So “Transcendence”… happened. I don’t regret having seen it, if only for the joy of seeing it in an empty theater with some friends and co-workers, thus being granted the freedom of unmitigated riffing. To put it sweetly, it’s not very good at all. The techno-thriller attempts to shed light on some rather tired themes (most emphatically the dangers of technological advancement) with yet another modernized variation of the Frankenstein allegory. Award winning Cinematographer Wally Pfister, famous for having worked with Christopher Nolan on The Dark Knight Trilogy and Inception, makes his debut as a director. If Transcendence is any indication, than despite his proficiency with framing/lighting/ tracking ect, he has a lot to learn about the mechanics of translating a cohesive story to the screen and drawing compelling performances out of actors.

Johnny Depp plays Jeff Goldblum from Independence Day (you’ll know it when you see it) and quite literally phones it in (he spends about 75% of the movie on a computer screen). For his little time on camera as a physical entity Depp plays the trite “quirky scientist who doesn’t want to work for the man.” Rebecca Hall does her best as the distraught wife and Frankenstein archetype for the story (after her husband’s death she upload his consciousness to a computer kick-starting the dull, flaccid proceedings). Paul Bettany tries his darnedest to put in a good performance (despite disappearing for long stretches of time, held captive by and eventually joining Kate Mara and her Luddite terrorist cell). Cillian Murphy shows up for about five collective minutes as an FBI agent investigating whatever the plot demands he be investigating at the moment, and does an adequate job given the material. I’m still unsure as to why Morgan Freeman was in this movie. He kind of just hangs out with Cillian Murphey while things get investigated and exposits whatever vague messages this movie was trying to convey.

The main problems with this movie stem from the script and the inexperienced directors inability to transcend (oh yeah, that happened) the shortcomings of said script. The story plods along with weak, poorly defined characters. The science fiction elements are not contextualized by anything in the story, making the more fantastical things that happen here feel really out of place. For example, the cause of Johnny Depp’s death: after delivering a speech at a convention about artificial intelligence, an assassination attempt is made on him by the aforementioned Luddite group. They shoot him with a radioactive bullet that puts him in the hospital and gives him cancer, killing him in the span of a month. This creative decision just baffles me. He needs to die for the story to advance, audiences will understand this….but a cancer bullet? You couldn’t just have him get shot and die? Or get poisoned? Or just simply die of cancer and forgo the silly Luddite thing? And this is about fifteen-twenty minutes into the movie…well at least they prepare us for what’s to come ahead of time.

The movie is peppered with unintentionally silly little touches like this, despite it’s heart attack-serious tone. My god, does his film take itself seriously. The air of self-importance is stifling from the first few minutes, even though the oh-so-deep themes being explored really aren’t anything new. Couple this with characters who range from cliche to two-dimensional to downright unlikable and this movie, under ordinary viewing circumstances, could be quite a chore to stomach for it’s two hour run time. But at least I had a blast, despite the film’s best efforts.

While I can say in all honesty that Marvel studios has never made a bad film, their last two efforts at continuing the success of the smash hit Avengers have been rather underwhelming (Thor: The Dark World more so than Iron Man Three). Their latest film, however, is not only a far superior an effort than that of it’s two predecessors, but may in fact be Marvel’s greatest film to date as well as possibly one of the greatest superhero movies ever made.

Captain America: The Winter Soldier is a dazzling spectacle of exhilarating action, witty humor, wonderfully crafted characters and taut political intrigue. It follows the titular hero as he struggles to adjust to contemporary American society after being frozen alive since his heyday in World War II. There is an intriguing amount of subtext throughout the movie regarding the moral ambiguity of a post-patriot act America, the pitfalls of a society so dependent on a digital/global network and even struggles of shell shocked soldiers returning to civilian life. The film establishes, quite expertly, a history around the legacy of Captain America, cementing him as the original, shining example of super-heroism. within the Marvel Cinematic Universe. All this is achieved by the writer- director duo behind the scenes: Anthony and Joe Russo. Despite a background in comedy television, the two don’t miss a single step in the process of thrilling blockbuster making, while maintaining the humanity and charm of their earlier works (such critically acclaimed shows as Community and Arrested Development).

