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| Scene from The Immigrant |
We have officially reached the end of the year. It is time to uncover the best films of the year. The following is a rundown of the Top 50 films that I saw in 2014 (for films that I missed, check this list). From animated films to very surreal foreign films, it was a great year that is deserving of some recognition. These are the films that strove for something different whether artistic or thematic. Enjoy as I count down personal favorites and give some opinions on why they matter. Don't be afraid to share your thoughts on the films as well as your own list.
21. God Help the Girl (dir. Stuart Murdoch)
In a year jam packed with musicals, none held as much creativity and joy in execution as that of Belle & Sebastian helmer Stuart Murdoch's directorial debut. Following a journey of how music can help you overcome anxieties, it is one of the most infectiously twee and delightful films of the year. It also benefits from music video-style song numbers that embody a simplistic, childish approach that adds a distinct personality. Emily Browning is great in the lead and the film's kinetic energy provides evidence that musicals aren't dead. They just need to be reconsidered and not just renditions of former popular hits (see: Annie).
22. The Theory of Everything (dir. James Marsh)
This is a biopic that shouldn't have worked. If asked my thoughts on a Stephen Hawking film a year ago, I would laugh it off. As tragic and beautiful his career has been, it doesn't seem cinematic. However, Eddie Redmayne convinces me that there could be one with plenty of heart, smarts and beautiful existential questions. Not since My Left Foot have I been so compelled by a singular performance's physical transformation that results in the protagonist talking through a voice box. It is a beautiful film that compiles everything into a metaphor about the sacrifices one must make in a marriage with some unprecedented hurdles. It is at times nostalgic and dreamlike in ways that should seem distracting but instead add something deeper and more powerful to the story. Of course, Redmayne and the thankless wonder of Felicity Jones as Hawking's wife is the real magic of the film.
23. Jodorowsky's Dune (dir. Frank Pavich)
Confession: I have never seen a Alejandro Jodorowsky film. It is likely that most people nowadays haven't. However, there's something appealing about spending time with the director as he discusses his craziest film project. It is one that could have been more influential than Star Wars. You likely haven't seen it, but over the course of this documentary, it comes to life through description and various animatics. You'll kick yourself for not having it been made, as it is almost too ambitious and trippy to have been real. However, Jodorowsky is a fascinating interview and he makes it all count as he makes you realize that his creativity was too much for Hollywood, unfortunately.
24. Godzilla (dir. Gareth Edwards)
This is, at its core, an unnecessary American remake of a Japanese icon. However, Gareth Edwards found something fascinating about the beloved lizard. Some complained that he wasn't on screen enough. However, by curbing minimalism from Steven Spielberg's filmography (notably Jaws), he manages to create something intense with the titular character looming on the horizon. It is intense and evidence that this was a great year for monster movies. It is recontextualizing the nihilistic blockbuster by pointing out how pointless humans can be. Also, there's too much greatness in the character's destructive, unpredictable road map.
25. Lucy (dir. Luc Besson)
What is this film? Why does it exist? Clocking briskly under 90 minutes, it is one of the nicest adrenaline shots of cinema this year. Incorporating elements from various genres from Sergei Eisenstein to Stanley Kubrick, it is one of the few blockbuster films to embrace its budget by trying everything in an attempt to make sense of how using 100% of our brains will actually go. It is supernatural, fast paced and low brow intellectualism at its finest. Does it make sense? No. Does it need to? No. It is all about getting lost in the vision and authenticity. Also, kudos on making Scarlett Johansson take on these endearingly crazy roles. Between this and Under the Skin, she may redeem her weird credibility yet.
26. The Immigrant (dir. James Gray)
It is a criminally underrated film that flew under radars and eventually gained recognition via Netflix. It is unprecedented that a film would bounce back with acclaim like this. Thankfully, James Gray's vision of a woman who moves to America in the 1920's is a beautiful portrait of the American Dream that is breathtaking and thought provoking at points. Marion Cotillard delivers a solid performance alongside Joaquin Phoenix and Jeremy Renner as she becomes a performer with a tragic turn of events. From the costumes to the performances, it is a compelling look at a touchy subject full of authenticity and heart.
27. Maidentrip (dir.Jillian Schlesinger)
Meet Laura Dekker. At 14-years-old, she sailed around the world by herself. This documentary is an account of the events which managed to convey more than a sense of adventure. It is a story that focuses on becoming a responsible adult and forming life changing habits. To watch her transform over the course of the trip serves as a great metaphor for puberty. Thankfully, Dekker is more than a caricature teen and makes the closed spaces shine with optimism and the infinite quest to stay entertained. It may not be life changing, but it is highly optimistic and a beautiful exploration of life.
28. Locke (dir. Steven Knight)
The film has a very simple gimmick: Tom Hardy drives home from work and answers various phone calls regarding work and family. Can it actually be compelling? Yes. In fact, it works so well as a simplistic one man show that even the meditative silence of the freeway adds something ominous. Through conversations with disembodied voices, Hardy manages to explore the complicated nature of the modern man. What exactly does each of our occupations mean in the grand scheme of things? With a calming control, Hardy manages to make everything come naturally while still maintaining a magnetic approach. Along with the excellent cinematography, this is a great film for those that thought that liked Drive but felt that Ryan Gosling didn't talk enough.
29. We Are the Best! (dir. Lukas Moodysson)
Do you remember how bad your first band was? Over the course of this film that pits three girls into a punk band with limited talent, it manages to become one of the sweetest and most unique coming of age films of the year. The film's authentic youthful enthusiasm manages to overcome the mediocre songs and the stumbles of childhood with some genuine chemistry. This is a film about following your dreams, even if you aren't the best. As long as you believe you are, you can be. It's funny, touching and works as a snapshot of the carefree days that we likely have all had.
30. Willow Creek (dir. Bobcat Goldthwait)
Love him or hate him, Bobcat Goldthwait has made a career out of tackling taboo topics. In his latest, he takes on two taboos that are too old to be interesting. This is his found footage Bigfoot movie that works thanks to two charismatic leads as they travel through a forest town that is in love with the furry creature. Along with a great third act piece of horror, the film is almost always unassuming and serves as a great depiction of a couple torn apart by one's obsession. It may not be all that much of a distinctly Goldthwait film, but as a found footage film, it escapes the gimmicks that plague the subgenre and instead elevates it to something compelling and unique. It doesn't hurt to love Bigfoot's mythology, though you don't need it to like this.
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