Tag Archives: Gillian Flynn

Top Ten Films Of 2014

Has anyone ever stopped to wonder why all of the best of the year lists have to be in the top ten? Like, what sort of critic was working on his list and thought that ten would be the magic number? Why ten and not twelve? Or fifteen? Five? Twenty? Eight? Why was ten specifically chosen as the big number? Was it chosen at random, or was it actually chosen for some relevant, significant reason?

Regardless of whatever the case may be, I’m choosing to be a little rebellious this year. For the past few years, I’ve seen enough films to make a “Top 15″ list if I wanted to, but if I had done that, my site viewership would go down by about twenty views.

So this year, to battle the preconceived notion that “best of the year” lists have to have ten movies, I’m doing two different things. 1) I’m adding an “honorable mentions” selection that while those films aren’t necessarily in my top ten, they are still significant films that have contributed to the year’s industry regardless. 2) In honor of our first full year without the wise, sometime snarky, words of film critic Roger Ebert, I’m offering a special Grand Jury Prize, which honors a film from the year which has made a notable accomplishment that fits outside of my year’s top ten.

As always, there is a few things you need to know before I get into my year’s best. First of all, I haven’t seen all of the films the year has had to offer. I’ve heard from so many people how Jean-Marc Vallee’s Wild was emotionally stirring, with Reese Witherspoon’s performance being the greatest highlight of the film. I’ve also read from critics that Selma, A Most Violent Year, and American Sniper were great movies as well, but guess what? None of those movies get a wide release until after Dec. 31, so I’m not able to even see those films until after the year anyway. So what am I going to do? Release a revision to my current list, or add those films to 2015 if they’re good enough? I’ll make a decision when it comes to that. It’s the studio’s faults for releasing those movies so late into the year anyway. Blasted film mongers.

Secondly, and perhaps more significantly, this is my list for the best films of 2014. Not yours. There has been high praise from many notable films of the year, including Edge of Tomorrow, The Theory of Everything, and Captain America: The Winter Soldier. None of those films will be on my top ten list because I didn’t deem them worthy enough to be on there. It’s nothing against the films or the filmmakers: I just didn’t think they were good enough.

If you’re not satisfied with that, then please, make your own top ten list. I’d love to read it, and if your reasonings are sound enough, I’d like to share it with others.

Now then, let’s hop to it, shall we? Here are my top ten films of 2014:

10. Interstellar 

A mesmerizing, breathtaking, and exhilarating journey that may have only slightly exceeded it’s grasp. Based on an idea by physicist Kip Thorne and directed by Christopher Nolan, Interstellar takes place in the future on a dying planet Earth, where the only source of sustainable food is by growing corn. When former aircraft pilot Cooper (Matthew McConaughey) stumbles upon a secret station that has been hiding NASA for so many years, Cooper enlists in a daring space mission to find a new planet that will be able to sustain and save the human race. A testament to the quality of film that Nolan is consistent in making, Interstellar is a brilliantly woven, thought-provoking plot, invoking the same themes of humanity and identity that Nolan exercises in all of his films. McConaughey reaches an emotional depth much deeper than past “Nolan” actors, and succeeds in making his character more human than hero. This is Nolan’s most emotional movie yet, but it’s also his most complicated and convoluted. But if Nolan’s only real flaw with this film is being overly ambitious, I don’t consider that a flaw at all. Three and a half stars.

9. The Grand Budapest Hotel

A crafty and artsy film that acts as a homage to the early days of cinema. After being framed for a violent murder of one of his former hotel guests, Concierge Gustave (Ralph Fiennes) teams up with his young apprentice Zero (Tony Revolori) to set out and prove his innocence through a series of weird, wacky, and crazy adventures. Written and directed by Wes Anderson, who was nominated for an Academy Award for The Royal Tenenbaums and Moonrise Kingdom, The Grand Budapest Hotel is a peculiar, quirky film, a fun and enjoyable ride in it’s own singular way. Anderson is very specific with the direction of the film, using practical effects and set pieces that gives the film a very distinct visual style and aesthetic. The antics Gustave and Zero go through are the stuff of slapstick gold, with these guys doing silly stunts and chase sequences that reminds me of the silent film days of Buster Keaton and Charlie Chaplin. It’s definitely seasoned for the art house crowd, and it’s definitely more difficult to appeal to the masses. But if you allow yourself to be lost in it and have fun with it, you’ll find that it is easily the most unique film of the year. Three and a half stars.