Chris Evans delivers an earnest, likable but stoic performance as Steve Rogers/ Captain America, effortlessly embodying the character. In point and fact the entire cast was firing on just the right cylinders. Anthony Mackie is a show stealer as newcomer to the franchise Sam Wilson/ Falcon. Meanwhile Scarlet Johansson and Samuel L. Jackson are the best they’ve ever been in the roles of Natasha Romanov/ Black Widow and as S.H.I.E.LD Director Nick Fury, respectively. Robert Redford brings the pedigree one would imagine from his involvement with charm and menace as World Security Councilmen Alexander Pierce. Without divulging too many spoilers, the main standout of this film, aside from its hero of course, is his villainous foil: The almost ethereal assassin known only as The Winter Soldier for much of the film. With few lines, the actor (who shall be go unnamed until the film is released) imbues the character with an indomitable menace and truly daunting threat to our heroes.

There is only so much I can gush over without spoilers so I’ll end it here. Captain America: The Winter Soldier is fantastic. It has great performances, great directing, writing, action, everything. Go see it. And while I’m sure it goes without saying, as this IS a Marvel movie, but make sure you sit through the credits.

The Wind Rises marks the swan song of animation legend Hayao Miyazki’s prolific filmography. The film is truly a work of beauty and provides a more than sufficent goodbye to a pioneer in the field of Japanese Animation. The animation is crisp, colorful and imaginative while maintaining a remarkable realism in the movements of here human form. The dream sequences in which Jiro imagines his planes dazzling and spark with creativity. As a matter of preference I generally prefer foreign movies with subtitles rather than a dub track, but the English voice dub cast is naturalistic and generally not distracting as dubs often are. Joseph Gordon Levitt, Emily Blunt and John Krasinksi all give great, understated vocal performances that seek to emote rather than over-animate.
The story is a biographical piece about Jiro Horikoshi, a Japanese engineer who lived his dream of designing and building airplanes by doing so for the Japanese war effort in World War II. An artist with a passion, he honors his country while fulfilling his life long ambition, yet still maintains his innocence as a man who simply wants to build planes, regardless of what they are used for. The film provides some biting commentary on the backwards nature of Japanese society during the Second World War, especially in comparison with the rest world. It also illustrates some chilling recreations of disasters like the Great Kanto Earthquake of 1923 and the bombings of Hiroshima and Nagasaki.
But the true heart of the film lies in the romantic subplot between Jiro and Naoko. Let me preface what I’m about to say with this: I generally find love interests tacked on and unnecessary. They don’t interest me, in fact they generally bore me. The romantic sub plot displayed here is one of the most beautiful love stories I’ve seen put to film. There is a sincerity and warmth that diffuses the melodrama it could have so easily devolved into. Spoilers ahead: Their story is a tragedy, as Naoko is stricken with Tuberculosis and eventually passes. But her death is never seen, it is simply presented as something he had to go through. That right there exemplifies what I loved so much about this movie: it’s avoidance of melodrama while still maintaining a touching story of love and tragedy. I can not reccomend this movie enough, especially if you’re a fan of Miayazaki’s other work like Howl’s Moving Castle, Spirited Away, or Princess Monoake. Either way this movie is a moving experience and a wonderful send off to a tremendous talent.

Philip Grippi 2/27/14

Being more than in my profession

Storytelling: Dreams of Electric Shadows

The whole of human history is built on stories. Fabricated or substantiated, be it told through the spoken word, the stricken stone or the inked page the telling of stories constructed an age old narrative illustrating the wonders and mundanities of the human paradigm. Like the prose of a Greek epic there is a stanzaic rhythm to the rise and fall of a human life. There are characters, motivations, story beats and action beats. Beginnings, middles and ends; from life to life the story continues and it has fascinated me since as far as I could remember. I came from a family of storytellers. Familial gatherings were a swap-meet of people, places and events traded hand to hand like cards in a children’s game. Being more of an introvert when compared to my extended family, I’ve long since assumed the written word as the vessel through which I tell my stories. However I have another preoccupation that has existed within me since childhood: a love of film. The written word made manifest with color, sound and substance in mystifying spectacle. As such, that is what I’ve chosen as my means of making a living telling my stories. My name is Philip Grippi and I dream of electric shadows.

