Tag: oscars

The Top 14 Films of 2014

Just over a year ago I wrote a blog entitled “The Top 13 Films of 2013,” praising the year for its quantity of entertaining, well crafted, and sometimes even superb, movies. That post ended with the sentiment that it would not be likely for 2014 to feature such an array of high-quality work.

Well, that’ll teach me to be a pessimist, because 2014 came, went and brought with it even more fantastic cinema than 2013. So without further ado, let’s dive into my picks for the 14 best films of 2014.

14. TUSK

Starting the list off with an animal-like roar is Tusk!

Tusk comes from the mind of writer/director/editor Kevin Smith, aka the guy who makes those talky comedies with lots of low brow jokes (as well as the very flawed but very intriguing Red State) and is colloquially known as that movie where Justin Long gets turned into a human walrus.

If that sounds like a goofy-as-hell premise for a film, that’s because it is. And Tusk is well aware of it. It never loses its grasp on the inherent ridiculousness of the plot, and it sure delivers on that ridiculousness, but what makes Tusk most surprising, is that it also finds time for actual, effective drama.

It’s like Smith set out to make a goofy B-movie but couldn’t help letting real characters and genuine human emotions seep in along the way.

I can’t in good conscience recommend this movie to everyone. In fact, it’s safe to say that plenty of people will outright hate it. If you can appreciate a movie with a bizzarro concept and are a fan of cult horror movies, definitely give this a chance.

It might not be perfect, but Tusk is far better than a movie about a human walrus suit should have the right to be.

13. DAWN OF THE PLANET OF THE APES

In 2013 I complained about a lack of quality blockbusters, and 2014 almost felt like a direct response to that complaint. It was an embarrassment of riches in the blockbuster genre. Though striking films like Captain America: The Winter Soldier, Edge of Tomorrow, and Guardians of the Galaxy didn’t quite make this list, one of the ones that particularly stood out was Matt Reeve’s Dawn of the Planet of the Apes.

This is a intense, stressful movie that keeps your gut twisted for the entirety of the running time. It’s obviously notable for the amazing CGI, and equally amazing performances by its mo-cap clad actors, but Dawn is too smart a film to rely purely on digital trickery.

Its well-developed characters and razor-on-a-string tension are what make Dawn of the Planet of the Apes one of 2014’s best films.

Speaking of tension…

12. BLUE RUIN

I’m a big fan of genre pieces. Especially when that genre is revenge thrillers. Pull one off and you’ll have me grinning. Pull it off while also doing something fresh, and that grin will be miles wide.

Blue Ruin is a simple revenge thriller about a man who is out for, well… revenge. The most self-evident twist is that it features a protagonist who is immensely under qualified to be in this type of movie. He is not an action hero. He screws up. A lot. And it hurts.

Blue Ruin is shot flawlessly by writer/director Jeremy Saulnier, and if nothing else, should be mandatory viewing for all filmmakers. Why? Because the visuals and storytelling create a unique harmony. There is not a single shot wasted.

11. THE TWO FACES OF JANUARY

The Two Faces of January has the feel of a small, intimate Hitchcock thriller. This is certainly not a movie that reinvents any wheels, rather, it just spins them in the smoothest way you could hope for. It’s a movie that revolves entirely around three characters, portrayed by Viggo Mortensen, Kirsten Dunst and Oscar Isaac.

Mortensen and Isaac are incredible. Seriously, both of their performances are as good if not better than anyone nominated for Best Actor in this year’s ceremonies. Dunst also does a great job, but unfortunately the script never allows her character to be as fully realized as the two male leads.

Nevertheless, The Two Faces of January is a powerful and engaging thriller that knows exactly what it wants to be, and hits its target perfectly.

Fun aside… Viggo Mortensen gives the most convincing portrayal of being drunk I have ever seen on screen.

10. A MOST WANTED MAN

Anyone who has seen Philip Seymour Hoffman’s work knows how talented an actor he was, but I will say that he is as good in A Most Wanted Man as he is in his finest films.

Aside from the fantastic cast, A Most Wanted Man is a beautifully shot movie with a tense script that keeps the twists and turns coming, but not at the expense of some wonderfully realized characters. This movie asks tough questions and doesn’t necessarily provide answers.

It’s a spy thriller that must not be missed by fans of the genre, and as added incentive, it features a heart-in-throat ending I’ve not seen in years.

9. BIRDMAN

The freshly crowned Best Picture winner might just be one of the most original and intoxicating movies I’ve ever seen. Birdman is audacious filmmaking. It’s risky to the point of being a disaster begging to happen. So it’s a good thing writer/director Alejandro Iñárritu and his team pull it off like a magic trick.

Not every single beat works, but when it’s firing on all cylinders, Birdman is impossible to take your eyes off of. And it’s not just a technical marvel, though it certainly is that–the performances from the entire cast are flawless. The writing is snappy. The music is… wow! But it’s the characters that make me want to watch it again and again.

Months after seeing it, I’m still thinking about the scenes between Emma Stone and Edward Norton on that New York City rooftop.

8. WILD

On the surface, a movie about hiking sounds pretty, well… boring. But as The Lord of the Rings taught us, a movie that, on a surface level, is about getting from point A to point B, can be so much more when done right. And Wild sure does it right.

The movie’s success starts with the brilliant screenplay by Nick Hornby and extends to the subtle but effective direction of Jean-Marc Vallée, but ultimately Wild lives or dies on Reese Witherspoon’s performance.

