Marisa's Top 5 of 2016

Looks like another year is over (and thank god, seriously I’ve never been happier to see a year go) and looking back, although we were served a few stinkers (several of which I had the unfortunate pleasure to actually pay to see) the amount of standouts this year were definitely worthy of a list. Now I know that this list is gonna omit some of last years biggest hits (films like Hacksaw Ridge and The Witch for example) but that’s really because these films are going to be getting a whole heap of recognition during awards season anyway. Instead, my top 5 are less about the films that critics raved about and more about the underdogs of 2016. These are the films I felt were worth the money I payed to see them, surprised me in some way and that I honestly enjoyed as an everyday screengoer, rather than someone who spends half her life drooling over shot compositions. So without further ado, here are my top 5 films of 2016.

1. Zootopia

What a surprise hit this one was, and for a good reason. Many people going into this film were expecting a cute movie that could entertain the kids for a while, which the film did provide. However, the way that the film cleverly added elements of social commentary and managed to discuss the world today in a way that a) made it interesting and b) easy for children to understand really impressed me. I think its important that films are able to talk about relevant topics in ways that are not always gritty true to life epics about the world ending, so Zootopia is definitely one that I highly recommend.

2. Deadpool

Where do I even begin to explain my love for this movie? Being one of the first movies I saw this year, it was great to kick off the cinema season on such a high note. This film really impressed me as it brought to life one of my favourite anti-heroes in a way that I felt really honoured the character: the fourth wall breaks, the r-rated jokes and the realisation that although he’s kind of a dick, Deadpool has heart. I think this film made me happiest above all else because it was obvious that the creators, producers and actors were all really passionate about this film and clearly wanted it to pay tribute to the all the fans who love this character, something that often gets lost in the money grabbing blockbuster machine that Hollywood often is. Was it perfect? No. Was it still a great time? Absolutely.

3. The Conjuring 2

So maybe its because I’m a big horror fan. Maybe it’s because I really enjoyed a refreshing take on ‘real life’ horror that didn’t involve the word ‘paranormal’ or ‘activity’ (cough). But when your best friend (who hates horror movies) says she enjoyed the movie, you know its worth something. The truth of the matter is that the cleverness of the storytelling and editing really impressed me. Of course, you have to suspend your disbelief in parts, but that nun gave me nightmares and pretty sure it scared the living daylights out of most other people who went to see this movie. Nuff said.

4. Suicide Squad

What? How? A film that was served all shitty reviews and was basically seen to be a flop? On a top five list? Yeah I know it’s a little unorthodox, but to be honest I thought that people were a bit harsh on the Squad (see my original review for more details). I really enjoyed this film because it proved to me that the DC universe does know how to have fun, even if it took an unbelievable amount of effort to get them there, and it still wasn’t exactly stellar. The good news is that DC is learning, and as a person who grew up with Batman and the gang as her first superheros, this film really holds a special place in my heart.

5. Now You See Me 2

You know that old saying that the sequel is never as good as the original? I was lucky enough to find out that it doesn’t apply to every sequel twice this year, first with The Conjuring 2 and second with this film. Now You See Me 2 reminded me that films are first and foremost about enjoyment, something that can often get lost in the dark and gruelling films that are always hits at the box office. This film handled the exit of Isla Fisher well, and brought forward a fun and exciting cast as well as a plot that kept viewers on their toes. I had missed the days of viewing films with wonder rather than with critique, so this film held a nice reminder that being excited by films is what its all about.

Well, that’s it! Another year of great films over. Here’s hoping that this year’s cinema selection is just as exciting as the last.

Ed's Top 5 of 2016

2016, the year that was. Some may say that it’s been a tepid year for movies but I found that this year’s Top 5 were closer than ever and I could have had even more honourable mentions. Based on Australian release dates as usual.

A masterclass in tension-building and the gold-standard for drone-warfare films - a new contemporary sub-genre that’s sure to be explored further – Eye in the Sky was a surprise gem during a bitterly bland and disappointing period of the year (remember Batman v Superman? Yeah, it was that week). With a powerhouse penultimate performance from the late Alan Rickman and equally impressive roles from Helen Mirren and Aaron Paul, Eye in the Sky’s conflict between military procedure and political discourse kept it as an intelligent thriller first and an action film second. Never has a little girl selling bread been so tense.