Before I explain what electric shadows means, as I’m sure that’ll be confusing, at least initially for any potential readers, I’d like to tell a small story about an afternoon in my life. It a few years ago, possibly my high school senior year if my memory serves me correctly. It was good friend of mine’s birthday, and as was common with the friend he didn’t see fit to tell me about his party until the afternoon before. Luckily I was home on vacation so I took a walk to the local Dollar Store to pick him up a card with whatever pocket money I had left over from Christmas. While there I came across a few items that I decided to pick up for other people in my life, paid and left. Aside from the card I purchased a set of steak knives for my sister’s new house and a funky glass owl for my Grandmother (she likes owls). During the walk home I pondered over the contents of the plastic shopping bag slung over my arm and came to two thoughts; the first being that if I were to be mugged I’d probably owe that mugger an explanation. The second thought was slightly more profound. I realized that my life, at that moment, all the changes and shifts in status quo that were occurring, were being held in that bag. The card was for my friend’s 18^th birthday…only a few months before my own, then to be swiftly followed by graduation. The steak knives were for my sister, with whom I share a close relationship, who had moved away from home not too long before that day. I bought the owl for my grandmother because she was grieving, along with the entirety of my family, over the loss of my Grandfather only a few months prior. So many changes had occurred or were about to occur in my life that year, and these changes seemed to have been wrapped up in the plastic bag slung over my elbow. The idea of symbolism in real life was revelatory to me. I had always enjoyed hearing and telling stories (I had already decided to be a film maker) but I have never looked at life as a story until that day. It changed my understanding of everything and only served to strengthen my resolve to make my stories known. Now back to electric shadows.
The term “electric shadows,” according to Yingjin Zhang’s “Cinema and Urban Culture in Shanghai”, is an English translation of the mandarin phrase “Dian ying,” the Chinese term for movies. This fact is among many that I have accumulated throughout my ongoing education on the analysis of film as an continuously evolving art form. In terms of an institutional acquisition of knowledge my education began in the fall of 2010 with the first of four consecutive semesters at Suffolk County Community College. I started in a community college because of it’s affordability, having been accepted to Five Towns College (well known for it’s in depth film programs) and not wanting to be in crippling debt in a career that is so difficult to break into. It was at SCCC that I met a number of like minded friends upon joining the campus’ Digital Filmmaking Club with whom I’ve formed a network of potential professional contacts. On top of have four core film analysis classes took under their liberal arts program (with a Cinema Studies emphasis) I also took a few digital film making classes where I learned a basic understanding of there technical functions of the film making process under Professor Earnst Starr. I learned about shot composition and general rules of cinematography like the 180 degree rule (according to Boss Foss’s “Filmmaking: Narrative & Structural Techniques the 180 degree line represents and invisible point of reference for when cutting to various perspective of a shot. So as to not create visual confusion the shots cannot cross that line unless the camera physically dolly’s-moves fluidly-over the line). I also learned historical movements in film that would shape the ways in which I would seek to approach my storytelling. For example, in Gerald Mast and Bruce Kawin’s “A Short History of the movies,” they tell of the german expressionist movements and the Russian Kuleshov workshops. German Expressionism, as the name would suggest, was a movement in the early twentieth century Germany that involved the externalization of the internal on film: in laymen terms abstractions like thought or emotion were represented through artistic visuals, most plainly seen films like the “Cabinet of Doctor Caligeri” and “Nosferatu.” The Kuleshov experiments were enacted by Russian Film theorists to test the effects montage (the sequential cutting and editing of images) would have on the an audiences viewing, resulting in films like “Battleship Potemkin.”

After two years I transferred to Stony Brook University (again, because it’s cheaper than film school) and enrolled in their Cinema and Cultural Studies major, the department of which is headed by Professor Rainford Guins. While Stony Brook’s CCS curriculum doesn’t break much ground in the ways of film production education, I have taken a number of enlightening film analysis/history courses such as Chinese Cinema (where I learned the “electric shadows” tidbit), cinema and the ancient world (which analyzed the ways in which film reflected the stories and aesthetics of ancient civilizations in relationship contemporary sociopolitical climates), writing about cinema and theorizing cinema (in which I wrote many analytical papers on topics ranging from meta-fiction, horror, mob and sports film cliches, and even made a short film entitled “The Pirate and the Scribe”). Through these classes I gained a more intimate understanding of the sociopolitical subtexts of film and how it can act as a reflection of society as well as the dynamic relationship between a film and it’s audience. I’ve also broadened my studies to a wider scale of entertainment media. Classes like Media Analysis have taught me to look towards television and even the social networking capabilities of the internet to distribute the materials I seek to create.

