Why Don't You Play in Hell? (Jigoku de naze warui) dir. Sion Sono
A maniacal mastubatory love-letter to film-making made by acclaimed cult director Sion Sono involving a quartet of film-maker wannabes, two warring yakuza gangs and their bosses, the wife and daughter of one of the bosses, the daughters toothpaste commericial and a local loser in love with the daughter. It all explodes into a bloody orgy of limbs, laughs, frantic editing, slapstick humour, and brilliantly captured action. A goddamned masterpiece of action, editing, style and comedy. Both times I saw it at two different festivals in 2014 I was utterly surrendered to this film, with its blistering pace, ridiculous characters and buckets of bloodletting.
WDYPiH has become an important film to me in very short time for a number of reasons. In many ways, it also feels like the Japanese equivalent of the Edgar Wright/Simon Pegg/Nick Frost Three Colours Cornetto trilogy, which are some of my absolute favourite films. All blend action and comedy together with incredible attention to detail, often involving moments of real and engaging drama and tragedy, and of course a flair for the fantastic. Both Wright and Sono (in WDYPiH) often employ inspired means of camera-work and editing, with pace and tone painstakingly monitored. Both contain action and specific shots that are not only well shot, but impressive and hilarious to watch. Sono's meta-film concept within WDYPiH is also an inspired comic and narrative device, because when is watching a traditionally-garbed yakuza behead an enemy with his katana, then watching the enemy yakuza as the production crew quickly run up to him, light him and give him a heroic camera shot as he grins and gives a peace symbol into their camera not the fucking best thing ever. And the character of Hirata, with his endless empassioned monologues about his dreams of creating a masterpiece, is not just a hilarious and excellent character with his inexhaustible enthusiasm, but also a true inspiration for me. His direction at the beginning of the finale stands as my favourite moment in film for a long, long time, and that is saying a hell of a lot. And his gleeful/maniacal laughter is beyond enviable.
Trailer below:
Calvary dir. John Michael McDonagh
"Killin' a priest on a Sunday. That'll be a good one."
John Michael McDonagh's small-town based bleak drama is both hilarious and moving, with Gleeson giving one of the best performances of the year. The script and supporting cast are strong, the narrative themes topical and brilliantly delivered, and gorgeous, almost poetic cinematography. A film that lived up to my lofty expectations. My initial review of Calvary from the screening at the Sydney International Film Festival can be found here. Brendan Gleeson is bloody incredible in his performance as Father James Lavelle, a man who became a priest in his middle-age following the death of his wife and his alcoholism. In the film's memorable opening scene during confession, an unknown parishioner confesses that he will kill Lavelle on the following Sunday not because he is a bad priest, but because he is a good one. For the next week Lavelle meets with the varied members of his small parish and attempts to reconcile with his somewhat estranged daughter Fiona (Kelly Reilly), who is visiting from England.
"I think there's too much talk about sins and not enough about virtues."
"What would be your number one?"
"I think forgiveness has been highly underrated."
This diverse cast really challenge Gleeson's Lavelle, pushing him to his emotional limits and emphasising McDonagh's social and cultural commentary of modern Ireland and it's attitudes towards the church. Additional themes such as detachment, guilt and forgiveness are also thoroughly explored, though the film leaves many character arcs open, which I personally really enjoyed, saving McDonagh from having to conjure solutions to these myriad social problems. And not enough praise can be heaped upon Gleeson's excellent performance as this good priest with a checkered past, who is constantly tested by his parish through attempts at seduction, mocking, physical confrontation and political discussions. And the moments where he does falter are always treated by actor and director with appropriate depth and care. Frankly, this is a spectacular film.
"You're not interesting enough to be gay."
Nightcrawler dir. Dan Gilroy
"Friends don't pressure friends to sleep with them."
"Actually, that's not true because as you know, Nina, a friend is a gift you give yourself."
Again, I have to let my previous review say a lot about what makes Nightcrawler great. But if for one second you're not thinking it's because of Gyllenhaal, you're fucking wrong.
Nightcrawler dir. Dan Gilroy
"Friends don't pressure friends to sleep with them."
"Actually, that's not true because as you know, Nina, a friend is a gift you give yourself."
Again, I have to let my previous review say a lot about what makes Nightcrawler great. But if for one second you're not thinking it's because of Gyllenhaal, you're fucking wrong.
Just look at that. The dude is fucking scary.But really, Rene Russo also puts in an excellent portrayal, as does Riz Ahmed, who as the conscience of Gyllenhaal's Lou Bloom is both touching and doomed. For a first-time director, Dan Gilroy's depiction of a neo-noir, night-time L.A. is magnificent and horrifying in the best way possible, as we are dragged kicking and screaming through the depths of morality and disassociation. An excellent debut, a career defining performance, and a soundtrack that veers wildly against tone at times.
