As always this list will include features of 2012 that finally
received a higher level of accessibility in 2013. Additionally, it goes without
saying that I have not seen everything I would like to have seen. Of those most notably...Ain't Them Bodies Saints, American Hustle, The Great Beauty and The Wolf of Wall St.
With
that said, here is my favorite movies of 2013...
1). Only God Forgives (Nicolas Winding Refn)
The best film of the year stars Gosling as he plays Julian, an
American running a Thai boxing club/drug front in Bangkok who, in some sense,
is facing the forces of divinity made manifest by the dynamics of his family
and the Thai police. Rife with beautiful cinematography in a neon lit yet
coldly engaging world and a zoning electronic score, Only God Forgives shows director, Refn’s European
sensibilities returning since his last film, Drive.
This bloody violent film is stocked with symbolism and at times perplexing
philosophical/psychological currents. Do not expect to follow Only God Forgives emotionally – it’s expecting you to
put the work in intellectually. Which is a reflection of the Spanish surrealist
the film is dedicated to…
“If you are great, ‘El Topo’ is a great picture. If you are
limited, ‘El Topo’ is limited”
– Alejandro Jodorowsky on his film El Topo.
Does that make it self-indulgent? Arrogant?
Pretentious? I, for one, couldn't care less.
2). Upstream Color (Shane Carruth)
With his debut film Primer,
Carruth introduced himself with a unique storytelling style that manages to
make sci-fi on a budget more enjoyable than blockbuster sci-fi. It's not
just his fresh style but the simple and always effective use of intelligent and
original ideas. The same can be said of Upstream
Color. One could sum up the story as easily as saying two individuals
are introduced into the life cycle of some parasitic drug. They meet and
slowly unravel the mystery of what has happened and is happening to them.
Again, the real beauty here is the eclectic editing and visual poetry
that Carruth utilizes to tell there story. One could spend days
discussing and analyzing the story concepts - Walden,
anyone?. Add in the cinematic aspects and you'll be at it for weeks.
3). Post Tenebras Lux (Carlos Reygadas)
An urban family, having moved to the countryside of Mexico,
experiences raw drama and ambiguous fantasy in this cinematically fresh and
rewarding film by Reygadas. The cinematography is ethereal and at times
haunting when combined with such unsettling imagery. That's not to say
the films imagery is horrifying in itself. The imagery of Post Tenebras Lux is unsettling in that it's picturesque
and lush while also being new and confounding. This is partially due to
it's hypnotic, almost tunnel vision take on the 4:3 ratio. This way of
presenting the story only adds to it's mysterious nature. The narrative in itself is overtly
expressionist as it's partial auto-biographical and moves with fluidity removed
from reasoning. It's a film that's
entrancing and bewildering at the same time - an atmosphere that just seems to
work. It certainly worked to make one of the most original films of the
year.
4). Gravity (Alfonso Cuaron)
Honestly, I think there's little left to say about Gravity. It's a
technologically progressive, suspenseful lost in space hit film that in some
circles doubles as a horror film set in space. It's impressive in many
aspects and is masterfully directed and I found it to be an enjoyable and
memorable film-going experience. Very few films working on this level
strike me with the same intensity and reverence for filmmaking.
5). To the Wonder (Terrence Malick)
In the wake of The
Tree of Life Malick's To the Wonder can easily be seen as a minor work.
However, there is something moving in the way he has taken such grand and
emotional concepts and rendered them into the everyday life of humankind.
As in all Malick films, a soaring cinematography touts an enigmatic blend
of poetry and philosophy but with To
the Wonder it has been
refined and cast specifically to the characters. And though it's a story
of the complexities of love and relationship it stretches beyond the shallow
depths of traditional cinematic expressions of the like if only by simply being
beautiful and daring.
6). Frances Ha (Noah Baumbach)
With Frances Ha Baumbach has found the bridge between
the french new wave and GIRLS.
Greta Gerwig remarkably plays Frances, a new york "dancer" who
is actually more of a dreamer than a dancer. There is a slight sadness to
her lofty goals but the overall whimsy of the film shines thorough. With
some stellar black and white cinematography Baumbach achieves something
successful and redeeming - I think we all were starting to lose hope for
something as good as The Squid
& The Whale (speaking of
lofty goals) but, here it is!
7). The Lords of Salem (Rob Zombie)
8). Her (Spike Jonze)
Joaquin Phoenix gives another stellar performance as Theodore
Twombly in Spike Jonze's sci-fi romantic comedy, Her, in which he falls in love with the an artificially intelligent
operating system. I found this film interesting in the way it dissects
romantic relationships. It's hard not to think about the absurdity of a
human-AI relationship but I feel as though Jonze wrote this well enough to, at
least, point out that the absurdity is shallow at best (it’s just not that far-fetched, really). There is also a lot
to speak of on some meta level when comparing this film to Jonze's ex-wife's
great film, Lost in Translation.
Both films deal with individuals being alienated from their respective
relationships (much like Jonze and Coppola must have felt) and both films have
Scarlett Johansson taking her turn on each side of that alienation.
9). Spring Breakers (Harmony Korine)
Art-house aggressor, Harmony Korine, returns with one of his most accessible films to date. This is not to say that Spring Breakers isn’t just as artistic or aggressive. Here’s a film flaunting a group of young college girls heading out to enjoy spring break in a true drug laden, booze soaked, pop rockin MTV fashion. That sounds about as interesting as any other Girls Gone Wild feature might be but the difference is that Korine takes this attitude, this PoV or dare I say philosophy to the pinnacle of its own brash violent idiocy transforming these objectified little girls into dominating feminist anti-heroes (arguably anyway). Of course, I don’t see Korine passing judgment here but the characters due themselves in – in a number of ways.
I also just have to mention James Franco as “Alien”. Honestly, Alien was one of the best characters of the year. With that said, crack up the Skrillex, slam some Four-loko and pretend you’re hip enough to hang with Selena Gomez in a ski-mask touting a gun.
10). You Make Me Feel So Young (Zach Weintraub)
Lastly, I place this true (mumblecore?) gem on my top 10 of
2013. You Make Me Feel So Young is the latest feature from Zach
Weintraub, who I’d guess is a die-hard do-it-yourself indie filmmaker
generating clever witted and artistically fresh cinema. The film follows the story of Justine, a girl
doing her best to become comfortable with her fading relationship. Weintraub makes it look easy by presenting a
simple story in a simple setting but it’s the moody undertones and canted black
and white melancholic style that serves it so well. And while that all sounds so drab there’s
brief moments of comedy that carries the film along. Weintraub also has a way with long takes by
toying with our perception. He commonly
uses off-screen action and/or plays with the depth of field in an act of
cinematic language – a sort of punch-line by way of focus. I chose this film to highlight in hopes that
others might take the time to seek out good indie work like it. It’s far too easy to let Hollywood control
your cinematic experience so please do yourself a favor and look for those under-appreciated filmmakers out there.
Other Notables (deserved more attention/I enjoyed):
Drug War (Johnnie To)
Escape from Tomorrow (Randy Moore)
In The House (Francois Ozon)
Kiss of the Damned (Xan Cassavetes)
The Place Beyond the Pines (Derek Cianfrance)
The Place Beyond the Pines (Derek Cianfrance)
Somebody Up There Likes Me (Bob Byington)
Stoker (Chan-wook Park)
The Wall (Julian Polser)