My personal “self-education” in the field of film has been ongoing since middle school when I discovered that my similarly aged cousins Ryan and Nick made movies in their spare time. Through them, my cousin Ryan specifically, I rationalized my loves of storytelling and movies into a singular prospective career path. Having grown up on high-concept fantasy/ science fiction fare like Star Wars, Monster Movies and comic books I’ve grown and studied with thought of making the kinds of movies that I would want to see, tell the stories that I’d want to be told. These tastes go beyond giant monsters and space battles however. The films I dream of making represents people and characters that reflect what I want to see in the world. Film maker Kevin Smith, in his Campus Q & A Tour “An Evening with Kevin Smith,” perfectly illustrates how I view the art of film making:

“I always like to think of it as like, I’ve got ’em sittin’ there, whip a little message at ’em. Whip a little moral at ’em. Whip a little of what my view of the world is. Because that’s what every good filmmaker does. You can’t change the world. You can’t cure the world. All you can do is be like, “This is it through my eyes. Do you agree or not agree?”

My only ambition is for my own values and philosophies (progressive gender politics, equal rights, ect.) to be reflected in my work without alienating it’s viewers. My first priority must be to entertain, maintaining a balance between spectacle and substance. My cinematic self-education has even occupied the professional spheres of my life for the past four years. My first job out of High school was in my town’s Blockbuster where I worked for about a year before leaving because of the company’s bankruptcy. After leaving Blockbuster I found a job at the local Multiplex Island 16 where I’ve been working as a Box Office Cashier for three years and counting while I attended school. The perks of free, unimpeded access to movies new and old, commercial and independent/arthouse allowed me a wide selection from which to form an expansive and cultured knowledge-base of the medium beyond the theories and time-lines taught in school textbooks and lectures.

In my own time I’ve studies the mechanics of screenwriting with various books like Syd Field’s “Screenplay: The Foundations of Screenwriting” where I learned the importance of the three act structure in film as well as how to formulate 3-dimensional characters through an in-depth planning process before actually penning a draft. I’ve also studied the mechanics of storytelling in general through Joseph Campbell’s “The Hero with a Thousand Faces.” In this book Joseph Campbell dissects the recurring archetypes and themes throughout the various myths and legends and even written fictions throughout history into today. He calls this concept the “monomyth,” citing one particular recurring theme called “the Hero’s Journey.” The Hero’s Journey follows a chain of events and character growth undertaken by most fictitious heroes in some way or another (Heracles, Jesus Christ, Bilbo Baggins, Luke Skywalker, ect). With this research in mind I’ve written various short films like “The Pirate and the Scribe” which I mentioned earlier and one that remains un-filmed entitled “Theatricality.” I’ve involved myself in the projects of friends that I’ve made in class at both Suffolk Community College and Stony Brook University. I’ve also worked backstage for a “Pat-Med Idol 2011” show at my old High School and helped coordinate a film festival on the SB campus in Fall of 2013. at my For the past few months I’ve been maintaining an online blog (DapperFowl.wordpress.com) for the purpose of writing critical reviews for various Television shows and Films that I watch (Occasionally I’ll post a general paper on film/TV theory) or even a stage show (like a telecast of the opera “Eugene Onegin” that I saw that last Fall).

Now with my time enrolled under Stony Brook University’s growing nearer to it’s conclusion I find myself evaluating the path’s I’ve taken and will need to take in the future that lies in the rapidly shrinking distance. I believe the city is the right place to start. New York City is haven for the uninitiated, playing host to several television studios such as NBC, AMC and the various properties of VIACOM. I feel like television is the best place to start as it represents a more steady flow work rather than living screenplay to screenplay, without the certainty of actual revenue. In television there are internships and positions among entire teams of writers for popular shows. I started my aforementioned blog to satisfy the requirements of a media introductory course at Stony Brook but have since maintained it for the purposes of building up a portfolio of written journalistic endeavors so that if the hunt for internships turns up little reward I can try finding work as a film critic. I’ll have to spread my feelers throughout the network of friends I’ve made (some of whom already operate in the city, including both of my cousins). However I do recognize the reality that I will eventually have to travel to California if I want my career to gain any significant traction, as Hollywood is obviously the epicenter of film activity in the United States. I’ve also considered Vancouver, Candada as possible future destination due to it’s high circulation of television production work.
Wherever I’m necessitated to go, it’s quickly becoming time for me to branch out and make a media persona. I must take the body of work I’ve amassed over these past five or so years, as well as the knowledge I’ve acquired by ways of personal experience as well as through institutional means, to establish myself as a recognizable asset and commodity to studio executives and audiences. It’s time for my stories to be told.