8. How To Train Your Dragon 2

A wildly exciting and entertaining animated ride that appeals to both kids and adults. When a crusade of dragon-hunters reach the land of Berk and begin their hunt for the flying beasts, Hiccup (Jay Baruchel) must team up once again with his dragon Toothless to stop the brigade and save Berk’s dragons and dragon riders. Written and directed by Dean DuBlois, who returned from directing the first film, How To Train Your Dragon 2 is a near-perfect follow-up. It hits on every note it needs to, from the comedy, to the animation, to the action, to the emotion. Hiccup is a much stronger, yet more vulnerable, character now, and needs to face more mature situations now as a grown man rather than as he did when he was a boy. In many ways, How To Train Your Dragon 2 is to it’s first counterpart as Hiccup is to his younger self: they both grew. Three and a half stars.

7. Gone Girl

A brilliantly frustrating thriller that exercises themes of infidelity and media harassment. When Nick Dunne’s (Ben Affleck) wife Amy (Rosamund Pike) goes missing, all eyes turn to Nick for what happened to his wife. When clues slowly surface and more details surrounding the disappearance reveal themselves, everyone is asking the same question: did Nick Dunne kill his wife? Directed by David Fincher and written by author Gillian Flynn, Gone Girl is a masterfully orchestrated thriller, equal parts daring, inventive, intelligent, and unpredictable. Fincher propels Flynn’s brilliant plot forward with expert direction, eye-striking camerawork, and a cast that Fincher pulls the best from. This movie is like a game of cat and mouse, except no one really knows who is the cat or mouse. There is not one note in the film that you can guess is coming. Three and a half stars.

6. Dawn of the Planet of the Apes

A compelling and exciting survivalist-drama that looks at the human/primate condition as two sides to one coin. After the chemical attack on planet Earth that took place at the end of Rise of the Planet of the Apes, Dawn of the Planet of the Apes follows the story of Caesar (Andy Serkis) and Malcolm (Jason Clarke), the leaders of the apes and the humans, respectively. As the human-primate war rages on violently, Caesar and Malcolm begin to see that the apes and the humans aren’t so different from each other, and they begin to explore any possibilities of peace between two races. Matt Reeves builds an intelligent, in-depth story around Dawn of the Planet of the Apes, and handles its premise with skill and precision.  It surprising that the basis of this film wasn’t grounded in action or ridiculous CGI stunts, but rather in small, intimate moments of conversation and ape-sign-language that characters share with each other. Serkis is a revelation in the movie, and deserves an Oscar nomination for both his physical and emotional performance. Four stars.

5. Birdman

One of the most mesmerizing, unique, disturbing, shocking, and darkly funny films I’ve ever seen. Alejandro Gonzalez Inarritu writes and directs this ingenious dramedy starring Michael Keaton as Riggan Thompson, a washed-up movie actor trying to escape his image in a former superhero role by adapting his favorite broadway play to the stage. Keaton is a natural in the role, relating his own experience to portraying Batman in order to further authenticity for the character. Cinematographer Emanuel Lubeski contributes to the visual design of the film, shooting and editing it to look like one, continuous shot rather than multiple longer takes. But Inarritu is the most essential storyteller here, making a visual and emotional masterpiece that is so distinct in its own language that it is impossible to define it, let alone replace it. Four stars.

4. Whiplash

One of the most edgy, thrilling, and provocative films of the year. Miles Teller stars as Andrew, an upcoming college student who is majoring in music and dreams of becoming one of the best drummers in the country. A series of events lands him in the top jazz orchestra of Shaffer Conservatory and under the tutelage of Terrence Fletcher (J.K. Simmons), a brilliant but harsh and antagonistic instructor who is known to go very hard on his students. Andrew and Fletcher both develop an intense rivalry that both hurts Andrew, angers Fletcher, and yet equally compels them both to become the very best they can be. Writer/director Damien Chazelle conducts both actors through his sophomore effort, and does a great job in producing a tense, electric vibe consistently throughout the film. Teller and Simmons’ chemistry with each other is equally perfect, with the both of them bouncing off of each other’s words and emotions as perfectly as a drum beat. This film is about more than just music. It’s about the human desire to be great and what sacrifices we’d make to get there. Four stars.

3. Boyhood

The most revolutionary film of the year, ambitious in both production and vision. A twelve-year project pioneered by writer/director Richard Linklater, Boyhood tells the story of Mason’s (Ellar Coltrane) childhood, chronicling his entire life from when he was six years old, up until when he turns 18 and leaves for college. The movie isn’t so much a story as it is a scrapbook of memories, and Linklater is pulling each photograph out of it just to show it to us. When he is younger, Ellar isn’t acting but living, behaving like any other child would in the moment because he is in the moment. As he gets older, his performance gets more stagnant and Coltrane becomes more of a surrogate for us to express our emotions through, rather than experiencing his own. In this day and age, it’s rare to find a film as real and honest as Boyhood is. Four stars.

