With the Marvel films, I feel conflicted due to my love for “The Avengers” but indifference toward the rest of the canon. As we enter “Phase II” of the Marvel franchise it seems there is room to expand into new areas especially with the upcoming release of “Guardians of The Galaxy” and the construction of the most recent Iron Man film. Captain America acts as the backbone to the Avengers team representing more of a patriotic ideal grounding the highs of Tony Stark and The Hulk while being foreign to the present time yet less foreign than Thor. This backbone plays well in an ensemble of characters yet it seems to be tough to highlight the star qualities of Captain America.
This second installment of the Captain America franchise goes in the direction of a paranoid thriller when Steve Rogers/ Captain America begins to question Nick Fury (Samuel L Jackson) on how things exactly are run in S.H.I.E.L.D.. In an action set piece highlighting more of the Tony Stark technologies in the series rather than any type of cinematic action, we are introduced to an army of faux police officers who attack Fury while he is driving. Technologies such as a computerized bullet proof car, equipped with a machine gun can get him out past the police officers but a sudden new threat is introduced as a man resembling more of a disturbed teenager than a super villain known as The Winter Soldier who’s badassness comes from the accessory of a metal arm is introduced flipping Fury’s car with heavy explosives. Fury is able to escape the assassination attempt with enough time to tell Rogers to trust no one while handing him a drive with information on how S.H.I.E.L.D. has been compromised. The events leave Captain America alone, unsure about Fury, unable to trust anyone.
Due to previous installments, we as the audience are incline to trust Natasha Romanoff/ Black Widow (Scarlett Johansson), and it seems Captain America feels the same as she is able to become a partner to Rogers, giving the character of Black Widow much more development and screen time that is deserved yet empty from the other films. Johansson’s character of Black Widow is a lot of fun combining the out of place physical action in “Iron Man 2” with the wit and ability to always be one step ahead during her scenes in “The Avengers”. Captain America is also paired with a new character Sam Wilson (Anthony Mackie) a likable Iraq War Veteran and running companion of Steve Rogers who has secrets and talents of his own. Another addition is Alexander Pierce (Robert Redford) known for turning down the Noble Peace Price because “Peace is not a prize”, who holds a position in the World Council and is a close friend of Fury’s. Redford comes at this character with a lot of energy but the character is not well written leaving scenes focusing on him to be heavy with plot circling around the S.H.I.E.L.D. crisis.
The film is at its best when it is trying to capture the 1980’s body action. The film opens showing a routine stealth mission for Captain America as he boards a ship captured by pirates and takes out almost all of the bad guys by himself with pure force. These scenes are shot like a “Bourne” film using the shakey camera to disorient but the action is pure muscle. This is shown more steadily when it comes to fight sequences between Captain America and The Winter Solder who has connections with The Black Widow’s Soviet past, his metal arm represents the mechanics and machinery associated with 80’s Soviet villains (Rocky IV) which tests the strength of the American body of Captain America, or one built on muscle. Unfortunately, by the end of the film, Marvel once again takes us on a gigantic robotic air ship that distracts from the spectacle and physical action of Captain America’s fighting scenes. On the surface, the sequel adds inner conflict to the character of Captain America, it is interesting how the character reflects American history in the way Captain America (similar to 1940’s public opinion) is portrayed as being pro war and government in the need to take down an evil empire Nazi Germany/Hydra but as time goes on he tends to question his government as the enemy is not so defined and the question of how much surveillance is necessary comes into play. Surveillance does become the main focus of the film that really pushes forth its post 9/11 imagery and NSA themes. Fury even says something along the lines of “After New York we needed to do everything possible to prevent another attack”. Marvel has not been known for getting into gritty realistic political themes in their films, yet “Captain America: The Winter Soldier” falls into the same category as blockbusters from “The Dark Knight” to “Star Trek Into Darkness” by trying to push a bigger message more current with our political reality. In the case of Captain America it treads onto elements “The Dark Knight” explored six years prior while never exploring what it means to live in a world with superheroes, surveillance, and over bearing government but instead just echoing what we see in headlines everyday choosing to project rather than reflect.