Damien Chazelle brought the intensity to 2014 with the thrilling Whiplash, and he similarly brought sentimentality and heart to 2016 with La La Land. A love-letter to classic Hollywood, Los Angeles, musicals and Jazz, La La Land breathed new life into a genre of film rarely seen and even more rarely pulled-off in our contemporary age of cinema. Magnificently visually composed and scored, with near career-topping performances from Ryan Gosling and Emma Stone, La La Land was easily one of the best of the year.

The minimalistic film of the bunch, 45 Years is a simple, elegant, beautifully acted reflection on a marriage that has outlasted the test of time but is not immune to faltering moments. Much like Paterson, 45 Years celebrates the hum-drum and the ordinary, with two exceptional performances from Charlotte Rampling and Tom Courtenay. It won’t overwhelm you with blockbuster thrills but it will leave you pondering about the enduring effects of the past. Mature, sentimental cinema at its very best.

Somewhere in a remote Canadian wilderness a film crew slaved away to create this masterpiece. An expert example of visual storytelling, the same elements that made Fury Road my top pick last year are oozing from The Revenant - namely its visceral style and atmosphere. Shot on the Alexa 65 medium-format digital camera, the only film that even came close to being as beautiful this year was the 65mm roadshow release of The Hateful Eight. Quite apart from its composition, The Revenant’s fictionalised rendition of the story of Hugh Glass weaves a rich tapestry of religious symbolism, familial motifs and native-American folklore. Add the all-round unbeatable performances from the cast, and The Revenant certainly earned its place as one of the most memorable films of the year.

My top 2 this year were incredibly difficult to pick between, and whilst for some cinefiles the concept of ranking Swiss Army Man above The Revenant may mark a disturbance in the force, it’s not just about what film ticks all the boxes, but which one keeps you coming back for more. Swiss Army Man was that movie, and whilst I sit here pathetically defending my decision - because this movie does divide audiences - I can’t help but feel that I’m going against the grain of what makes this film so beautiful: acceptance. Chris Stuckmann described Swiss Army Man best when he screamed into his camera “It’s just so different and weird I LOVE IT”. 

There truly is so much to love about this film; the originality, the best performance of Radcliffe’s career, the montages, the insane soundtrack, the technical achievements of such a small budget film, and the tenacity of the Daniels filmmakers to construct a story entirely from elements they hate (fart jokes, Musicals, acapella, Cottoneye Joe) to see if they can find a diamond in the rough. But perhaps the most endearing element of Swiss Army Man is that in a year of forgettable blockbusters and bland-as-shit superhero flops, a low-budget buddy film about life, love and farts could stand out as the one with the most heart.

Honourable Mentions:

Kubo and the Two Strings
An Astounding beautiful allegory about family and the human condition, played out on an epic scale with a stellar cast, Kubo and the Two Strings was the best animated film of the year.

Arrival
Denis Villeneuve’s mature, meticulously crafted, stunningly beautiful sci-fi feature where language take centre-stage. A slow-burn exploration of communication and expression with a killer performance from Amy Adams.

Anomalisa
A close second for best animated feature, Charlie Kaufman’s Anomalisa couldn’t get any more Kaufman-esque if it tried. A brutally honest, bizarre, beautiful look at a man stuck in the mundanity of his own life.

Hunt for the Wilderpeople
Although it lacked the dramatic punch of his film Boy, Taika Waititi’s Hunt for the Wilderpeople was another unexpected and down-right hilarious film that popped up out of the blue and charmed the pants off of audiences.

My Scientology Movie
Louis Theroux’s first theatrical release mixed equal amounts of theatrics and humour to approach Scientology from a completely different angle to Alex Gibney’s documentary. Only Theroux could be so hilariously nonchalant with such a challenging and invasive subject. One of the funniest films of the year.

Adam's Top 5 of 2016

This year delivered many 'good' movies, but very few 'great' ones. With so many highly anticipated movies flopping, it is the unexpected hits that stand out among the rest. Realistically, my list is just pleasant surprises that amounted to incredibly enjoyable cinematic experiences. Here are my Top 5 flicks from the last year.

Most people probably haven't even heard of this movie, but it was the biggest surprise for me of this year. I went into it with very little knowledge or expectation of what I was about to see, and in turn enjoyed it immensely. A satisfying return to screen for Mel Gibson paired with Erin Moriarty created a fun dynamic, with a lot of emotion and humour packed into what might be considered a fairly straightforward story. If nothing else, Blood Father is definitely an enjoyable action flick.