And what a performance it is. She is riveting as Cheryl Strayed, and through an unconventional use of flashbacks and sound design, Wild manages to put you into her head in a manner I haven’t quite seen done on film before.

7. NIGHTCRAWLER

Nightcrawler presses a lot of my buttons. Dark, socially awkward protagonist, check. Interesting career subculture, check. Economic storytelling, check. As much a social commentary as it is a character study, Nightcrawler is most notable for Jake Gyllenhaal’s performance. As it should be—he steals the shows.

But he’s supported by a versatile cast, a tight script, and an absorbing soundtrack. This movie doesn’t waste any time. It moves at a pace reflective of its protagonist’s frenzied state of mind, and as such, is immersive and engaging from first frame to last.

If you’re a fan of movies like Taxi Driver, The King of Comedy or Drive, then Nightcrawler is your movie.

6. FOXCATCHER

I’ll be honest, the first time I saw this movie, I left the theater with a resounding “Eh.” I certainly enjoyed the film and thought it was well directed and exquisitely acted, but something just wasn’t sitting right. I felt detached from the events I had seen unfold… cold… at a distance.

And then I couldn’t stop thinking about it.

Honestly, for at least two weeks, there wasn’t a day when Foxcatcher didn’t enter my brain. So much so that I was compelled to go see it again. And then it clicked.

This is a difficult film. It’s subtle. It raises many more questions than it answers. But it’s riveting. Like Two Faces of January, it is essentially a three-character movie but the characters are so well-defined and so realistic that it makes you uncomfortable.

Mark Ruffalo, in particular, kills it. He gives what is easily one of the most human performances ever captured on film, and as much as I love J.K. Simmons, Ruffalo should have walked away with the Oscar.

5. INHERENT VICE

Inherent Vice is a movie so overstuffed with plot, it’s practically leaking from the edge of the frame, and yet, the plot really isn’t the point at all. The point is… well, frankly, I’m not sure what the point is. I’m not even sure if there is a point. But that’s just what makes Inherent Vice so much damn fun.

This movie is goofy, it’s wild, it’s unpredictable, and features one hell of a dynamic protagonist. Joaquin Phoenix slays it as Doc Sportello, and brings a humanity and vulnerability to the character that becomes the heart of the movie.

This isn’t Paul Thomas Anderson trying to change cinema, this is him having a blast making a movie. And though, as with Tusk, I can’t say this is for everyone, if you lock into what this movie is trying to do you are going to love the ride.

4. GONE GIRL

Ah yes, the worst date movie of all time. Gone Girl continues 2014’s trend of spectacular thrillers, and outdoes them all. On the surface, David Fincher has created an extremely well-made genre piece, but dig beneath that surface and you’ll find a world of rich, complex characters that demand revisiting.

Though their choice of material and visual style is quite different, Fincher reminds me most of Stanley Kubrick. Both men are extraordinarily talented, knowledgeable filmmakers who frequently get labeled only as visual stylists, when in fact they are equally successful at drawing out compelling work from their actors.

They are also both perfectionists, and that perfectionism is all over Gone Girl. Every frame of this movie is a gorgeous sight to behold—even the gruesome ones. If you haven’t seen this movie yet, then I hope its various twists haven’t been spoiled for you. But even if they have, see it anyway. It’s worth it.

3. X-MEN: DAYS OF FUTURE PAST

X-Men: Days of Future Past has absolutely no right to work as well as it does. But here we are. This is summer entertainment at the highest caliber. It is the best of the X-Men films, one of the best comic book movies ever, and one of the best sci-fi/action films I’ve seen in years.

What’s truly remarkable about Days of Future Past is how many things it does so well. It’s a time travel movie, it’s a post-apocalyptic movie, it’s a 70s thriller, and it exceeds in all three categories.

It effortlessly balances a large cast of characters across two different time periods, and unlike more recent superhero films, it features a climax that is actually about those characters and not just a CGI city being blown to smithereens.

2. WHIPLASH

Oh, man. Ooooohhh, man. Now this is a movie. Whiplash is a firestorm. It is a relentless, razor’s edge horror film disguised as a music drama. If you’ve avoided this movie because “eh, drumming, who cares,” then you are doing yourself a major disservice.

Yes, drumming is at the center of this film. But Whiplash is oh so much more than that. It’s a movie about drive, about greatness. About how far a person will go to achieve that greatness.

I won’t say any more about this movie other than that it is amazing, and unlike some other ones on this list, I would unflinchingly recommend it to anyone. This is just an incredible piece of cinema.

1. FRANK

Another movie about music! It’s funny, both Whiplash and Frank explore very similar ideas about the struggle to achieve greatness and what it does to a person, but they both do it through totally different approaches.

Whereas Whiplash feels like a horror film, Frank feels like… well… like Frank, its titular character. This is a weird, screwball comedy that occasionally dips into some real dark and heavy territory. It follows Jon, an amateur musician who joins an experimental band and struggles mightily to live up to their level of creativity.

Without revealing where the story goes, Frank manages to send Jon on an almost Walter-White-like path, testing our allegiance to him throughout the narrative. This is a fascinating movie that takes risks, that’s not quite like anything else you’ve ever seen before.

I can’t guarantee this movie will work for everyone (partially, it will depend on your taste in music), but for those whom it does hit home? It’s going to hit hard.

Frank is on Netflix Instant as of this post, so give it a shot.

In fact, all of these movies are either already available or about to be available on home media. So shell out the few bucks to rent them and see what 2014 had to offer.