Unlike many “Veronica Mars’” fans I found myself only having to wait 24 hours between shows end until my experience with the film. This caused the film to be something of an natural extension of the show rather than something I wanted and waited for. Watching an episode a day for the past couple of months really started to wear down by the time the third season came along. Similar to the way the film establishes the three season history in the opening credits of the film, I shall start off by recapping my experience concluding that at its core “Veronica Mars” is a soapy teenage crime drama that has aspects of film noir but is overshadowed by pandering to pop culture fan fare. Rob Thomas is a mediocre director but a master of understanding his audience’s needs and feeding them while keeping a solid mystery at the heart of the narrative. A lot of discussion about the film comes from the Kickstarter narrative built around it that I have no interest in. Instead, the film is more interesting as a continuation of a series trying to branch out into a bigger network but staying true to its original goals and fans. The film honors the time that has passed as we find out that Veronica (Kristen Bell) is on the path to a strong successful career while maintaining a healthy relationship with Piz (Chris Lowell) who we last saw with Veronica at the end of Season Three. The film acts as an extended episode but also a condensed season as it brings back the Veronica love triangle when we learn that Logan (Jason Dohring), once again, is suspected of murder. This time it is his girlfriend with similar traits and fame to Lady Gaga, who is found dead in a bathtub. Internal conflict ensues when Veronica decides to clear Logan’s name by returning to Neptune, the town that plays such a pivotal role in Veronica’s early years. The first quarter of the film acts as a “We are getting the band back together” montage played out in multiple scenes. This aspect of the film somehow feels both tacky and genuine as we once again meet Veronica’s father (Enrico Colantoni) as well as Mac and Wallace (Tina Majorino, Percy Daggs III). I would assume this would have no effect on a first time viewer but this film is made for the fans and it goes back to the way Thomas forcefully puts in these moments but he knows they will have a hearty effect. An interesting thing Thomas does in the film is the way he characterizes Neptune. Our first introduction to the town comes when Veronica and her father are driving through a run down neighborhood where we see cops arresting innocent citizens as they hurry to find something in their car to charge them for. The aspect of race and income inequality has been a long time theme of the show but here in the film Thomas shows the extremes that it has come to, capturing Neptune as an almost post apocalyptic “hell mouth“. This characterization of Neptune is brief and Thomas coming from a television background seems to run away from the impact a lingering camera on this set could have.
Spoilers Ahead!!
A way in which the film presents itself as necessary is the way that it still explores old themes while introducing new ones by using time. Specifically, the ideas of depression that comes with acceptance of life’s realities and the drug like high of running away from a structured life, putting forth a metaphor of Veronica being an addict to Neptune. Veronica’s narration talks about the connection between drug addicts and her “addiction” for the dangerous life Logan lives as opposed to the safe life in New York. A lot of the films conflict comes from her pushing off the lawyer job in order to pursue the investigation. But it seems that even Neptune has grown up as Logan who is known for his uncontrolled violence in the show joins the military as a form of controlled violence. Mac has taken a job in computers for the Duncan corporation but views it as her being defeated by a high paycheck. And Wallace is now a high school basketball coach at Neptune High and constantly reminding Veronica that there are consequences now that they are adults. It is almost hypocritical how the film chooses the dangerous life but is so safe with its characters and plots. A problem I found with the show was always how things were never grey but all the blame of a crime could be put onto a purely bad guy always leaving the core intact by the end of the run. Here in the film it works the same way as Gia and Dick, characters we know and remember are blamed for the crime except by the end it turns out that they are victims and all the blame can be put onto a pure evil character straight out of a bad CSI episode. The same can be said for Veronica’s relationships as she never cheats but conveniently is always broken up with right before she can move onto the next guy never fully examining the complex emotions that are going through her. She is sheltered the way she breaks away from her “safe” life and goes with Logan as she narrates how she has lost to the addiction. There seems to be this appearance of danger coming from Veronica and director Rob Thomas without ever fully going there. With all that said, it seems that the film would have no purpose to anyone not familiar to the show, maybe it would cause an interest to visit the show but it is made for fans as a nice conclusion to the Veronica Mars narrative.
For every forced Buffy reference, overly dramatic moment, and easy pop culture comment there is a really great scene like the one below
It is devastating to watch a film be held hostage by its subject matter in a way that limits it from being anything more than what it is. The Monuments Men is exactly that, a film designed to celebrate art without having any type of artistic stroke to it. That being said, the film seems to be somewhat aware of its limits in the way that is glamorizes the idea of those limits by addressing the boundaries of language and art while constantly trying to create conflict in order to expand the stakes of the journey.
With a cast of some of the biggest American names, such as Matt Damon, Bill Murray, John Goodman and writer and director, George Clooney, the film highlights the patriotic American cause to save art (which is noted to be approved by President Roosevelt). Frank Stokes’ (Clooney) idea seems ludicrous to those with military minds he comes in contact with but from a position of looking back on history we understand the importance of the task. After Stokes gets the approval to move forward with the mission he gets to assemble an art dream team (which seems more of those left behind than those of the greatest minds). This aimless team with questionable talents is not limited to the previously mentioned American stars but like the war, includes those of the allied powers such as Academy Award winner Jean Dujardin (The Artist), and English character actor Hugh Bonneville (Downton Abbey).
