Greed. life-threatening situations abound across genres
The films of 2013 were dominated by a number of major themes that recurred throughout the year. One was people entrapped in life-threatening situations, often in tight physical quarters. A nearly wordless Robert Redford was stuck on his boat lost at sea by himself in “All Is Lost,” a mix of “Cast Away” and “Life of Pi” but even better than both of those films. Tom Hanks was held hostage by Somali pirates in a cargo ship and later in a tiny lifeboat in the intense true-life story “Captain Phillips.” For the second time, Jennifer Lawrence fought for her life in a cleverly constructed arena in the dystopic future in “The Hunger Games: Catching Fire.” Sandra Bullock was stranded in outer space in Alfonso Cuarón’s heart-pounding sci-fi thriller “Gravity.” Chiwetel Ejiofor was enslaved and physically and psychologically trapped in the American South in the 1800’s.
Perhaps there are so many films with trapped characters because of all of the Americans restrained by their lack of money or employment. OK, maybe that one’s a stretch, but clearly another major theme of last year and perhaps the American mantra of this decade is one of the lines by James Franco’s character Alien in “Spring Breakers”: “Look at my s—-!” “Spring Breakers” is a baffling, frightening piece of filmmaking vomited onto the screen in bright neon colors by bad boy auteur Harmony Korine. Werner Herzog said it is the most important film of the decade and that three hundred years from now when people want to know about this time they will not read Obama’s inaugural speech. No, they will watch “Spring Breakers.” Leonardo DiCaprio stars in two films with lead characters rolling in dough, Baz Luhrmann’s lavish but hollow 3-D adaptation of F. Scott Fitzgerald’s novel “The Great Gatsby” and Martin Scorsese’s three-hour parade of debauchery, drugs and sex, “The Wolf of Wall Street.” “American Hustle” captures the glitz and greed of the late ‘70s and early ‘80s with a cast of characters constantly trying to con each other and make some money. “The Bling Ring” is based on a true story about a group of empty-headed dolts who stole from celebrities’ homes in Los Angeles and eventually went to jail. This year, greed was good.
Another type of film that recurred throughout the year is the African American bio-pic. The Oscar frontrunner in many major categories is Steve McQueen’s “12 Years a Slave,” the harrowing account of Solomon Northup, a free African-American man who was kidnapped and sold into slavery in the 1800’s. “Mandela: Long Walk to Freedom” is a sprawling political drama in which Idris Elba plays the late South African president Nelson Mandela, a role previously played by Morgan Freeman in “Invictus.” “Lee Daniels’ The Butler” takes great liberties with the truth, but Forest Whitaker plays the real-life African-American butler who served in the White House under eight United States presidents. The film that tells the most recent real life story is “Fruitvale Station.” Michael B. Jordan stars as Oscar Grant, a young man that was gunned down on the first day of 2009 after being out celebrating New Year’s Eve. It is shameful that the release of a handful of films about African American characters in one year is noticeable, but the truth is that there are so few films that focus on non-white people.
MOST OVERRATED FILM: 12 YEARS A SLAVE
Let’s be absolutely clear, “12 Years a Slave” is a very good, powerful film with many praiseworthy aspects. The performances are outstanding, especially newcomer Lupita Nyong’o, and the cinematography alongside the other technical details are exquisite. However, the film does not fully mesh artist-turned-director Steve McQueen’s artistic flourishes and unflinching, almost clinical approach with writer John Ridley’s sometimes more emotional and standard Hollywood movie tone. Producer Brad Pitt turning up in a funny beard as the one great white man decrying slavery rings false. “Gravity” is more deserving of winning the Oscar for Best Picture. “Gravity” is an A-grade B-movie, a popcorn thriller at heart raised to the level of great art, while “Slave” is a B-grade A-movie, a very serious-minded award contender that falls short of greatness.
BEST HORROR AND MOST UNDERRATED FILM: THE BLING RING
“The Bling Ring” is not really a horror film, but it did what a good horror film is supposed to do — frighten, disturb and disgust — more than any ostensible horror film in the last five years. The characters, based on real people, are so horrible and fame obsessed that they are alternately hilarious and horrifying. Some critics found Sofia Coppola’s satire too tame or pointless, but she lets her stupid characters speak for themselves. The absurd reality of their story is enough without needing to further lampoon it.
BEST ACTUAL HORROR FILM: THE LORDS OF SALEM
Rob Zombie’s bonkers horror film is a departure from his grainy “Texas Chain Saw”-inspired sleazefests such as “The Devil’s Rejects” (a compliment). “Lords” is a head-trip influenced by the films of Dario Argento, Roman Polanski and Stanley Kubrick featuring precise camera placement, gorgeous cinematography and haunting set design. It might not make much sense, but it gives the senses a wild ride. See it on the biggest screen with the best sound possible.
WORST HORROR FILM: INSIDIOUS: CHAPTER 2
“Insidious: Chapter 2” is a nonsensical, unfrightening and utterly dull sequel to a decent film. Loud, sudden noises are not scary besides possibly producing a split-second startle. This is modern horror at its most lazy.
WORST REMAKE: PASSION
Brian De Palma made some exciting films in the 1970’s, such as “Carrie” (which was also remade last year) and “Sisters” but his remake of the French film “Love Crime” is an embarrassing mess. It tries to be erotic but comes off as ridiculous, not even in a “so bad it’s funny” way. Even having seen the original and knowing what happens, the remake remains convoluted and illogical.
BEST USE OF 3D: GRAVITY
Alfonso Cuarón spent years making his beautiful space thriller, and the result has produced some of the most jaw-dropping special effects in modern cinema. The power of the visuals is significantly aided by the artistic use of 3-D. Not only is the 3-D noteworthy, it is one of the only films where it is essential. The added dimension puts the viewer in Sandra Bullock’s place to feel her fear and helplessness.
WORST ANIMATED FILM: FREE BIRDS
Time traveling turkeys go back to the first Thanksgiving to alter the tradition of eating turkey on the holiday. The animation is passable but subpar, the plot is too loopy even for a silly children’s film, and, most importantly, it is not funny or exciting. This turkey should have never been served up to the public.
FUNNIEST FILM: NEBRASKA
Even though Alexander Payne’s black and white comedy is certainly droll, it is still the purely funniest film to come out last year. Woody is perfectly played by veteran character actor Bruce Dern. The scenes with Woody’s family back in his hometown are hysterically funny in their simplicity and dead-on portrayal of Mid-west life.