Also, these may be 14 fantastic movies, but so many other memorable candidates were released throughout the last year–I’m still trying to catch up myself–that it would be a shame if all we watched were movies deemed worthy by awards shows.

There’s simply too much good cinema out there for that. So go out and watch some.

February 24, 2015
The Oscars – An Exercise in Predictability

As I’m sure you’re aware, last night was another extravagant Oscar night in that little city known as L.A. Celebrities walked the red carpet. Entertainment reporters provided riveting commentary on dresses, dresses and more dresses. Jennifer Lawrence once again proved that she’s high in the running for “Most Down to Earth A-Lister”. All of it: standard, predictable Academy Awards fare. And if you followed along with Oscar predictions in the slightest over the last few weeks—the predictability did not end there.

Nearly every major award went exactly to whom most of the world predicted. Matthew McConaughey and Jared Leto both won for their work on Dallas Buyer’s Club, of course. Cate Blanchett took it home for Blue Jasmine, of course. Lupita Nyong’o did the same for 12 Years a Slave, which as anticipated ended up snagging the big prize —Best Picture—as well as Best Adapted Screenplay for John Ridley.

Though it didn’t take the coveted Best Picture prize, the night’s big winner was the sci-fi thrill-ride Gravity, which accumulated 7 statues when it was all said and done, including Best Director for Alfonso Cuarón. Yet, even that was no big surprise—indeed, most prediction lists had Cuarón as front runner. By the time midnight rolled around and the show had reached its finale, there was not a gasp to be heard. No outrage over the best picture winner. No crying that a director got robbed. There was just… nothing. The Oscars came, they went, and that was that.

To be clear, I’m not demanding that the Oscars suddenly start being scandalous for the sake of scandal. I certainly wouldn’t want it to become an LA-themed episode of “The Jersey Shore”. But most years there is at least something to keep tensions high. Something to keep anticipation flowing. People at the edge of their seats. This year, it was all by the numbers.

And though I think all of the winners deserve their prizes, it’s a shame that such an extraordinary year in movies had such a dull ceremony to celebrate it.

Unlike some previous Oscar nights, the blame does not lie in the hands of the host. From her opening monologue right up till the end, Ellen was easily a highlight of the show. Her lively, wit-drenched attitude helped keep the audience entertained while we went from one needless, overdrawn musical performance to another. Seriously. This was ridiculous. I didn’t watch the Grammy’s, but after last night, I might as well have.

There were a grand total of six musical performances last night. Six! For a ceremony that’s supposed to be about movies, that’s about five too many. Even the beautiful memorial for Hollywood’s deceased (which I was very happy to see included Roger Ebert) was tagged on by a totally unnecessary 4 minutes of Bette Midler singing “Wind Beneath My Wings”.

Stuff like this really made the show drag on way past its welcome—much more than usual, anyway. I ask you: Do we really need to see U2 perform at the Oscars?

This apparent need to draw things out was a running theme throughout the ceremony, with even some of the night’s best moments—such as Ellen buying pizza for the guests—staying just a little bit longer than they should have.

As much as I might sound like a grumpy old man, it wasn’t all bad. No, there were definitely moments that reminded me of why watching the Oscars has been a part of my life since I can recall.

There were some beautiful acceptance speeches, especially by Cate Blanchett and Jared Leto. Though my personal favorite was the wife/husband duo of Kristen Anderson-Lopez and Robert Lopez accepting their award for Best Original Song via rhyme. If you missed it, go watch the clip on YouTube right now. Though I’m sure even if you missed the broadcast, you probably heard the cumulative “Aaaaawwwwwww” that emerged from living rooms worldwide.

But what was the ultimate highlight? It would have to be Bill Murray’s brief and impromptu tribute to his deceased collaborator, Harold Ramis. Murray threw in Ramis’s name while presenting the nominations for Best Cinematography, garnering much deserved applause for the late, great filmmaker. Bill even had the respect to apologize afterwards for going off-prompter. What a class act that guy is.

Oh, and although just a few paragraphs ago I complained about the needless musical performance, I thoroughly enjoy both Karen O singing “The Moon Song” and Pink’s rendition of “Somewhere Over the Rainbow” as a tribute to one of my all time favorite films, The Wizard of Oz.

So, yes, last night’s Oscars had its moments. Some beautiful, some hilarious, some heartbreaking. But overall? I can’t imagine anyone will remember the ceremony in a month or two. There was just nothing exciting about it. It just was a thing, and now that thing is over. All of the winners deserved their trophies, yes (I was particularly happy to see Spike Jonze win Best Original Screenplay for Her), and Ellen did a great job as the host. But if the Oscars want to stay relevant a decade from now? They’re certainly going to have to spice things up.

My suggestion? Simple. Stop dragging the damn thing out.

I’m not a sports guy, so the Oscars are about as close as I get to having a Super Bowl, and yet I still think they’re way too long. In a world that moves as fast as ours, with dwindling attention spans and a gazillian distractions at every turn, there is simply no need for the Oscars to be a 3-and-a-half hour event. Cut out all the fluff (cough, six musical performances, cough) and make it a quick two hour show that doesn’t waste our time.

Maybe that sounds blasphemous coming from a movie buff, but it is precisely my love of movies that leads me to take this stand. A year full of such incredible film deserves a celebration that measures up. All writers known the idiom “kill your darlings”, and nowhere will you find more darlings in need of a quick and painless death than at the Oscars.

What are your thoughts? Did any of the winners surprise or downright outrage you? Are the Oscars really needlessly long, or am I just a grumpy old man trapped in a younger man’s body?