The barriers come into play with the casting of Australian actress Cate Blanchett playing the only female role of importance as well as the only character with any real opinions or back story. Blanchett‘s Claire Simone, a French woman, must work with James Granger (Damon) shortly after being forced to aid the Nazi’s causing her to not trust the Americans after the occupation, due to a suspicion that they may also try to steal the art. The teams break off and showcase their comedic talents, such as Matt Damon trying to speak French even though those he tries to communicate request English rather than hear their language butchered. Breaking apart the cast most likely made the film easier to shoot but it creates this tonally off story where one character’s life is in danger inter cut with two other characters attempting broad comedy.
The conflict used to create tension is that Hitler has ordered all art should be destroyed if he or Germany is to fall, while the silent, fast moving, Russians want to take the art as compensation for their job in turning the war. This tension feels created as well as other parts of the film, forcefully pumping importance to the character’s narratives to give the mission more importance than actually is there. Clooney tries but fails to handle the tension and comedy that a film such as Inglorious Bastards (2009) succeeds with (barring the subject matter, some scenes feel awfully similar). This creates a film distracted by the influx of personalities overlapping melodrama and comedy without letting a particular genre effectively play out.
The Second World War was one of boundaries in both the way countries were invaded but also in the way it brought forth moral boundaries about America’s engagement in the war. The film suggests that art does not have these boundaries instead it is universal, able to be appreciated in all parts of the world by all types of people (The death of a Picasso is treated just as carefully as a death of a solider). These boundaries are also discussed with the casting and the way language is used. Cate Blanchett can play a French woman, differing languages can be overcome, and the English, French and Americans band together illustrating the way art can transcend boundaries. It is these ideas in The Monuments Men that could make it the prestige picture the marketing desperately wants it to be but awkward balancing prevents the picture from being anywhere near what it is celebrating.
It is interesting to compare The Great Beauty to the recent release of Baz Luhrmann’s The Great Gatsby in the way both films present a depiction of wealth and excess through parties and cinematically unrestrained dance sequences. Not to mention a title that alludes to the novel’s, director Paolo Sorrentino announces his presence amongst the cinematic greats through the subject matter of the film. Although this presence could be read as premature due to Sorrentino’s filmography it is this confidence behind the character and allusions that establishes The Great Beauty as worthy of contemporary praise.
Through the view and narration of main character Jeb Gambardella we go through the repetitive nature of elitist Italian society. Jeb narrates to the audience in chapter breaks the phoniness behind the events (one being his routine during funerals to subtly switch the focus from the deceased to himself) All while taking part in the culture as if it has become a part of him. Jeb has not always lived atop of a building with the background of the Romanian Coliseum, in fact, Rome imprisons him as he daydreams back to moments of his early years before he wrote his novel that plunged him into the grasps of Italian upper class. Triggered by a death of the woman that rejected him before his fame and the knowledge that she wrote in her diary about him more so than her husband of many years, Jeb tries to break out using passive aggressive insults and romantic connections with a stripper (Sabrina Ferilli). Although a negative depiction of the rich is nothing new or groundbreaking it is the way that Sorrentino handles it and through the performance of Toni Serivllo that elevates the film.
We are not introduced to Jeb until fifteen minutes into the film. His is introduced by a woman wearing a bra stating happy 65th birthday who includes Jeb’s congratulates in the same sentence as Rome, bridging the connection between the two. Directly after, Jeb turns in accordance with the dance music, with a grin and cigarette, kissed by fellow writer on the check and a woman on the mouth. Before the introduction it takes a while to find Jeb in the crowd but we are well aware by the end of the dazzling scene that he is the center of it. Servillo’s performance of boosting confidence but also vulnerable during certain key scenes such as the funeral allows the comparisons many critics have made to great italian films such as La Dolce Vita, 8 ½, and El Norte.
The excess in the characters are matched by the camerawork of Luca Bigazzi as he establishes right from the beginning that the camera, like the characters, will not stay still. Swooping shots accompanied by operatic music in scenes dealing with religion, death, and memories highlight the larger nature of these themes while the quick cuts, sped up dolly shots and club music gives insights to the lack of intimacy between the wealthy characters.