I had never even heard about this movie until its trailer was sprung upon me in the cinema, and I was hooked from the start. As someone who is sick of the typical cowboy Western movie, this modern take was a refreshing update to the stale genre. Surprisingly detailed stories and motives ghosted each character, and this extra effort definitely paid off in creating a complicated and interesting story.

In one word; breathtaking. Mel Gibson's return to directing is probably one of the most captivating war films of all time. Following the remarkable true story of conscientious objector Desmond Doss, who saved countless lives during World War II as a combat medic, this film truly is deserving of the standing ovation it received at its Venice Film Festival debut. The perhaps slightly slow start is topped off with brutal action for the entire second half, and it is impossible to turn away from.

Taikia Waititi returns again with another fun and beautiful film. If you don't know who he is by now (you should), he is essentially New Zealand's version of Wes Anderson. Following his other movie Boy as the top grossing New Zealand films of all time, Hunt for the Wilderpeople tells a quirky story in an artistic and fun way. With beautifully built scenes of the New Zealand wilderness alongside quirky and interesting characters, Hunt for the Wilderpeople is a pleasant experience through and through. If you are a fan of Wes Anderson, I implore you to give Taika Waititi a try.

My biggest love in films is good acting. If the actors can sell me on their character, I'll probably enjoy the movie. With only three characters in a confined and simple setting, this movie is absolutely carried by the acting, and really, that's all it needs. Mary Elizabeth Winstead and John Goodman are nothing short of phenomenal in creating this tense and creepy thriller. The only improvement I could suggest would be to drop the Cloverfield tag from the movie whatsoever, but I'll let it slide.

Honourable Mentions

Doctor Strange - As someone who is sick of the Marvel Cinematic Universe and superhero movies in general, Doctor Strange was a refreshing change of pace, and definitely starts along the path to expanding the MCU past The Avengers.

The Nice Guys - While I didn't love this movie as much as most other people, it is no doubt an shining example of what can be done with smart writing and witty dialogue, and I hope to see more movies along this grain produced in the future.

Black Mirror - In a year of Netflix dominance, I can't help but mention this show. With each episode realistically being a standalone short film, I cannot recommend both old and new Black Mirror enough. The six episodes released as season three this year paint painful pictures of technology and the human condition, and will no doubt leave you stressed and anxious in the best way possible.

Jack's Top 5 of 2016

If I'm being honest, I was a tiny bit disappointed in the films of 2016. All the big promises of cinema greatness were a bit of a let down. I didn't find a single one of the comic book movies to be exciting, nor were any of the studio blockbusters a hit. However, there were some great things happening on Netflix in the form of TV, so that's probably the future. Anyway, in no particular order, here are my Top 5 movies of 2016.

Denis Villeneuve's slow take on the sci-fi genre was breathtaking. There was no need for action or even suspense in this character driven flick. Especially since it was about language not aliens, that was just to get people in the door. Villeneuve is able to balance both amazing visuals and a story that seems so small and personal, despite happening on a nearly global scale. On top of all that, Amy Adams gave an unbelievably good performance.

Damien Chazelle's upbeat and hopeful, Los Angeles-based pseudo musical was a joyful occasion. He is adept at handling both music and visuals and did a really good job at shedding a light on a part of Hollywood that not a lot of people know about. The amount of hard work that young aspiring actors put into trying to reach the stars is amazing and heartbreaking.

This modern western is more about the economic struggles on the frontier rather than the physical dangers of old. It's got all the hallmarks of a good western, including a grizzled old Jeff Bridges. Ben Foster plays his fantastic unhinged, scary character and Chris Pine is an even hungrier looking guy than Jake Gyllenhaal in Nightcrawler.

This was one that was just a nice little surprise. Writer/director Shane Black matched an amazingly detailed story with perfect casting of Russell Crowe and Ryan Gosling. If anything, people should watch this and realise that Gosling is a fantastic physical comedian. Black is also able to pull off the 1970s setting so impressively, it'll feel like you're actually there.

John Michael McDonagh is amazing at creating interesting and involving characters and that's just what he's done here. Although it may seem like another stupid gun shooting action movie, War on Everyone has a lot deeper philosophical themes than meets the eye. And of course Michael Peña and Alexander Skårsgard just make a great team.