10. Prince Avalanche

I have a few bones to pick with this director. A few years back David Gordon Green made some disparaging comments about the works of Kevin Smith and David Mamet, two directors I have tremendous respect for. If I remember correctly, he said that Kevin Smith had turned independent film making into a special Olympics. All I’ll say is this: don’t insult the work of another director then turn around and make Pineapple Express…and then Your Highness…AND THEN THE SITTER. But thankfully it seems he’s decided to make good movies again, because I enjoyed Prince Avalanche tremendously. The movie has beautifully naturalistic cinematography and fantastic performances by Paul Rudd and Emile Hirsch. I found Paul Rudd’s performance to particularly impressive. He plays his character with such a lack of inhibition, without any thought of sophistication or dignity to his appearance. There’s one scene in particular where he’s essentially playing house by myself in the charred remains of house destroyed in a forest fire. He walks around, pretends to call to his pretend wife and hold causal conversation, the typical 50’s sitcom American dream. But it never comes off as hokey or creepy or sad because of how natural and real Paul Rudd’s performance is. There is a difference between watching an actor pretend that they’re alone, and watching an actor truly act as if they are alone, with absolutely no thought given to how they would appear to an outside observer, simply behaving as their truest selves no matter how silly or sad they would appear to an onlooker. Paul Rudd delivers this performance brilliantly. This was one of two scenes that really stood out to me, the second being a phone call made by Paul Rudd to his now ex-girlfriend as the two argue. The audio of the phone call is played over a montage of the passing road (the entire movie takes place on this road as Rudd and Hirsch paint traffic lines down the middle of it). The road rushes passed the camera at various angles and distances, turning something as visually mundane as a phone call into something beautiful and vibrant to behold. What I loved about this movie is embodied in these two crucial scenes. Whatever issues I may have with this director, I have to respect the good work he’s done here and I look forward to what he has in store, unless of course it’s sequel to Your Highness.

9. Don Jon

Don Jon marks Joseph Gordon-Levitt’s first foray into directing for a feature film, and if this film is any indication, Levitt has a promising career as director ahead of him. The editing alone injects this infectious energy to a film about routine and repetition and JGL delivers a likable and layered performance as a character who I would probably think is a douchebag if I were to meet him in real life. This comedy is both hilarious and potent in it’s messages about how American media sensationalizes love and relationships, whether it’s romantic comedies or pornography. There’s even a bit of analysis of the “pornification” of American Media, or the overtly sexualized material that is available for public consumption in the form of commercials and magazine ads. For example, the film opens with a montage of porn clips interspersed with various commercials and news footage featuring sexually objectified women. Later there is a scene of Jon and his Dad both leering at the television as a commercial plays featuring a bikini clad model seductively eating a hamburger. Basically the film is saying “No wonder this guy has such a fucked up view of women and relationships, look at what he’s got as a frame of reference.” The difference between fantasy and reality is a prominent theme throughout the film, drawing a pretty strong thematic parallel with another of JGl’s movie, (500) Days of Summer, which also featured the process of emotional maturation within a young man with a very fantasy driven paradigm of what constitutes love. The film does tend to drag in parts, and it can be predictable, but it’s immensely charming and insightful, making for one of the most relevant romantic comedy’s made in years…along with (500) Days of Summer, go see that as well.

8. The Grandmaster
I’m not a massive aficionado of martial arts films, so all I knew going into this movie was that it was about the guy who trained Bruce Lee. To be honest what really attracted me was the director, Wong Kar wai, who I’ve mostly seen associated with gorgeously shot cerebral dramas. The idea of this guy making a Kung fu movie was fascinating to me, and I wasn’t disappointed, in fact I was the farthest from disappointed as I could have possibly been. To put it lightly, with the exception of maybe one other movie (which will be listed later) The Grandmaster is the most visually beautiful movie I’ve seen this year. From the intimate close up framing to low key lighting, this movie is a visual orgy of poetry made tangible. Even when there isn’t any fighting going. The performances are all great, and Zhang Ziyi’s character is very compelling, but the visuals were the true star of this movie. Normally I would describe specific scenes but I feel my words can only disservice the artist here so here’s a link to an actual clip:
http://www.youtube.com/watch?v=2Tk44p0tLlg
And another because my words cannot adequately describe why I love this:

Couple this with the beautiful musical score and my own personal love for Chinese cinema, there was pretty much no way I was not going to love this movie. I will say, however, that some of the facial close-ups do tend to linger on subjects of questionable importance in the overall scheme of certain scene, leading to one or two moments of head scratching, again it’s something you would have to actually watch the movie to understand. With that as the closest thing I have to a criticism for this movie, I will let the numerical standing of this movie on my list speak for itself. While nothing revolutionary from narrative standpoint, the level of cinematic artistry in this movie cannot be ignored.