It is hard to think of criticisms of The Great Beauty, the film is layered with ideas of age, death, friendships, intimacy and love that heighten the attack against elitism into a much more nuanced look into how one gets accepted into the system and the struggle to escape it while acknowledging that need to embrace it. Played in the background of the film is Jeb’s thirst for something new through the mystery of what goes on in his neighbor’s apartment, by the end of the film we get insight into it and it is just as uncomfortable to the point of almost being repulsive as the last of the many party/dance sequences toward the end of the film.
Right off the bat I want to say that Man of Steel was the worst film of the year, it still bothers me. If you disagree it is totally acceptable to be wrong. But instead of focusing on the negative, 2013 should be seen as a fantastic year for film. Here, I have compiled a list of my 14 favorite films of 2013, something I have been doing since 2009 but have not wrote since 2011. Why 14? I do not know, unlike other years I just simply could not cut it down to 10 so I cheated. The following is a list of my personal favorite films. It ranges from films like Drinking Buddies which is a film that will be forgotten but is joyful to watch, to Spring Breakers which I believe defines a generation and really captures the culture that we live in. I have also added a few scenes and trailers for each film in hopes to influence the reader to check out some of these titles.
If you have time I would definitely recommend checking out David Ehrlich’s supercut of his top 2013 films. A part of me truly believes that images are best with overlapping music and quick cuts and this video makes me enjoy some of the movies on his list I did not enjoy in full form. Also, here is a list of all the films that I watched in 2013, the ranking is arbitrary the only numbers that I really focused and thought on are 1-20 and the bottom five, the rest are just thrown in there at the time I watched them and have no real meaning other than the rating I gave them.
14
Drinking Buddies
(Netflix Instant)
Joe Swanberg has stretched his limitations trying for what you can call a more “mainstream” film. In doing so he has elevated his cinematography and actors but while keeping his “mumblecore” themes and style of improvised dialogue. The chemistry, both vocal and physical, between Jake Johnson and Olivia Wilde engage the audience as the ideas of domestic partnership are discussed within the characters’ relationships. We can look to the late night scene on the beach as one that really extends the film as something more than a mainstream Romantic Comedy. Jake Johnson’s decision to stay on the beach opens up complications that exist between the two characters engaging the audience to dig into the characters the same way the performers do. The nuance of Olivia Wilde’s acting and the character she creates pushes on the relationship between the characters highlighting life’s complexities.
13
This Is Martin Bonner
(Netflix Instant)
A practice in minimalist film making featuring a character who is just a good guy leaving not much conflict in the film at all. The allure of the film comes in how the two characters can be compared by where they are positioned in life despite being such opposites in character. Filmmaker Chad Hartigan inserts his influence in the places where his presence can be felt that attracts beautiful shots of the Nevada landscape but he also knows when to back out and let the actors and the situations carry the film.
12
The Spectacular Now
Our introduction to actor Miles Teller as being a dominate up-comer, playing the character of Sutter who is “stuck in neutral” while dealing with teenage alcoholism. Similar to Drinking Buddies it is the chemistry between Miles Teller and Shailene Woodley (as seen here) combined with the darker themes that elevate The Spectacular Now above the surplus of generic coming of age stories.
11
Captain Phillips
Dull title, dull trailer yet the film is the opposite. Captain Phillips is a tense hostage thriller featuring one of the better Tom Hanks performances. Although the subject matter of a celebratory American “victory” seems to be at the forefront, the film is not a work of jingoism instead director Paul Greengrass finds the tragedy and humanness within the victory.
10
The Wolf of Wall Street
As I complete this write up Yahoo! features an article on the front page titled “Nine easiest ways to make a million dollars”. Lottery hopefuls and deserving millionaires is the society in which we live and is projected in Wolf of Wall Street. There is no question that Jordan Belfort is a villain, a truly horrible and despicable character but exactly how can we hate him when it is society that created him? We get lost in his life defined in its excess but quickly turn once the excess becomes disgusting and overwhelming. Like all great satire it gets lost on many. Jordan Belfort is a Frankenstein we created and we can argue that there must be additional punishment for him both in real life and in the narrative but it is the society that has created him (reflected in the last shot) and it is society who should be angry as Jordan Belfort rubs how he cheated all of us in our faces.
9
Mud
Similar to a fairy tale, Mud is a story about love through the innocently pure scope of children.The film is also another entry in the constant continuity of outstanding performances by Matthew McConaughey as the title character. Although it has been omitted in year end lists and is not large in scope, Mud captures the disappointment present in human nature and the inevitable loss of innocence.