Honourable Mentions

The Light Between Oceans - A fantastic period movie, that really captures the ideas of isolation and that harsh Australian landscape, without (technically) being an Australian movie.

A Bigger Splash - This one was all about that perfect group of actors. Tilda Swinton, Matthias Schoenaerts, Ralph Fiennes and Dakota Johnson all work so well together.

My Scientology Movie - Being a longtime fan of Louis Theroux's documentary style, seeing it work on the big screen and with such a famous and controversial subject was a real joy.

Deadpool - In a year filled up with some not so great comic book movies, this one really stood out for being different, but not too different.

Stranger Things - Well this one just surprised everyone. This Netflix series transported everyone back to a 1980s Steven Spielberg/Stephen King world.

Jack's Top 5 of 2015

Another year done and a whole bunch of movies watched. Here are my Top 5 of 2015.

A Most Violent Year

Yes J.C. Chandor's slow burn crime(?) thriller was released on New Year's Eve 2014, but most of us would have seen it in the following month. The reason I love this movie so much was because it defied expectations of what it was supposed to be. Going in I thought this film was about the mafia because of it's 80's New York setting. Instead we got a subtle, nuanced film about the heating oil industry. And doing what is most right.

Me and Earl and the Dying Girl

This indie film was an instant classic for me. It took me back to my own teen years and spoke to me in a language I know best, FILM! Its heartfelt story and performances from a young fresh cast that reaffirmed what I love about cinema and also really showed what can be done with a smaller budget, especially if there's a great script behind it.

Dope

Sometimes what makes a film great is its soundtrack and luckily Dope has a pretty fantastic soundtrack, full of hip-hop tracks that I grew up with. However, that's not what made Dope a fantastic film. The reason it's on my list is due to its amazingly tense script that is a real emotional roller coaster.

The Lobster

Yorgos Lanthimos' bizarre offbeat comedy was definitely not for everybody. The strange film deals with social norms around marriage and being in a relationship, but the reason it's on my list is just because it's just straight up absurdist comedy at its finest. Colin Farrell's constant confused looks are just enough to make me tear up with laughter.

Ex Machina

Alex Garland's tense sci-fi thriller brings up a lot of issues about what it is to be human. Alicia Vikander's amazing performance as Ava is subtle and enthralling and is backed up perfectly by Domhnall Gleeson. Oscar Isaac once again makes an appearance on this list because I think he is fantastic.

Honourable Mentions

Mission: Impossible - Rogue Nation - I'm such a huge fan of the Mission: Impossible movies that it would be wrong of me not to to include this exciting instalment at all.

Black Sea - This submarine thriller seriously came out of nowhere and blew me away at how nuanced it was. I thought I was going to watch some harmless action on a submarine, but was treated with some nice slow-burning tension.

Testament of Youth - This World War I biopic about a woman's experiences with having all the men close to her die during the war and struggling with perceptions of her place in society was pretty moving stuff.

Star Wars: The Force Awakens - Come on, it's the Wars! There's no way I couldn't mention it...

Ed’s Top 5 of 2015

2015 had a lot of great movies, with Sci-Fi and Fandom-driven films in particular making an impact. As usual it was difficult to choose, but here are my top 5 films of the newly-departed 2015, in ascending order and based on Australian release date so I can cheat again. 

2015 was a fantastic year for sci-fi, and The Martian is Ridley Scott’s beautiful return to cinematic-form. Andy Weir’s book of the same name may appear dry to some, but was exactly the nerdy-inoculation I needed to get through the year, and the film itself was one of the best adaptations I’ve seen in a long time. For something that could have turned into a contrived emotional journey, Scott kept The Martian true to itself with Mark Watney’s pessimistic humour that made the book so equally enjoyable, a reserved use of technology that keeps the film grounded, and a drive to rescue the most isolated man in the universe. 

Having seen first-hand the effects of dementia, Still Alice was a difficult-to-watch but completely on point representation of the horrifically sudden downfall experienced by dementia sufferers. It’s not a perfect film, it has some character issues and at times it resorts to heavy-handed film-making tactics, but any problems are completely outweighed by Julianne Moore’s brutally honest depiction of a person literally losing themselves. 