7. The Hunger Games: Catching Fire

For me Hunger Games: Catching Fire was the best blockbuster of the year on every conceivable level. Before this movie all the other blockbusters I have seen, while enjoyable, have failed in various respects. I really enjoyed Pacific Rim and Star Trek Into Darkness but I have no illusions that those movies work as anything other than fun actions movies (though they both do broach some interesting and relevant themes). Iron Man Three failed to engage me on dramatic and emotional level while Man of Steel failed to engage me on a cerebral or intellectual level. The Wolverine, like I said earlier, had a great first two acts but was hampered by it’s bargain bin bad guys while Thor: The Dark World provided some good escapist fun but offered very little in the ways of a compelling story. The story of The Hunger Games: Catching fire had dramatic resonance and a clear purpose on a subtextual level. The writing was conservative and concise for purposes of the story, and it featured a fleshed out cast of characters, each with a distinct personality and motivation. The directing is clean and smooth and really works wonders in immersing the audience in this world in a way that the first movie (and I really liked the directing of the first movie) failed to to do. The scope of this movie is quadrupled from that of the first with sweeping wide shots of the dystopian districts of Panem, designed with obvious inspiration from Ancient Rome and Nazi Germany. The acting ranged from good to fantastic across the board. Even Josh Hutchinson (who I really didn’t care for in the first one…or any other movie before this for that matter) was not only tolerable, but likable and compelling. Jennifer Lawrence as usual proves to be one of the best young actresses working today in a character that belongs in a pantheon of strong female characters for young girls to look up to (with an entire generation of young girls being subjected to Bella god damn Swann, thank God for these books/ movies). Donald Sutherland makes for a great villain in the sinister but reserved President Snow, never going for the hammy, over the top route with his performance. Philip Seymour Hoffman is new to the franchise as Plutarch Heavensby, a secondary character who spends much of the film behind the scenes but wound up being my favorite character in the movie (as somebody who has not read the books). In summation, of all the various Young Adult sci fi/ fantasy franchises having millions of dollars being thrown at them, The Hunger Games is by far the most deserving and I looks forward to its continued success.

6. Trance

Danny Boyle’s most recent picture represents a deviation from his stint of making uplifting Oscar flicks in the form of a slick, edgy noir crime film. Starring James MacAvoy, Vincent Cassel and Rosario Dawson as art thieves and a hypnotherapist, respectively, the film does a remarkable job of recontextualizing the tropes and aesthetics of the classic noir into a modern mold without turning into a work of meta fiction, homage or pastiche like Brick or Sin City. Instead it takes the recurring themes of the noir and simply adapts them to a modern setting. You have the Unreliable narrator in the form of an art thief (MacAvoy) who has repressed the memory of where he stashed the painting, as well as being a morally ambiguous character rather than the straight hero of the story. Vincent Cassel initially comes off as a villainous gangster, but gradually becomes more of a heroic figure as the MacAvoy’s true self is peeled back layer by layer through hypnotherapy (the role reversal being a brilliant showcase of the moral complexities of the classic noir stories). Roasario Dawson initially comes off as the femme fatale figure, but eventually is revealed as a victim, and eventually revealed further to be the mastermind. Visually, instead of the standard noir contrast of black and white, Boyle brings Noir into the world of technicolor film making with stunning compositions of color and lighting (I absolutely love the cinematography in this movie, as I often do with most of Danny Boyle’s movies). The way the film visually represents the workings of the human psyche is gripping and stunning to behold. All in all, while this movie may not have been a big pop cultural event, it’s still enormously entertaining and thrilling and is truly one of the most underrated gems of the year.

