I can’t help but perceive a certain distance implied in the title A Most Violent Year. It’s as if the speaker is regarding the year in question with an intimate knowledge of the violence referenced without having actually been a part of it, per se. It’s reminiscent of when one hears of the untimely death of someone one doesn’t know personally and remarks something along the lines of “how tragic;” acknowledging the loss without feeling it. That sort of detachment lays at the heart of the journey of Abel Morales (Oscar Isaac) in J.C. Chandor’s film. Continue reading
The manner in which the Civil Rights Movement is typically depicted in American media is problematic to say the least. One is quite frequently presented with a picture of a clearly defined struggle between right and wrong with a foreordained and definite outcome complete with a happy ending. Narratives such as these tend to create overly simplistic narratives with little nuance between and within the constituencies represented. Selma, to its great credit, manages to avoid this trap. Continue reading
3. Michael Fassbender: 12 Years A Slave
A textbook performance. Best Supporting Actor was the only Oscar outcome I really had an issue with. Leto did fine work in Dallas Buyers Club, but I thought Fassbender was miles ahead of him. From the first moment he’s onscreen in that profile close shot the tension onscreen increases exponentially. From a narrative standpoint, supporting characters are meant to introduce a variable to the main storyline that wasn’t present prior to their entrance. Nobody did that more effectively or more importantly than Fassbender did. In the hands of a lessor actor, this role could have been something of a “mustache twirler,” but Fassbender absolutely nails the complexity of this character, a professional dehumanizer who clearly hates himself and attempts to hide behind religion and booze. His every move is threatening, unpredictable, but Fassbender’s brilliance here is in how he doesn’t ever fully boil over, even in the enthralling “whipping sequence.” I really feel that with all the praise heaped at this film, Fassbender’s performance was somehow overlooked and subsequently under-praised. McQueen himself appears to feel the same way, highlighting his performance specifically in so many of his award acceptance speeches. Actors and filmmakers will be studying this performance for a long time to come.
4. Michael B. Jordan: Fruitvale Station
The biggest Oscar snub by far in my opinion. He’s been at it since he was young and was great on The Wire as a teenager but this is an incredibly mature and accomplished performance for someone his age. There was no more full picture of a single character than Jordan painted for us in Fruitvale Station. This film reminded me a bit of classic neo-realism like Bicycle Thieves, showing us a single day in the life of a completely ordinary citizen simply living his life that day and all that entails. Fruitvale is not about a shooting, it’s about a young man who’s life was taken abruptly and unexpectedly. What the film does best is show us Oscar Grant’s humanity, which is channeled through and personified to the smallest detail by Michael B. Jordan in a nuanced, understated and moving performance. The academy seemed to only have enough room in their collective hearts for one “black film” this year, which is a real shame, because I actually thought this one was better than the one they chose.
5. Jennifer Lawrence: American Hustle
Lawrence manages to deliver a performance that’s equal parts hilarious, sexy, and maddeningly ridiculous. She’s even better here than she was in Silver Linings. The only thing funnier than “the microwave scene” in 2013 was the “quallude sequence” in The Wolf of Wall Street. “Don’t put metal in the science oven” is now my favorite David Russell line. This is one of those supporting performances that you want to be a bigger part, but its part of why she’s so compelling is that when she’s on screen she dominates and when she’s not you miss her presence. Her manner and her energy remind me a bit of Gena Rowlands, and I do not make that comparison lightly. She’s just a natural with a presence and maturity way beyond her years. When you watch her she comes across as a twenty-year veteran, not someone in their early twenties, and her trophies already accumulated are a testament to that. I would pay money to watch her fold laundry for two hours. She’d get an Oscar nomination for that too.
7. Jonah Hill: The Wolf of Wall Street
No one in the business is more fun to watch than Jonah Hill. People have long underrated comic actors, but it’s become very difficult to deny that this dude has got some chops. The Wolf of Wall Street would have been a completely different film with another actor in this role. The role itself would have been completely different. He demonstrates what’s so special about character actors. Donnie’s love for Jordan is oddly touching considering how despicable their behavior is. Donnie functions as somewhat of a chaser for Jordan by being so over the top, but that same quality also makes them seem more outlandish, creating the opposite effect, thereby engendering that feeling of unease so many people seemed to have felt watching Wolf. And of course; the teeth, the accent, the prosthetic, all that deli meat that he chocked on-it’s all just bloody brilliant. I can’t even begin to describe how much I loved this film.
I recently viewed Terrence Malick’s Days of Heaven for the fourth or fifth time and it was no less impactful than it was the first time I saw it. The blisteringly beautiful cinematography of Nestor Almendros and Haskell Wexler is the hallmark of this film which remains the quintessence of style of a master filmmaker. The “little things” make all the difference in this film, like the shot of the wind blowing on the water and blades of grass. Details like Sam Sheppard reaching out for Brooke Adams’ hand in the woods. So many unforgettable moments such as the swarm of locusts descending on the farm, the imposing farmhouse designed and built by the great Jack Fisk in the distance as the migrants approach the property, and the way the camera seems to float in the stream and circle playfully around Gere and Adams. Continue reading