Okay, so it’s kind of unfair for me to clump two documentaries together on a so-called Top 5 list, but not only were these two the best documentaries offered up during the year, they also would work surprisingly well as a double-feature. Citizenfour follows Edward Snowden - a network-administrator now wanted for acts of espionage - as he unveils the shocking revelations that the NSA had been collecting personal data from all U.S citizens. What makes Citizenfour so unique is that Snowden is revealing the information directly to filmmaker Laura Poitras and journalist Glenn Greenwald, with the film itself acting as a pseudo-journal of the events. The film had a controversial release and all involved are supposedly still under the close watch of the U.S government, but it remains a thoroughly-well executed, harrowing glimpse at the ‘connected’ world we now inhabit. Going Clear: Scientology and the Prison of Belief could almost be considered a propaganda piece against the Church of Scientology, however with the help of ex-scientologists and Alex Gibney’s unflinching attention to detail, the film reveals a horrifically-bleak, sadistic side of The Church that had not been completely pieced together in similar pervious attempts. Individually, these films are astoundingly informative, together they open our eyes on some pretty disturbing truths. 

It takes a huge amount to get an animated film, or a kids film, or a Disney film to gain my respect but with predictable success, Pixar has done it again. Inside Out offers a unique view of the roles emotions play at different stages of life, and subtly encourages some cranial-gazing into our own mental health states. Pixar manages to deliver something for all ages here, perhaps more successfully than ever. What we get is a hugely entertaining, beautiful, funny and touching film that is at heart about the swift, uncompromising nature of a descent into depression, and how there’s always hope in fighting your way out of it. Inside Out is the emotional roller-coaster ride of the year and a must see film. 

Mad Max: Fury Road was the revelation of the year for me. Since Fury Road’s release way back in May, I’ve found myself repeatedly diving eagerly into its cacophonous world of orange hues, travelling desert symphonies and operatic allegories. Five times I’ve found myself staring down the supercharger of the war-rig and basking in the vindictiveness of Furiosa. The quirks, the choreography, the total devotion to post-apocalyptica. It’s all there and it gets more enjoyable every single time. After a thirty year hiatus, Fury Road is probably the most successful ‘revisiting’ to a classic/cult series, both in terms of approach and post-release acclaim. Miller continues the path set by The Road Warrior and elevates Max (and the world he inhabits) into mythology. Have no doubt about it, Fury Road is not only my top film of the year, it’s also the best action film of the decade thus far; probably since at least The Dark Knight. 

Honourable Mentions: 

The Force Awakens: The latest Star Wars felt like an emotional tribute to the original trilogy that didn’t just rely on obvious fan-service.

Ex Machina: This was a surprisingly uncomfortable film to watch, a cinematic uncanny-valley. With unique CGI and a sadistic performance from Oscar Isaac, Ex Machina will keep you thinking long afterwards.

Bridge of Spies: The latest Spielberg/Hanks collaboration marks a strong return to the classic espionage genre and brings unashamed humanity to a story that could have otherwise been extremely dry.

Last Cab to Darwin: A fantastic little Australian film, Last Cab is not only Michael Caton’s best performance, it also has a good crack at reinvigorating the euthanasia debate.

Me and Earl and the Dying Girl: Whilst a lot of this extremely self-conscious film plays out a little too much like another teenage melodrama, Me and Earl and the Dying Girl has a lot of heart. Plus, gotta love a few dodgy film parodies!

Saul's Top 5 of 2014

Why Don't You Play in Hell? (Jigoku de naze warui) dir. Sion Sono

                                                    "This movie exists only to impress you."

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.

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?"

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. 

Wolf Creek 2 dir. Greg Maclean

"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.

Ed's Top 5 of 2014

2014 sure was a year of awesome movies, and before we get too excited about what the year ahead of us will bring, I've picked out my favourite five movies from 2014 (based on Australian release dates...yeah it's kinda cheating).

The Grand Budapest Hotel:

Wes Anderson's quirky style returned this..uhh last year with the hilarious and downright charming The Grand Budapest Hotel. With a fast moving plot set within a 'chinese box' structure, huge array of stars, beautiful sets and distinct cinematography from Anderson's long-term collaborator Robert Yeoman, Grand Budapest is a fun adventure that's exceptionally well acted, especially by Ralph Fiennes.