2. X-men: Days of Future Past

The best entry out of the X-men franchise, and the best superhero movie of the year. Serving as a sequel to both 2011’s X-men: First Class and 2006’s X-men: The Last Stand, X-men: Days of Future Past is set in the apocalyptic future where mutants are being exterminated by humanoid robots called “Sentinels”. Having only one chance to go back in time and stop this future from ever happening, Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) send Wolverine (Hugh Jackman) through time to their younger selves (Portrayed by James McAvoy and Michael Fassbender) so they can stop the triggering event and save the future. Directed by Bryan Singer, who formerly helmed the first two entries in the franchise, X-men: Days of Future Past is a game changer. It is not only a visually-dazzling and highly climactic sci-fi blockbuster: it is a vastly intelligent and contemplative story that focuses on its recurring themes of racism and xenophobia, once again bringing the consequences of discrimination to the forefront. X-men: Days of Future Past is one of those movies that restores your faith in the superhero genre. Four stars.

And finally, my number one film of the year is —

1. The Fault In Our Stars

Surprised? I’m not. The Fault In Our Stars is one of the most magical, heartbreaking, and genuine films you will ever see, and is more than worthy of being called the most emotional film of the year. Based off of the novel by John Green, The Fault In Our Stars follows the love story of two Cancer-stricken teenagers: the shy and book-loving Hazel Grace (Shailene Woodley) and the optimistic amputee Gus (Ansel Elgort). Written and directed by independent filmmaker Josh Boone, The Fault In Our Stars is one of the best stories ever translated from book to film. I initially was skeptical on seeing this film, considering how much it seemed to have been doused in rom-com syndrome. The reality couldn’t be further from the truth. Boone adapts Green’s story perfectly to the big screen, retaining everything in the novel from the visual details to the words that were written. But its Woodley and Elgort that sells it so well, their chemistry that vibrates so wonderfully with each other and leaves such an impression on you. Trust me when I say this isn’t your typical rom-com: it’s a heartfelt drama disguised as a tween movie, and it is the best of it’s kind. Four stars.

And finally, this year’s first Grand Jury Prize appropriately goes to Steve James’ documented biography Life Itself. Following Roger Ebert’s life and career from him growing up in Chicago, to when he got his first reporting job, to when he won the Nobel Prize for film criticism, to when he lost his best friend, to when he got Thyroid cancer, this film is everything that Roger Ebert is: funny, honest, heartfelt, unabashed, unflinching, and real. It doesn’t give you a peppered-up look at his life: it’s whole and accurate, as genuine as any of the reviews he’s written. I’m probably biased towards this subject, but the subject doesn’t count as long as it is handled well. James’ handles this story with respect and humility, and ends up telling a story about life itself rather than just limiting it to Roger’s story. It’s my favorite documentary of the year, and it brings me great pleasure to award my first Grand Jury Prize to this wonderful film tribute.

Honorable mentions include the creepy and morally ambiguous Nightcrawler, the funny yet stylish Guardians of the Galaxy, the humorously innovative The Lego Movie, and the quietly thrilling The Imitation Game, featuring the year’s best performance from actor Benedict Cumberbatch. Not all films can be honored at the end of the year compilations, but this year I was glad to have seen so many films and give each of them a chance to shine in their own way.

All the same, if you feel differently about some of the films on my list, or you have seen another film that deserves to be recognized, please comment about it. Or make your own list. Movies are deemed as great films not from individuals, but from the masses, and the only way you can tell if a movie has truly accomplished something is if it has the same effect on all its viewers.

On that note, my fellow moviegoers, I end with a classic line from my favorite film critic: “I’ll see you at the movies.”

– David Dunn

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“GONE GIRL” Review (✫✫✫1/2)

Gone Girl

What happened to Amy Dunne?

When I started watching Gone Girl, I had no idea what happened between Nick Dunne and his wife Amy. Now I have finished the movie, and I still have no idea what happened between the two of them.

Gone Girl is a very strong psychological thriller, packaging the essential elements of tension, grit, and confusion to make an extremely fascinating, yet equally frustrating, watch. Imagine you’re driving on a highway, except you take a wrong turn. Then you take another wrong turn. Then you take another, then another, and then another after that. Gone Girl is that highway, taking you through so many twists and turns that you don’t know which way you’re going anymore. The only problem is that there’s no end destination when you get off of the highway.