March 3, 2014
Harold Ramis Shares Some Words of Wisdom About Film’s Future

Mr. Stay Puft lives again during the 25th Anniversary screening of Ghostbusters at the 2009 Nantucket Film Festival
What a blow. By now you’ve probably heard Harold Ramis, the force behind such movies as Caddyshack, Ghostbusters, Groundhog Day, and Analyze This, has passed at the age of 69. In honor of his legacy, I thought I would skip the circumstances of his death and the array of films he gave us, which you undoubtedly already know by now, and instead tell you an inspirational story of my brief interaction with him at the Nantucket Film Festival in 2009.

The highlight of the festival that year had to have been Ramis himself, who was in attendance for three main reasons: to receive the Screenwriter’s Tribute, to premiere his new film Year One, and to celebrate the 25th anniversary of Ghostbusters. As someone who grew up with Ghostbusters, was completely transfixed by the multilayered themes and messages of one of my all time favorites Groundhog Day, and depended on Analyze This for more than one DVD date night, it was a particularly meaningful few days for me.

First of all, I was tasked to be on the team blowing up the actual 25 foot Stay Puft Marshmallow Man that was used to market Ghostbusters when it premiered in 1984. Come on—does it get any cooler than that? This float dominated the skies, and stared out at the Atlantic from Siasconset’s Casino theater on the south side of the island. Getting Mr. Stay Puft to cooperate was a challenge, but somehow the group was able to cross the streams and get him into his new 2009 role as Mr. Stay Put. As guests arrived for a special screening of a brand new 35mm print of the film, he greeted them to their awe and delight.

I met Ramis during the screening of Year One, while I was in the front entryway waiting for the film to end. With everyone seated in the theater watching the movie, Ramis stepped out some point near the middle to have some time to himself. Year One turned out to be not one his better movies (4.9 on IMDB, a 14% on Rotten Tomatoes), so perhaps the typical “director in the back gauging the audience reaction” wasn’t necessary in his mind. Factor in how many times he must have seen the film while editing, and perhaps it’s easy to understand why he would be stepping out. Whatever the reason, Ramis chose a wooden bench by the ticket booth, and got involved with some game or texting activity on his phone—I can’t recall which, though if I had to guess I’d say some kind of game.

After a few minutes of this he took a brief nap, but must have had some internal clock wake him about 10 minutes before the end of the film. As he looked around, no phone in hand, I thought “if I’m ever going to talk to him this would be the chance,” so I did.

It’s amazing how cool and collected you can head into a conversation with someone of his stature, and then completely out of character get all tongue twisted once you started speaking. That was me, but fortunately I found my steady voice before we got to a level of embarrassment. He smiled as I sputtered, knowing we both knew he was being very gracious to let me occupy some of his time, something no doubt countless fans and filmmakers had done before. I think he was amused not by the fact that I was trying to tell him how much I respected his work, but more by the direction I took our talk, which he seemed surprisingly engaged by.

After the pleasantries and unnecessary gushing, I finally got to what I thought would be the most relevant and purposeful discussion I could come up with on the spot. I asked him if he thought film as we knew it would survive. Did he feel the access digital video gave filmmakers, with its ease, price, and increasing quality, would implode the professional market, and ultimately for those reasons overcome “Hollywood” looking content? Would the storytelling suffer? Would the good stuff be able to compete with quality gear getting so cheap, and the potential noisy flood of bad content springing up online more every day? And more so, would there even be a career in film by the time I “made it,” if that time ever came?

He thought for a moment, and after reflecting on this told me that while the technology had changed in the past few decades, the core of filmmaking, the very root of motion pictures, was in capturing and telling a good story. “We can’t stop the way society is changing this profession,” he said, “so while it may become harder to get your work in front of large audiences, or into traditional theaters, or to get your film backed by a big studio so you can make the big bucks, in the end whoever can adapt and embrace the circumstances best will come out okay. If you love making films, just keep making films.”

He asked me what I had done to advance my career, so I told him about starting Green Lens Media, and about making my first feature in high school years ago under a SAG student contract. He reiterated that while film as a format and industry would change, there would always be room for new stories and new filmmakers, who yes, could make careers of it if they worked hard enough for it. It was a sobering thing to hear that the industry I’d been pursuing for nearly a decade at the time was, according to this Hollywood insider, bound to be different, but also refreshing that he was so optimistic about its future considering.

I was fortunate to get to hear this insight from Ramis, and it stuck with me despite the many other speaking events I saw him at throughout the festival. Most people wanted answers to things like “what was it like working with Bill Murray,” and “what’s the funniest thing that happened behind the scenes on such-and-such movie?” It’s sometimes easy to forget while starstruck that these are just people after all; people who, of course, are talented, but are also hard-working and even a little lucky. They might be able to point to a particular instance where they were in the right place at the right time to catch some opportune “break,” but isn’t that just something that would have happened eventually another way anyway, if not that way? In other words, if you work hard enough, if you “just keep making films,” eventually that lucky break will find you.

Thanks, Harold, for all of your comedic genius for the time you were here. Thank you for your reassurances about the film business, and for believing in film’s future, as murky as it seems sometimes. I’d like to think that when we see an Egon hard at work inventing something, or a Dr. Sobel trying to figure out how to not die this time, or a Phil Connors making humor when there was none despite a desperate situation, there is in each instance an inevitable and eventual hope that evolves at some moment into something we have been looking forward to. It’s a great message, one that I and other filmmakers are inspired to see and be reminded of. You will be greatly missed, and I wish you all the best on your journey as I continue down mine, and continue making films.