5. American Hustle

This critically lauded comedy has been making its rounds at the award shows and unfortunately I simply do not have the energy to be Contrarian Jones and hate on it for being “Oscar bait.” To be perfectly honest I loved this movie. Yes, it’s very obvious in the fact that it’s trying to emulate 80’s Scorsese movies like Goodfellas. For example many are citing it’s use of a pop soundtrack, as well as it’s unconventional take on the crime film genre. What I liked about this movie was that it WAS very much like Goodfellas, albeit from a different perspective. Whereas Goodfellas was an unconventional look at gangster culture and the corrupting force of the power it yields, American Hustle approaches it from an opposite position. The criminals, the grifters and the corrupt politicians (played by Christian Bale, Amy Adams, and Jeremy Renner), are essentially the good guys of the story, to put it in simplistic terms. Yes, they do questionable things, but they’re portrayed as inherently good people. This is NOT a violent movie. None of these people are ever seen killing anybody or arranging for somebody to get wacked. In fact, the only violent one is the cop. The FBI agent, played by Bradley Cooper, is the one who becomes corrupted by the power in his position as a figure of law-enforcement. He becomes increasingly ambitious in nailing corrupt politicians by exploiting con artists, but not for any love of justice but rather for the purpose of making a name for himself. Throughout the film he unravels and becomes violent not only toward the grifters but even towards his own boss, played hilariously deadpan and restrained by Louis C.K. Cooper’s character becomes so arrogant and addicted to glory that you want nothing more than to see the con artists pull a fast one and turn the tables on him. Aside from the fun twist on crime film conventions, the true strong point of the film is it’s stellar cast. Everybody is giving it their all and are absolutely electric to watch. Christian Bale is refreshingly emasculated throughout the movie as a frumpy but charming con man. Jennifer Lawrence is lively and a blast to watch as his possibly unstable wife. As I already mentioned, Bradley Cooper turns in a fantastic performance as the FBI agent corrupted by ambition and hubris while Renner is infinitely likable as a Machiavellian but well meaning New Jersey Mayor. In terms of sheer dramatic acting, however, I think Amy Adams steals the show with her reserved subtlety in contrast with that of her female co star Jennifer Lawrence’s more attention grabbing performance. While it may seem like an obvious Oscar grabber prestige movie, I had a blast watching it. A fun, well acted and scripted comedy has been long due for a few Oscar, in my opinion…plus it’s got a great fucking soundtrack.

4. Frozen

Aside from being the best animated movie I’ve seen this year (I haven’t seen Monsters University or Turbo, the latter of which I’ve made a conscious effort to NOT see), Frozen may very be the best Disney movie I’ve seen in years. Princess and the Frog was fun with New Orleans setting and a cool villain but I found the music underwhelming, while Tangled was certainly a nice step towards breaking Disney conventions with it’s “prince” character, while for whatever reason never truly grabbing me. But Frozen is the Disney movie I’ve been waiting for, and I almost didn’t go see it. Can I just say that the trailers did a DREADFUL job of selling this movie? Because this movie is charming, subversive, and progressive in so many ways that are not indicated in any way by it’s advertising. The sister princesses are strong, independent characters with personalities who save themselves and are ultimately not driven by their love of a man but their love for each other, one becoming Queen, and the other learns that marrying a guy you just met is an insane idea (HOW IS IT THAT IT’S TAKEN THIS LONG FOR DISNEY TO REALIZE THIS?). The Prince winds up being the villain in a rather well executed twist while the goofy ice salesman in the woods winds up being the main love interest. This movie is so clever and charming in it’s writing that even the talking snowman voiced by Josh Gad does NOT come off as gratingly annoying, but likable and sweet. One thing I noticed about this movie after watching it is that EVERY character has a clearly defined motivation. Granted this also reminded me how rare of an occurrence that is which was saddening, but it’s still a great feat of the writers. The music is great, particularly when Indina Menzel gets to do what she does best (Let It Go is sure to become a classic, as is this whole movie), and The animation is absolutely stunning. To be honest I don’t think I can praise this movie enough. Aside from an arguably extraneous musical number by some Rock Trolls (which didn’t even bother me that much), I don’t think I have a single criticism for this movie. I’ll leave the review at this: between Frozen and The Hunger Games: Catching Fire, things are looking very hopeful in regards to Hollywood presenting young girls with strong female role models. I severely hope we’re on the cusp of a new age.