Gone Girl dir. David Fincher
"When I think of my wife, I always think of the back of her head. I picture cracking her lovely skull, unspooling her brain, trying to get answers. The primal questions of a marriage: What are you thinking? How are you feeling? What have we done to each other? What will we do?"
"We're so cute. I wanna punch us in the face."
David Finchers latest is a result of a clear evolution from Zodiac through to now, and Gillian Flynn's captivating adaptation of her 2012 bestseller lends itself to an excellent merger. Rosamund Pike is fucking outstanding as Amy Dunne, no matter what anyone else says, to me this film belongs to her.
Ben Affleck is actually good as her dickish husband, and Tyler Perry is shockingly brilliant as the smart and opportunistic lawyer. Fincher's slow careful style always drags me in, and over the Reznor/Ross soundtrack and a great script, it's hard not to be lost in this domestic drama. As I said on my Letterboxd review, "I look forward to the endless essays this'll inspire on gender, marriage and sex. I look forward to choking on bile on every comments section of those essays."
"We're so cute. I wanna punch us in the face."
The fascinating implications and sexual politics of this film aside, it's a great and tense drama where the pains of middle-class life exascerbate a crumbling marriage between sociopaths. A fairly straight-forward plot is delivered with Fincher's characteristic depth and ability. and the twists Amy experiences and her determination to get what she wants is disturbing in the best possible way. Who'd have thought that Tyler Perry would be one of the most enjoyable parts of this film? And I'll never forget my evil, gleeful laugh at the Amy turning to Nick, caressing his cheek and saying "Honey, I wouldn't hurt you. I'd never hurt you.", and him knowing that's not true and being genuinely frightened.
"You obviously don't know the first rule of the Outback, Hero. You never, ever stop!"
Speaking of evil, glee-filled laughter, Greg Maclean pulled Evil Dead 2 on us with Wolf Creek 2. From story, to character, to cinematography, to concept, in almost every way this film takes the original and ramps it up. It far outshines the previous offerings of Maclean and the references and homages to a smorgasbord of films and Aussie culture make this film hilarious, thrilling and highly entertaining. Mick Taylor is explored and worshiped, as is the gorgeous landscape this film takes place in.
Ryan Corr, Shannon Ashlyn and Phillipe Klaus all perform excellently against John Jarratt, who cackles and quips his way in pursuit of them in this long chase movie. This is a film that is far more fun and enjoyable than it deserves to be and certainly under-appreciated. The finale scene that's part torture and part-quiz show is among my favourite moments of the year, though the very ending is a bit of a let-down. Absolutely a favourite.
Honourable Mentions
Godzilla - way better than it deserves to be, excellently paced, the fights were amazing, excellently marketed and well-directed.
Locke - a perfect execution of a brilliant concept. Beautifully shot, edited and performed. Character was a little too perfect, but still I loved it.
300: Rise of an Empire - Well-shot video-gamey action. It was exactly what I wanted and I loved it, Eva Green absolutely stole the whole film. And it had the best sex scene ever.
Big Hero 6/Lego Movie - Movies made for kids that were excellent in their own ways. The design of BH6 and it's world, the technical methods of making Lego are both stand-outs this year.
Doc of the Dead - A big, lovely doco about zombies!
The Double - Richard Ayoade's second feature actually made me like Jesse Eisenberg as is so unique in design. A bloody joy to watch.
Pride - Not a well made film, but undeniably fun, lovely and hilarious. Filled with excellent characters and performances, you can only walk away smiling.
The Little Death - It might be about middle-class, white couples, but it's cute, funny and has an edge. The last segment is about as meet-cute as it can get.
Whiplash - Jazz-drumming, passion and determination in a thrilling film about going to music school. Fucking great.
Jodorowsky's Dune - A doco about an adorable and ambitious artist trying to make a movie.
What We Do in the Shadows - A hilarious mockumentary about NZ vampires entering the 21st century. Great special effects and writing. And who doesn't love Stu?
The Raid 2 - Over-ambition and a complex script ruin what could be one of the best action films ever made.
God Help the Girl - Lovely modern musical about young muso's in Glasgow. Excellent soundtrack.
John Wick - Surprisingly good action flick.
Dawn of the Planet of the Apes - Shockingly good compared to the abysmal Rise. Good action and amazing apes outshine the bland human-side.
Live. Die. Repeat. - Perfect premise for another surprisingly great action film.
Advance Australian Film - Just a really great and important doco about Aussie film. Highly recommended.
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