On a side note, if you ever care to haunt GLM (especially our scriptwriting software), that would be just fine; I promise you would be given Slimer status (the endeared, free-to-roam friend Slimer, not streamed-into-the-Trap Slimer).

All the best,
Adam

Leave a comment! What are some of your favorite Harold Ramis movie moments, and what is your opinion on the future of the film industry?

February 24, 2014
8 Movies That Prove Digital Can Look (Practically) as Good as Film

Oh, this here, folks, is a fun one. Film vs. Digital is one of those debates that movie fans just cannot seem to stop having. If you’re not familiar with the difference, basically it boils down to this. Film means literally shooting footage on rolls of film (traditionally 35mm), and it’s the way movies have been shot for decades. It provides a beautiful, warm image that many consider to be cinema. But it also has its drawbacks.

Digital, on the other hand, is usually more cost effective, allows you to shoot to your heart’s content, and, unlike film, isn’t vulnerable to physical damage. Unless you smash your camera with a hammer, I guess.

For many, film’s inconveniences are plenty worth putting up with for the finished product. They swear that digital can never look as beautiful as film, or (if they’re of the more radical nature) that it’s ruining cinema all together. Personally, I happen to lean more on the film side of the argument. I think well shot film is stunning and I love the alive feeling it gives an image, with its grain and little imperfections.

BUT. There are also plenty of movies shot on digital that I think look miles better than the majority of “film films” out there. In the hands of a talented cinematographer, digital filmmaking can look absolutely glorious—and achieve effects that film can’t.

So, in the spirit of playing devil’s advocate, I decided to create a list (in no particular order) of movies shot on digital that do just that. If you’re a die hard fanatic of “film films” and think anything else is just a rip-off, hopefully this can make you see the enemy in a kinder light.

Hugo – This really could be the start and end of the argument. If digital is good enough for Martin Scorsese, then it’s damn well good enough for you. Hugo looks like a storybook brought to life. Crisp, vivid and breathtaking. I haven’t gotten a chance to see it in 3D, and though I don’t usually like 3D, I have a feeling in this case, it might really add to the experience.

Sin City – With Sin City, Robert Rodriguez managed to bring a comic book world to life like no one ever had, or has since. A perfect example of using digital filmmaking together with stellar visual effects to create a unique style that is unlike anything else out there.

Gravity – If you didn’t get to experience this movie in theaters, then I’m sorry. As pretty much any review will tell you, Gravity is a visceral experience that ties the audience into the seat of a roller coaster and refuses to slow down. The beautiful imagery, combined with basically flawless CGI, creates a thrill ride that is one of the quickest 90 minutes I’ve ever had in a movie theater.

Red State – Okay, so I know you’re thinking that all of the previous movies were special effects driven pictures which would of course work better with digital. Well, calm down, cowboy. Cause here’s Red State. Kevin Smith’s $4 million horror flick creeps up on you and forces your eyes wide open. The sharp, almost clinical look of the digital photography gives the movie an unsettling feel that resonates in the audience’s mind from first frame to last. To put it simply: film would have been too pretty for Red State.

Collateral – Michael Mann can do amazing things with very little. It’d be hard to find a better example of that then Collateral . What’s essentially a basic, almost clichéd, noir story is made into a thrilling, personal narrative about people and the city of Los Angeles. Mann’s digital filmmaking gives the movie an extremely realistic, almost documentary-like look; a major reason why it works so well.

The Girl With the Dragon Tattoo – I could have just easily put The Social Network or Zodiac here, but there’s something magical about The Girl With the Dragon Tattoo’s bleakness. From the pitch black apartments to the paper white Swedish snow, there’s intensity and suspense almost every frame. It’s hard to describe, but it’s immediately sensed while watching the movie. It’s an effect digital filmmaking helps achieve.

Drive – Drive feels like a dream. A strange, violent dream with pulsating dance beats and lush, absorbing colors. It’s a testament to the power of visual storytelling, and the beautiful cinematography has a lot to do with that. When I found out that Drive was shot digitally, I was shocked. I couldn’t believe colors that deep, that rich, could be achieved with anything short of the highest quality film camera. Drive is proof that they can.

Skyfall – Roger Deakins is one of the most talented people to ever hold a camera. That’s about all that needs to be said. Legendary filmmakers from the Coen brothers to Sam Mendes have called on him time and time again to give their movies that exquisite visual touch. Deakins’s work on Skyfall doesn’t reestablish, it only confirms his well deserved reputation as the master of the camera. Every single shot in the movie is a gorgeous painting, worthy of hanging in a museum. And you need look no further to find as compelling an argument for digital filmmaking.

January 31, 2014
The Top 13 Films of 2013

Movie lovers, rejoice. Great storytelling is still alive, well, and kicking like an over-caffeinated donkey. 2013 seemed like it was going to be a year film buffs would remember almost from the start. By the time it was over, there was no doubt about it.

Before we start the list (arranged in descending order for the most dramatic umfh), I feel obligated to say that this is all only my opinion. Film is subjective, and what I found amazing, riveting and engaging, someone else might find boring, predictable and just plain stupid.

That said: one of the best things about movies is the discussions they open up. So, if you strongly disagree about some of my choices (or would just like to share your opinion, whatever it may be), I urge you to leave a reply below and start a dialogue.