8
Stoker
Chang Wook-Park’s American debut stays true to his dark subject matter and alluringly framed sequences. Some say Wentworth Miller’s script is predictable but the film is more concerned with atmosphere, iconography, and performance rather than plot.
7
Before Midnight
The practise of optimism is toned down in this third installment to the “Before Trilogy”. The first two films mirror the ages of the characters presenting love as a much more hopeful and pure ideal. While optimism is still present in Before Midnight once the couple is taken away from cheery friends and family the film really gets at the base of marriage in the sense that it becomes a battle to stay with one another. By presenting what happens after the “happily ever after” stage of the romance film Before Midnight becomes superior to its previous installments and pushes forth what can be done with the romantic film.
6
The Hunt
(Netflix Instant)
With really haunting subject matter many have critiqued The Hunt for acknowledging its character’s innocence from the start thus eliminating any suspense or further questions into the action. It is this presumption of innocence that makes the film so frustrating specifically toward the community as they quickly turn on the main character of Lucas. The questions of the community are the interesting parts of the film specifically the idea of how overt masculinity is celebrated in society yet we are frightened in the ways we cannot contain it and are quick to turn against it. The frustration and feelings of hopelessness in the system can be read as the intent of the film and in that case it is a success.
5
Her
One of the best metaphors for long distance relationships, Her asks all the big questions about love but is smart enough to know there are no answers to these questions. The character’s relationship focuses on ideas like possession over a significant other and commitment without consequences. Like the film we must get past the nostalgic argument that technology is ruining social society and focus on what technology can do to help society or how the simple acknowledging that someone or something exists is comforting enough.
4
Frances Ha
(Netflix Instant)
Frances Ha, another coming of age film, explores the extended adolescence theme that is present in modern culture through the character of Frances who is extremely likable but does some pretty horrible things as a result of her immaturity. The comedy in Frances Ha comes from uncomfortable situations for both Frances and the viewer creating the displacement that comes with growing up. Many have compared Frances Ha and labeled the film as a contemporary Woody Allen film. Although this is both easy and limiting it works as it is Frances, a strong female protagonist, who represents herself and her place amongst society through some of the strongest dialogue written this year.
3
12 Years a Slave
As a country we have been terrified to confront slavery and the racism that is built into our society. It took a few British artists (Steve McQueen, Chiwetel Ejiofor, and Michael Fassbinder) to depict American Slavery as being one of the most horrible things to happen something American film has been unable to do. Many slave narratives in film are soft and uplifting, promising hope while having white protagonist steer the story. McQueen gives the character of Solomon Northup agency focusing the narrative on the slave experience and not letting the audience be distracted. This is shown in the scene that has been labeled “Ignoring the Noose” where a still shot watches as a Solomon struggles for his life in the aftermath of an unsuccessful hanging. This shot lingers on for an uncomfortable amount of time but it is this discomfort that makes the film so successful and truthful in its telling.
2
Spring Breakers
“Bikinis and Big Booties Ya’ll , that is what life is all about”, Alien, the character played by James Franco screams out into the crowd. Is Director Harmony Korine making fun of this idea or the generation behind it? Is he laughing at the audience that believes the film is laughing at the “spring break” or millennial generation or is he sincerely capturing a life of “Bikinis and Big Booties”? How could a film starring Disney Princess “going wild” feature one of the most beautiful scenes all year? The complexities do not end with where the director stands but can also be seen in the structure of the film specifically its editing style that is put together like a Gucci Mane(who stars in the film), rap song. Complete with repetitive words and randomly inserted shotgun sounds the film fully embraces the Spring Break or millennial culture and presents it for the audience. This year presented many films that really tried to capture the modern society but it is Korine who is sincere with his creation, not passing any judgement onto the characters but instead letting them exist in this enclosed utopia of Spring Break.
1
Inside Llewyn Davis
After the death of his musical partner, Llewlyn struggles to make it in the folk scene. Llewlyn is jaded and resentful to those around him as he must relinquish all vulnerabilities (and even future vulnerabilities) that are created from human relationships. His struggle to “make it” is exactly that as Llewlyn is a man of talent but he is nothing spectacular. The same performance bookends the film that is so structurally sound in the way the character functions throughout his journey. The atmosphere that elevates the plot is created by the scenery as well a soundtrack lacking an unmemorable track. Out of all the films on this list Inside Llewlyn Davis may come as the simplest in terms of character ambition and scope but it is that ambition that is deeply explored making Llewlyn not only the most interesting character of the year but the most perfectly executed film of the year. "“I’m tired… I’m so tired, I thought I just needed sleep but its more than that”
