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My top 20 films of 2013.
10. All is Lost
No one would have guessed that writer/director J.C. Chandor, who received an Oscar nomination for his extremely-talky Margin Call script, would follow up that effort with a film so sparse that the script was supposedly only 32 pages long. But he did, and the result is impressive. Robert Redford, the film's sole actor, anchors a nearly-dialogue free tale of a man struggling to stay alive at sea as incident after incident make that task increasingly unlikely. Man vs. nature tales are no stranger to film, but rarely is the focus narrowed down so specifically as it is here. And Redford, a seasoned actor if ever there was one, knows to just play each scene for itself, without nodding towards a larger theme. He's just a guy trying to solve the problem that's in front of him. And we're rooting for him to succeed.9. Oblivion
Possible spoiler alert (depending on if you've seen the movie I'm about to compare Oblivion to).At it's core, Oblivion is basically 2009's sci-fi gem Moon, but a lot prettier and with 20x the budget. There are a few more fireworks, but the theme is largely the same. As a result, what would be a thrilling science fiction movie on its own can start to feel a bit like it's treading on an already-beaten path. But if you can shake that sense, it's an entertaining and gorgeous-looking film.
8. Dallas Buyers Club
Man vs. The System dramas based on true stories are a dime a dozen. Dallas Buyers Club succeeds because it has Matthew McConaughey and Jared Leto giving 110% in their roles (and Jennifer Garner trying her gosh-darndest, which is really the most you can ever ask of her). This is an acting showcase, and the leads are up to the challenge and then some.7. You're Next
A slasher film that subverts expectations, You're Next initially seems like a dysfunctional family drama before crossbow bolts start smashing through the windows. Privileged adult siblings gather at their parents' remote estate for dinner, barely masking their resentments and petty jealousies. Then people start dying off, being hunted down by intruders wearing animal masks. But one of the would-be victims is more capable and dangerous than they realize. Tense and darkly funny throughout, You're Next is a huge showcase for the emerging "mumblegore" genre (a hybrid of mumblecore's dialogue-and-character driven material and independent horror's nostalgic take on 70's and 80's era horror tropes), featuring as many directors in roles as it does actors. Mumblecore maestro Joe Swanberg is hilarious in the role of the judgmental older brother, so self-righteous that he continues talking shit to his siblings even while an arrow is sticking out of his shoulder blade. Amy Seimtez also has a funny extended cameo as the youngest sibling, the "daddy's little angel" archetype. Leading it all is Aussie actress Sharni Vinson, whose biggest role to date has been in Step Up 3D. Here she more than capably assumes the film's lead as a girlfriend to one of the siblings who is stronger than anyone expects. You're Next is a strong genre film with enough surprises up its sleeves to overcome the familiar plot setup.6. The World's End
Simon Pegg, Nick Frost and Edgar Wright's concluding chapter of the loosely-affiliated "Cornetto Trilogy" improves upon the trio's last effort, the very good Hot Fuzz (2004's Shaun of the Dead rounds out the trilogy). A getting-the-gang-back-together plot that also features an alien invasion and that overall serves as a metaphor for alcoholism is not an easy thing to pull off, but the gang has just the chops to do so. Wright has proven himself to be a master behind the camera (his rhythmic fight sequences are the highlight of any of his films, this one included), Pegg has never been better than he is here, and Frost shows new talents by playing against type as the film's straight man. An entertaining and occasionally poignant final chapter to a superior thematic "trilogy".5. Captain Phillips
Like with his stellar United 93, Paul Greengrass' Captain Phillips askews backstory for immediacy. The effect is similarly electrifying. We may not know that much about Tom Hank's titular captain, but we're rooting for him to find a way out of the nightmare that has ensnared him. Just like in United 93 and Apollo 13, Greengrass and Hanks manage to create a large amount of tension and suspense even though most of the audience already knows how the story will end. That's no small feat.4. The Gatekeepers
This documentary combines interviews with every living head of the Shin Bet, Israel's state security and intelligence service (similar to the US's NSA and Homeland Security) to give what amounts to an oral history of the organization. The interviewees differ in their degrees of candor, with some openly lamenting bad decisions while others refuse to acknowledge even a small degree of fault in their actions. The end result is fascinating, especially as some of the interviewees' start to criticize their predecessors and/or successors. The film demonstrates wonderfully the way a powerful country's security decisions/policies can vary wildly depending on the man tasked with enforcing them.3. Gravity
Gravity is one of the best-looking films ever made. Yeah, I said it. It's a visual feast, filled with wonder and adrenalin in equal parts. It would be a classic if the visuals weren't hung on such a threadbare plot and someone other than Sandra Bullock was the film's lead. Bullock is a talented actress, and she tries really hard here, but she doesn't come across as a character so much as just "Sandra Bullock in a space suit". George Clooney can be more forgiven for mainly playing an astronaut version of himself here, as his character is kinda written that way. Still, most people won't care about that stuff until after the movie has released them from its grip, and by then who really cares that much?2. The Wolf of Wall Street
It's a remarkable feat that Martin Scorsese's longest film feels like one of his shortest. The Wolf of Wall Street dives into a sea of excess and then swims with all its might into deeper and deeper waters. All of the characters are horrible people, but we don't care as we watch them gleefully overindulging in everything they possibly can. The result is more of a demented black comedy than a drama, and is easily Scorsese's funniest film (sorry After Hours, I still love you dearly though). Scorsese himself overindulges as director, using damn near every filmmaking trick he's ever learned. The camera whips and pans frantically one moment, then draws out a long take in the next moment. Scenes blend into one another, and characters move in and out of the 4th wall without breaking stride. And Leonardo DiCaprio, the perfect choice for this role, gets to show the audience some new tricks. DiCaprio is one of the most recognizable faces in film, and yet I doubt anyone knew how capable of physical comedy he could be. A late-film sequence involving a high dose of quaaludes becomes a wordless struggle against his own useless body, and the scene is so good that it should be his Oscar clip.1. Upstream Color
Shane Carruth makes films for audiences to obsess over. Like in his infamous debut, Primer (made for only $7,000, and on actual filmstock, no less), Upstream Color's story doesn't 100% reveal itself upon first viewing. And not necessarily on the second viewing, either. Carruth does the rarest of things as a writer/director: he trusts that his audience is patient and intelligent enough to put scattered pieces together themselves. Everything the audience needs to know about the plot is on screen, just not in the typical way. While Carruth's praises tend to be about his dense, complicated plotting, he has also revealed himself to be a very talented cinematographer. Primer rarely gets credit for how good it looks (especially for the debut film of a man with no formal filmmaking education). Upstream Color sees Carruth jumping straight into Terrence Malick territory with his visuals. Only 2 movies into his career, Shane Carruth is proving to be one of the best auteurs currently working.I'm intentionally not summarizing the plot here, because that would be a futile attempt. The plot is too abstract for description. And yet, after a few viewings, it's also not abstract at all. Trust me, it does eventually make sense. And it's amazing.
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