Finally, I did not get a chance to see some of this year’s most acclaimed movies — namely 12 Years a Slave and Nebraska — so it’s very possible I missed out on some real gold.

With all that out of the way, let’s get on to my picks for 2013’s best films.

13. SPRING BREAKERS

This was one of the first movies I saw this year, and boy, did it make an impression. Unrelenting, hypnotizing and unforgettable. Like many great works of art, Spring Breakers takes a decisive moral stand. It presents the world of spring break for everything that it is – a nightmare flimsily disguised as a fantasy.

Also, say what you will about James Franco, but his performance here is one that absolutely glues your eyes to the screen and dares you to look away. It’s a peculiar role, and one many actors would be too afraid to tackle. But he does so with a fierceness that is incredible to watch.

12. THE WAY, WAY BACK

Movies about angsty teenagers are a dime a dozen, so it’s always a real treat when one comes along that manages to defy expectations. This certainly does that. Just as much about the adults as it is about the teens, The Way, Way Back is funny, heartbreaking and ultimately uplifting. It’s a feel-good movie the way feel-good movies should be done.

Special props to Sam Rockwell (who is always a joy to watch) and Steve Carell, who branches off and plays someone unlike anyone else he’s ever played — a genuine jerk.

11. MUD

The fact that a movie this good didn’t even crack the top 10 tells you a whole lot about film in 2013. Like writer/director Jeff Nichols’ previous work Take Shelter, this is a deliberately paced character study with a unique down-on-the-bayou feel.

As fantastic as Matthew McConaughey is (and boy, did he have a run of quality performances this year), the real star of the show is Tye Sheridan, the young actor who basically carries the movie on his shoulders. I can’t wait to see what he does next.

10. AMERICAN HUSTLE

Let me get this out of the way: This is a flawed film. HOWEVER — and this is a big however — if you gave me Blu-ray copies of every movie on this list, I’d probably pop in American Hustle more often than any of them.

It’s a blast from start to finish, a treat for both your eyes and ears, and one of the most enjoyable movie going experiences I’ve had all year (twice). In particular, I want to point out the opening scene which is simply Christian Bale (who in my opinion gives the performance of the year here) putting on a hair piece. It’s so simple, yet so effective in telling you everything you need to know about the character. Brilliant storytelling, and a whole heap of fun, even if the entire package is slightly uneven.

9. BLUE JASMINE

Man, Cate Blanchett really killed it here. We all know she’s going to win the Oscar, and damn right, if you ask me. She’s impossible to take your eyes off of. I’ve heard a lot of people say this is a return to form for Woody Allen. I can’t speak to that, as I’ve only seen half a handful of his movies, but for a movie that is essentially people in rooms talking for an hour and a half, this is a blast.

You’ll laugh, you’ll cry, you’ll thank your lucky stars your life isn’t as dysfunctional.

8. THE HUNGER GAMES: CATCHING FIRE

As great as so many movies were in 2013, one genre seemed to disappoint: the blockbuster. I’m sure many of you will disagree, but personally, I found practically every big-budget extravaganza disappointing. In particular, Thor: The Dark World, The Great Gatsby and especially Star Trek Into Darkness.

So by the time The Hunger Games: Catching Fire rolled around, I had lost a lot of faith in big-budget/special effect pictures. And then I watched it. Holy crap.

This is top-tier filmmaking from first frame to last. I won’t say much more about it, in case you haven’t seen it yet, except SEE IT. The first Hunger Games was a really solid teen action-drama, but this transcends the genre. It’s The Dark Knight of teen sci-fi/action movies. If you still can, definitely try to see it on the big screen.

7. KILL YOUR DARLINGS

This was yet another surprise. I saw this for one reason: Dane DeHaan. He is someone I consider to be amongst the finest actors working today, especially for his age. And while I certainly got a great DeHaan performance, I also got a whole lot more.

This is a dark, engrossing film that pulls no punches and makes no apologies. If you enjoy films that deal with the darker side of youth, and explore interesting subcultures, this is for you. Check it out. Really great editing in this, too.

6. DALLAS BUYERS CLUB

Now we’re really talking. This is one of the finest character arcs I’ve seen in a very long time. Most great actors give an award worthy performance once every few years – this year alone, Matthew McConaughey gave three (we’ll get to the third). He’s unbelievable in this, as is Jared Leto, who transforms himself in the role of a pre-op transgender woman.

Those two performance are worth the price of admission alone, but Dallas Buyers Club also has an incredibly tight, smart script that’s only made better by Jean-Marc Vallée’s confident direction.

5. HER

Romantic movies aren’t usually my thing. Sure, there’s plenty I do like, but for the most part, I find them to be very typical and not particularly interesting. Spike Jonez’s Her almost seems like a response to that complaint.

The film follows genre tropes more closely than you might expect, but it does something utterly fresh and unique with them. Perhaps what I enjoyed most was the subtle sci-fi setting, which while a major part of the film, never overbears the characters, as it does in so many other sci-fi movies.

Though a few moments might not land as well as intended, this film is really something special.

4. MONSTERS UNIVERSITY

Prequels are hard to get right. Actually, I take that back. Prequels are almost impossible to get right. After all, movies are all about change — characters going through arcs — and by definition, a prequel means we will be seeing characters that have yet to go through the change that drew us to them in the first place.

The result is usually sloppy, unnecessary and most of all not nearly as interesting as the previous movies. But somehow, Pixar pulled it off.

Monsters University has no right to be as good as it is. Yet, it is. It really, really is. It stands shoulder to shoulder with almost any of Pixar’s best, and like them, it is a spectacular achievement – made all the more so when you think about how much of a train wreck it could have been.