12 Years a Slave:

As the Best Picture winner from the last Academy Awards, some have argued that the critical acclaim that Steve McQueen's 12 Years a Slave received was out of a turbulent guilt stirred up in the consciences of critics (particularly in America). But the truth is, like McQueen's other features (Hunger and Shame), 12 Years a Slave makes for challenging, compelling and often agonising viewing, something which I wish some other film-makers would be brave enough to do.

Nebraska:
Alexander Payne's Nebraska has a straight forward plot and beautifully simplistic black and white imagery yet it manages to be fantastically entertaining. Having experienced the forgetfulness of old age, and onset dementia in my family, Bruce Dern's 'man-of-few-words' performance as Woody was quite relatable to me, and June Squib elevates the movie as Woody's hilarious wife Kate. Definitely not just another average family bonding movie.

Locke:
Who would have thought that a film shot entirely in a car could be so enthralling. Steven Knight's Locke not only stars Tom Hardy in one of his best performances, it also manages to take a setting that could be dreary, and transform it into a crucial place for Ivan Locke (Tom Hardy), his car serving as an oasis from his troubles, whilst really just pushing him towards them. Locke is full of riveting back and forth conversations that detail the balancing act that Ivan grapples with on the night that his life hits the fan.

Boyhood:
I know right? Surprise. Surprise. Richard Linklater's Boyhood, the only film that I've given five stars to thus far, has certainly been a critical success. But the reason it's pretty much my favourite of 2014 is not to pander to the critic's superiority complexes, but because it's a film that I can really relate with. As a twenty-first century kid/teen, I've found myself in similar situations to Mason, and it's always fun to see how others deal with the turmoils of growing up. Filmed over 12 years, by the end, I felt like I really knew the characters, not to mention the driving performances from Ethan Hawke and Patricia Arquette.

Honourable mentions:

Whiplash:
Whiplash sees J.K Simmons transform into the scheming, psychopathic jazz conductor Terence Fletcher. Whilst Damien Chazelle may be a little too hands-on in his attempts to form the audiences views, he certainly creates some riveting moments, with dialogue to match, and bookended with two feisty displays from Simmons and Miles Teller.







Pride:
Pride may be a little bit lighter than most of these (hell it's a comedy), and occasionally become too-sentimental, but it's still a heartwarming, hilarious look at the banding together of those that face oppression. Based on the real-life efforts of Lesbians & Gays Support Miners, Pride's ensemble of terrific actors made this one of the best films of 2014.

Jack's Top 5 of 2014

Boyhood

Richard Linklater's twelve year film experiment paid off and we got a stunning insight into growing up in the last decade. Although I wasn't in the same situation as Mason, I felt like his story had a degree of relatability that a lot of young people can identify with. Ellar Coltrane gave a gripping performance throughout the years with amazing support from Ethan Hawke.

The Grand Budapest Hotel

Wes Anderson's twentieth century adventure around Central Europe featured a great comedic turn by Ralph Fiennes and all the quirky elements that we've come to expect from the world of Wes Anderson. The bright and colourful cinematography by Robert Yeoman wonderfully showcases the many fun scenes. Anderson's light hearted look at twentieth century politics and symbolism is also a fun element.

Nightcrawler

Dan Gilroy's stunning look at the shifty world of local TV news was one of my most anticipated films of the year and I was not at all disappointed with the outcome. Jake Gyllenhaal's chilling performance of Louis Bloom was so engaging that I found it difficult to look away from the screen whenever he was on it. Gilroy's debut feature will definitely stick around in my mind.

Calvary

John Michael McDonagh's second feature boasted a compelling story and cast of well rounded and complex characters played by some of the most amazing talents in Britain and led by Brendan Gleeson at the top of his game. The movie takes a dark approach to the abuses committed by members of the Catholic Church and is an unforgiving film in it's portrayal.

Predestination

The Spierig Brothers made this sci-fi movie in Australia and, apart from Ethan Hawke, has an all Aussie cast. The film looks at one of the inherent paradoxical problems that makes time travel impossible. Sarah Snook gives a career making performance.

Honourable Mentions

Charlie's Country

Rolf De Heer's brutally honest film about an ageing indigenous man in Australia's Northern Territory is an amazing film. Australian icon David Gulpilil gives a heart-wrenching performance as Charlie.

Under The Skin

Johnathan Glazer's bizarre sci-fi film is enthralling and Scarlett Johansson gives a performance that would throw most people's image of her. I never would have thought that I would be creeped out at seeing one of the sexiest women alive naked.