Based on the book of the same name by Gillian Flynn, Gone Girl starts with Nick Dunne (Ben Affleck) coming home to see his living room torn apart and his wife Amy (Rosamund Pike) missing. There are a few details that disturb him upon this discovery. The glass table is smashed in. Chairs are overturned. A blood splatter can be spotted above the stove in the kitchen. Suddenly, Nick finds himself swept into a media frenzy as everyone everywhere cries out “Where’s Amy?” as he and Amy’s parents work to find Amy and bring her back home.

Yet, in the midst of all of this media attention, people start to recognize strange things about Nick. He’s behaving oddly for someone who has just lost his wife. A woman outside of a press conference takes a selfie with him and posts it online. He smiles at the conference when people take his picture. And as police discover Amy’s diary and uncover incriminating evidence about Nick’s marriage with Amy, people start to ask one question: did Nick Dunne kill his wife?

Let me start by saying this: there’s no way to expect anything from this film. The minute you think Gone Girl is going in a specific direction, it does a reversal and goes in the complete opposite direction, setting you on another prediction track until it does another reversal. There are many factors contributing to these twists, the biggest one being the writing contributions of Gillian Flynn. Flynn, who wrote the original book, was adamant about being involved in writing the screenplay for David Fincher’s adaptation, and she’s a good sport as far as working with him. Even though there are a few differences conceptually from the book, the work remains a whole emotionally, and lets off this gnawing paranoia on both characters as we question who is the victim and who is the perpetrator. This movie is like a game of cat and mouse, except no one really knows who is the cat or mouse.

The writing is ingenious, but the real star of this show is David Fincher. Fincher, who is no stranger to mind-bending plots (1997’s The Game, 1999’s Fight Club, and 2007’s Zodiac), incorporates elements from all of his movies into this one mind-bending thriller. It has plot twists as big as those in The Game, the pseudo/suicidal/mind trickery in Fight Club, the dark, disturbing realism in Zodiac, and the broad, expressive shots, angles, and edits from The Social Network. I like this about Fincher films, that they’re so distinct in visual style that you can almost instantly tell that it’s a David Fincher film.

Example: In the opening sequence of The Social Network, we capture the essence of the scenery as a lonely Mark Zuckerberg trots back to his dorm. We get a sense of the campus he’s on, the bridges, the buildings, the sidewalks, the trees. We not only feel the physical surroundings around him, but also the life that’s in it, almost like the scenery is breathing around him. Fincher did the same thing during The Girl With The Dragon Tattoo, and he did it again with Gone Girl. When he’s not filming a scene where there’s a tense exchange of dialogue between characters, he’s quietly viewing the scenery all around him, telling a story with silent images just as much as he does with outspoken characters.

More than what he does shot-wise though, I’m impressed with how he handles his cast. Look at the names associated with this film. Ben Affleck. Rosamund Pike. Tyler Perry. Neil Patrick Harris. Are any of these names what you’d expect to see in an intricate crime-thriller, let alone give a decent performance? I mean, the last memorable role Perry had since dressing up in drag as Madea is Alex Cross, and that was about as complacent as an action movie can get. Neil Patrick Harris’ most serious movie role is as himself in Harold and Kumar. Rosamund Pike is most known as a Bond girl. Affleck’s acting career is self-explanatory. I looked at all of these actors cast in these roles, and I couldn’t help but wonder what they were doing in a Fincher film.

Then I saw what he did with them, and I couldn’t see anyone else in their roles. Perry played Dunne’s attorney Tanner Bolt, and he was so smug and straightforward that he could lend Robert Downey Jr. a few tips for The Judge. Harris steps so wonderfully into a role he’s never played before, and Pike is exemplary too, though I won’t exactly specify how. Affleck to me was the most interesting. He uses awkward lulls, blank expressions, and his sterile voice just like he did during some of his bad performances in past movies. It’s not a bad performance though. Fincher is just using Affleck’s natural reactions to lend details to Nick Dunne’s character, like how he could be smiling in pictures while his wife is missing, or why he sounds so unconvincing when he gives a speech about how he loves his wife to ongoing listeners. Fincher uses both Affleck’s strengths and weaknesses as an actor to the film’s advantage, and that goes the same for everyone else in the film.

I liked many things from this film. The cinematography, the editing, the thought-provoking plot, Fincher’s masterful direction of the film and it’s cast all culminated into a jaw-dropping experience. My only regret about this film is it’s ending. I won’t spoil it for you, but I will say that it ends in the same way that it begins, posing questions and vague thoughts so that the audience may fill it with their wild imaginations. I realize Fincher and Flynn did not intend to have a straightforward, clear-cut ending, but I have a stubborn need for closure. Films are supposed to provide answers to the questions they’ve already posed to you. Gone Girl does not provide an answer. It provides a question.

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