commanding central performance is supported by the likes of neo-scream queen Maika Monroe, whose endearing mix of girl-next-door charms and streetwise sensibilities brought her such success in It Follows.
However, the true success of the movie lies in the quick-witted screenplay and the efficient mastering of the disparate tones at play. Wingard successfully combines retro horror-style thrills evocative of 80s classics like The Terminator with the stylish violence and character ambiguity of Nicholas Winding Refn's similarly neon-soaked Drive, in an ultimately inimitable fashion which makes it a quintessentially unique romp. Add in a perfectly-curated soundtrack whose mix of sinister darkwave, retro synth, and Eurodance earworms effectively complements the jukebox thrills of the on-screen action, and The Guest is automatically a recipe for a deliciously dark and giddily rewatchable film.
Full review HERE
1.) THE GRAND BUDAPEST HOTEL (dir. Wes Anderson)
It seems that the one thing that is universally agreed about Wes Anderson, a divisive director with an extraordinarily quirky brand of opulent dramedies, is that his style is unique. Whether or not this is a good thing seems to inspire passionately positive and negative responses in equal degrees. As a fan of Anderson, however, I would gladly say that The Grand Budapest Hotel is his best work yet. The classic hallmarks that have made his previous works like The Royal Tenenbaums and Rushmore so memorable mesh together here with stunning originality in terms of story and character to craft what can only be described as a delectable chocolate box of a film, a glorious confection not unlike a Mendl's cake.
Easily the year's most stylish and creative movie, this is a whimsical caper with a host of competing plot points all knitted together effortlessly. The film plays out at an entertainingly quick speed amongst an unforgettable cast of larger-than-life characters and scenery-chewing cameos populated by Anderson favourites such as Bill Murray and Jason Schwartzmann. However, the plaudits must go to newcomer Tony Revolori, who brings endearing innocence to his role in the face of fascism and war, and most notably Ralph Fiennes, whose Monsieur Gustave is one of Anderson's most indelible creations. The flawless production design, costume work, and exquisite colouration are so perfectly rendered as to be almost par for the course with Anderson, as is the sensitive, affecting handling of dark themes which provides an arresting injection of humanity. 2014's best film, and an absolute must-watch.
HONOURABLE MENTION
I rolled my eyes when I heard about this film's corporate concept, but THE LEGO MOVIE (dir. Phil Lord and Christopher Miller) is a supremely entertaining animation which is the very definition of 'gag-a-minute'. This modern Toy Story benefits from Lord and Miller's unparalleled ability to draw laughs through the use of hilarious visual jokes and endless puns. This is aided by opulent animation and a note-perfect cast which mixes Chris Pratt's infectiously sunny enthusiasm with the veteran voices of Morgan Freeman and Liam Neeson. An absolute must-watch for all ages (if you can bear the Everything is Awesome earworm).
Like my list? Hate it? Have your own? Leave your thoughts below!