3. INSIDE LLEWYN DAVIS

Like Monsters University, Inside Llewyn Davis is a movie that shouldn’t work. It has no real plot, its protagonist doesn’t really change at all by the end, and yet… it is never once dull, never once pointless, and never for a moment not compelling. Indeed, it is the exact opposite.

If Coen brothers’ humor is your thing, you’ll probably find this a melancholy, but hilarious movie. If it’s not, you’ll probably be depressed for days. Either way, you’ll likely find yourself sucked into the cold world of the early 60s New York folk scene.

And if you wanna talk about Oscar snubs, few things fit the bill better than Oscar Isaac not getting nominated for his performance here.

2. THE WOLF OF WALL STREET

Once again, Martin Scorsese shows all the kids how it’s done. The legendary filmmaker may be 71 years old, but here he has crafted a film more full of unrelenting life and energy than anything even remotely comparable by his much younger peers. This is Goodfellas for the 21st century.

The fast pace, almost constant voice over and subject matter certainly makes this a spiritual successor to both Goodfellas and Casino, but thanks to an entirely different cast, scriptwriter and cinematographer, it manages to stand on its own.

Like in those films, Scorsese takes a strong moral stand while also presenting these characters with absolute honesty. The Wolf of Wall Street is not for the faint of heart, but if you can handle it, this is a movie that will entertain you like crazy, then make you hate yourself for being so entertained in the first place. It’s riveting stuff that will stay with you long after the credit rolls.

PS: Though he’s only in the film for the first 20 or so minutes, Matthew McConaughey hits his third home run of the year here. Well done, Matthew. Now leave some work for the rest of Hollywood.

1. THE PLACE BEYOND THE PINES

I went to the theatre to see this movie early in 2013, knowing next to nothing about it. By the time the lights came up, I knew I had witnessed something really special. This isn’t just the best film of the year. This is the best film of the last several years. Walking out of the theatre, I knew there was hardly any chance I would see a movie this good by the time 2013 ended. While The Wolf of Wall Street made me doubt that, in the end, I had to give it up to Pines.

To me, this is nothing short of a modern American masterpiece. It features career defining performances from all the leads — especially Eva Mendes and Bradley Cooper – and is the quickest 2 hours and 20 minutes you’ll have at the movies this side of The Dark Knight.

It’s the kind of movie that won’t do the math for you. It forces you to think, to put the dots together in your head, and it refuses to succumb to your expectations. A lot of people will be turned off by some of the directions this movie goes in, but all that means is that this is a movie that takes real risks. And oh lord, is it refreshing to see that.

From the acting, to the gorgeous cinematography, haunting score, and razor sharp editing, The Place Beyond the Pines is indeed a cinematic masterpiece.

Also, although this is predominately an actor’s movie, I don’t consider it an overstatement to say it features the finest chase scene I have ever seen.

If you haven’t checked this movie out yet… do it.

The chances we’ll get a year so full to the brim with great movies is rare, but let’s just be grateful we got this one, eh?

What were some of your favorites from 2013?

January 23, 2014
The Power of Film Freedom

I watched the 84th Academy Awards, like many professional and aspiring filmmakers did, only this time it seemed just a little more…unsure of itself. We had Billy Crystal up there reprising his host role having taken an 8-year hiatus. Though the intro was heartfelt, the jokes were cute, and it reminded me of how I’ve watched City Slickers II about 50 times with my grandfather chuckling the whole way through, it still was missing something.

On the red carpet, which I was somehow forced to watch in my company, the commentators were as electrifying as ever: “What an outfit…Who are you wearing? Do I sound introspective and look as magnificent as you this year? Wait, before you go, I have one more shot for you. .” Like Crystal (don’t get me wrong, I will always love the guy), let me reiterate—the event was missing something. More than anything I heard the commentators talking about how classy, and old Hollywood it was this year, just like they claimed last year, the year before, and the year before. Hollywood seems to be fixated on retaining a time period when things made sense, and where the studios controlled everything from production to content, distribution to demographic. The movie industry is not about control anymore, it’s about fluidity, exposure and instant gratification. Whoever can get the most eyes on their product seems to be doing quite well for themselves.

These are interesting times for filmmakers, independent or Hollywood, what with an evolving landscape changing every year for movies in the What, Where, Why, When, Who, How and How Much.

What
In Hollywood, the What is for the most part getting less intelligent and lazier. I swear, any day now we will get the prequel to Dumb and Dumbererer 5. We had some good movies this year, but were any of them really great movies? If it weren’t for the refreshing creation of The Artist (an homage to old Hollywood with some modern touch), I would say we’ve seen better years. The independent films I’m sure were great, but unless you go to festivals or subscribe to an independent on-demand channel, it is sometimes hard to find out about those films, much less see them.

Where
Movies out of Hollywood are being made more and more out of single locations, many able to claim that location as a post-production CGI house. The Where may be determined for tax reasons, logistics, convenience, but in the end the ultimate answer is money. Even though ticket prices are anywhere from $9 to $18 depending on how big the screen is and if the picture is in 3D, piracy has no doubt hit Hollywood hard, and the economy tanking hasn’t helped much either. Independent projects however are expanding outside their home base origins, with gear being less expensive and more portable than ever.