3. Much Ado About Nothing

So while making Marvel’s The Avengers, one of the most successful movies of all time, Joss Whedon got a few weeks off. During his time off he got a wild hair up his ass and decided to make ANOTHER movie. Much Ado About Nothing is that movie. Shot at Joss Whedon’s house with a cast featuring various Whedonverse alumni like Amy Acker, Alexis Dennisoff, Francis Kranz and Nathan Fillion, the movie takes William Shakespeare’s comedy about matchmaking shenanigans, manipulation and slander and places it in a modern setting while maintaining the Shakespearian dialogue. Yes, this has been done, but there is a key difference between the way it’s done here and the way it’s done in Romeo + Juliet. Never once does it feel like the actors in Much Ado are reciting Shakespeare. Every actor in this movie clearly knows the play front to back, and not only the words, but what they mean and how the language and arrangement works. They speak the words as if they’re actually holding conversation instead reciting lines at each other. The acting in this movie is not only fantastic, both comedically and dramatically. Amy Acker and Alexis Denisoff are terrific as the leads, Beatrice and Lord Benedick. Francis Kranz delivers naïveté and intensity in the role of Claudio while Clark Gregg oozes charisma and gravitas as Leonato. Nathan Fillion steals the show as lawman Dogberry, who takes being called an Ass by Riki Lindhome’s Conrad very personally and make sure everybody knows it. The score, composed by Joss Whedon, is sparsely used, allowing for the actors to emote in silence, but when it comes it is a joy to listen to, ranging from sweeping whimsy to smooth jazz. The cinematography makes great use of the environment, both in doors and outdoors, never falling into the trap feeling like a stage show on film. The actors and actresses interact with their environment, again making their dialogue and actions seem natural. Joss Whedon, largely lauded for his strengths in writing, has finally crafted a film huh at firmly establishes him as director of skill and vision. Whedon’s fun little detour from superheroes and alien invasions is a joy to watch on nearly every front and I cannot recommend it enough.

2. The World’s End

There are very few movies that I think are “perfect.” Jaws in the only one I can think of off the top of my head at the moment. Jaws…and The World’s End. That does not mean that I think it is the greatest movie of all time. It simply means that this movie, above all the other movies I’ve seen this year (save for one) managed to entertain me on both an intellectual level and a thrill seeking movie-going level. It was funny, brilliantly acted with great, well defined characters and possibly Simon Pegg’s best performance in an already impressive filmography. The script is witty and layered with detail as well as endlessly quotable dialogue. It has the same manic, rapid fire editing and kinetic cinematography that made Hot Fuzz one of the greatest actions movies I’ve ever seen resulting in hit he best choreographed and shot fight scenes of the entire year. The soundtrack, as with all of Edgar Wright movies, is fantastic and actually conveys the meaning and tone of the scenes over which it plays (a seemingly novel concept these says). Hilarious, thrilling, creative and emotional, Invasion of the Body Snatcher’s send up caps off Edgar Wright’s Blood & Cornetto trilogy in the most satisfying way possible.

And now, my number one movie of the year
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1. Gravity

To speak boldly, Alfonso Cuarón’s space faring survival thriller Gravity is a monumental achievement in film making. The special effects put to work here perfectly simulate the weightlessness and isolation of being in space in a way no other film has ever done before. Sandra Bullock delivers a palpable performance as a woman set adrift and alone after a storm of orbiting space shrapnel tears apart her ship and kills her crew, leaving her to find peace and the will to survive in only herself. The story and characters are simple, secondary to the spectacle, resulting in a rare occasion where the spectacle is all you truly need. It’s a story about survival in a hostile environment, and this movie creates an environment so tense and horrifying it may kill the ambition of an entire generation of future astronauts. Imagine the shark from jaws, and now imagine if said shark encompassed every thing around you. That is what Gravity does to outer space. The vacuum of space is now a classic movie monster, with Sandra Bullock in the role Laurie Strode. If you pay close enough attention you’ll find that it’s also a movie about Buddhism, specifically about looking inward for salvation instead of praying to some god, which is refreshing to see in a Hollywood picture, making Gravity a powerful work of humanist fiction, rather than science fiction as the setting would ordinarily indicate. This is also the first movie I’ve ever seen where the 3D not only enhanced the viewing, but was a necessity. This may wind up being a detracting factor, but this is truly a movie that deserves to be viewed on a big screen in 3 mind fucking dimensions upon a every viewing, but is still a wonder to behold on the small screen. Either way, go see it. Then tell your friends to go see it, and so on and so forth.

Thank you bearing with me and I hope you enjoyed the countdown! Any thoughts on my choices, or thoughts in you’re own choices please don’t be afraid to utilize the comment function. Thank you for your time!