Why
Why Hollywood movies are being made (sorry if this is a shocker to anyone) is still about the money, as it always has been. You might have the best, most artistic, thought-provoking, culturally changing, life-altering script of all time, but if a producer can’t see it succeeding at the box office, good luck. That is perhaps the Oscars one redeeming quality. Out of all the junk the LA machine pumps out each year, it does make a few good artistic pieces worth recognition and worth seeing—movies that make us think. I wish there were more of them. Wait a minute, there are more of them! Only they aren’t Hollywood, they are independent, or even more so, they are really independent. Like the filmmakers going out themselves or with a small crew and uploading to Vimeo. Why are they doing it? Because they love it, because they care, and because they simply have to do it. They won’t feel complete unless they do it. Those are the movies you want to see.

When
Hollywood is making movies all the time, but not at the same volume or pace that the independent and online community is producing. Not even close. We have a democratizing revolution going on in the video industry now, where you can make a movie on an iPhone if you really want to. Whatever Hollywood movies come out that are worth seeing, you can usually expect them to release around fall or winter—right before the Oscars so it is hot and in folks’ minds. However, movies made on REDs, Alexas, and HDSLRs are being released all the time. There is no time like the present, and the sooner you can provide new content the happier your followers will be.

Who
Who is making movies is actually more of a question of who isn’t making movies? Hollywood of course makes movies, and filmmakers make movies, but it’s much broader than that. With a camera on every phone, the iPad, and HDSLRs, it is easier than ever to make a video, however short, low budget, or planned out. It is parents, business owners, students, doctors, salesmen, cooks—almost every industry there’s going to be someone who has zero training in videography, or even interest in filmmaking, and yet are still making films. It would be an interesting statistic to learn just how many people in the past year made at least one video clip, even if it was just a shot of their cat on their phone. Who is making good movies is another story.

How
The How I find the most exciting of all. Hollywood is making their films the same way they always have—big budgets, A list actors, huge crews, lavish locations, unparalleled cutting edge graphics, and the same formulaic scripts they’ve relied on for years with a couple diamonds in the rough. Independents are still looking for their moderate budgets, decent sized crews, and best locations possible for their scripts. But if you watch the content (particularly the short film content) coming in on sites like Vimeo, Blip.tv or occasionally YouTube once in a blue moon, you will find some incredible ratios of production value and resources to budget spent.

How Much
The trick is figuring out, in that last category of small online distribution, how to monetize it so you can both make a living and make more content, while not also selling your soul to the advertising devil. As of right now, I’m not certain how advertising dollars can’t be involved to make it work, though sites like Kickstarter and IndieGoGo may be on the right track. By crowdsourcing, and funding your projects with an audience that is already interested in your idea, it seems like everybody wins. I noticed the other day a project for a video game called Double Fine Adventure asking for $400,000. At the time of my writing this post they have secured 2.4 million dollars and have 5 days left. Wow. I think their success is not just due to what they are promising, but their attention to producing a professional looking video that allows fans a window into the behind the scenes, which helps sell their idea and convince people to donate. They decided to show (not just tell) what they doing, and it came back to them many fold.

My point here is that the content you create matters. The story. With all the other noise out there online, in people’s ears and at the water coolers, you need some good content to help you stand out. This is true if you are trying to create the next LA Confidential, a corporate marketing video for your website, or an assembly of family home videos. You want it to not just inform, but entertain and engage. If you are thinking about budget, think about how much it might cost you later, when you’re forced to clean up a PR mess from a poorly produced video done in-house. If you’re thinking, “Well, only my family is going to see this,” consider your great great grandkids when they watch it. Wouldn’t it be ideal that they feel something, as opposed to just witness something? To achieve the emotional experience, to make it more than just the factual heritage connection, that takes some careful attention to timing and editorial decisions.

The beautiful thing is, it’s true, anyone these days can make a movie. In fact, if you are outside the Hollywood machine, the filmmaking experience can actually be quite liberating creatively, since now you are the one in control. You may hear the followup, “Yes, but not everyone should make a movie / video.” If you love the process and ability to express yourself by making films, then I disagree with those pessimists; please make lots of movies to evolve your skills and your voice. Simply realize that when ready for a serious production, it can also be a very scary thing in the wrong hands, not just for you and the team but for your desired audience.

What I am advocating is that after some experimentation and tests, once you get to a project you know matters to you, put some thought into how it will get accomplished the right way. Perhaps then we can look forward to increased interest in shows like the Vimeo Awards and Webby Awards, which stand to be much more in tune with viewers on an individual level. Everything is moving to the web whether we like it or not. I think the natural progression points to these more relatable, personalized shows thriving, while shows like the Academies focus on surviving. For non-filmmaker consumers, these new shows will only become more entertaining with age. From a filmmaker’s perspective, it is fun to watch these newer web-based award shows because the awards themselves seem so much more accessible and attainable. It still means you need to put care into your work; cats playing keyboards only gets you so far. Whether you are creating work for your friends and family, your peers and colleagues, or your customers and clients, think through your mission and make it cutting edge but still appropriately classy. And not swan dress classy; that is so 2001 old Hollywood.

Focus of the Day:
How do you make your content stand out?

Film-tip: Learn the language. The more vocab you know on set, especially in the area that you are not a specialist in, the more you can communicate with the crew about what you want. It sounds simple and repetitious, but it really can take what should be a 4 hour shoot and make it an 8-10 hour shoot if you mess it up.

Eco-tip: Help get support going for the coolest mode of transport out there yet. If you haven’t seen the Shweeb yet, you’re really missing out. Let’s get these into our cities and actually have fun getting to and from work.

March 8, 2012