Tagged: Richard Linklater
Best Picture Breakdown 2015
The Academy has presented us with quite an interesting eight film field for Best Picture this year. While half of the nominees are biopics – traditional Best Picture fare – we also have some rather audacious and distinctly non-traditional contenders. There is even a comedy in there! We also don’t have a cut and dry favourite, with different films having seemingly risen and faded over the last few weeks. What follows is a breakdown of the eight contenders chances and the arguments for and against for each. Continue reading
The Doctor of Movies’ Top 10 of 2014
1. The Grand Budapest Hotel (Wes Anderson)
Wes Anderson has for two decades now been the most distinctive cinematic voice in America, and this 1930s-style caper film is the most complete realisation yet of his aesthetic. Anderson first-timer Ralph Fiennes is not known for comedy, but he is tremendous here in leading an all-star cast. In a time when so many comedies are built around rambling improvisation it, there is something really striking about the meticulously crafted nature of The Grand Budapest Hotel. With a Russian Doll structure, the film is beautifully designed and precisely shot. A real treasure.
2. Calvary (John Michael McDonagh)
Irish director John Michael McDonagh managed to one-up his brilliant debut feature, The Guard, with this poignant, powerful and yet still very funny film about a rural Irish priest who receives a death threat in the confessional. What starts as a black comedy transitions into a quite profound modern passion play, with Brendan Gleeson delivering what is for mine the year’s best performance as Father James Lavelle, a good man who must bear the sins of the institution that he represents, an institutation that has failed both the wider community and himself.
3. Whiplash (Damien Chazelle)
Where so often movies about music focus on passion, soul, creativity and love for the art, Damien Chazelle’s debut feature chooses to explore the determination, single-minded obsession and dangerous perfectionism that goes into the pursuit of greatness. This emotionally and psychologically brutal film features a powerful and controversial depiction of the student mentor relationship as a determined young drummer is brought to the brink by a borderline psychotic conductor. JK Simmons is surely a short price favourite to walk away with a Best Supporting Actor Oscar early next year.
4. Boyhood (Richard Linklater)
There has never been a film quite like Boyhood. Writer-director Richard Linklater shot the film over a twelve year period, following the same boy (Ellar Coltrane) as he grew from a six year old into a young adult. Incredibly ambitious and effectively executed, the film manages to not only explore the evolving family dynamic as this family grows up together, but also to navigate the cultural and political changes the world experienced over the twelve years of production. Managing to be at the same time epic in scope and incredibly intimate, Boyhood is a truly unique cinematic experience.
5. Guardians of the Galaxy (James Gunn)
How hot are Marvel Studios right now? In what looked like a questionable step following the success of The Avengers, they announced they would be bringing a minor comic book about a motley crew of space adventurers that includes, among others, a talking raccoon and a walking tree, and they have turned it into the most exciting, fun and fresh blockbuster in decades. Rather than repeating the formula of The Avengers, James Gunn has gave Guardians of the Galaxy a completely different style and tone. This 1980s style sci-fi adventure is Marvel’s funniest film and has made a legitimate movie star out of Christ Pratt.
6. Inside Llewyn Davis (Joel & Ethan Coen)
While it lacked the mainstream potential of True Grit and No Country for Old Men, Inside Llewyn Davis saw the Coen brothers in top form. This character study of a neurotic, arrogant but undeniably talented folk musician offered significant insight into the mind of an artist while poking gentle fun at the earnestness of the Greenwich Village folk music scene. Bruno Delbonnel’s cinematography is stunning, with its muted colour palate of greys, greens and browns making the film feel almost black-and-white. The soundtrack, arranged by T-Bone Burnett is outstanding.
7. Locke (Steven Knight)
One man in a car making phone calls. Who’d have thought that could be the basis of the year’s best thriller? Steven Knight’s variation on the one-man play breaks with formula and bravely rethinks how to tell a story on screen. Carried by a compelling performance from Tom Hardy – one of the few actors in the world who can carry a film on their own for ninety minutes – this minimalist piece of filmmaking reimagines the very nature of what is cinematic.
8) Chef (John Favreau)
Jon Favreau got back to his indie roots in 2014 with his passion project Chef, the food porn film of the year. With its simple story, Chef is a completely endearing celebration of food, cooking, creativity, passion and family, with many critics seeing more than a hint of autobiography in chef Casper’s quest to rediscover his creative spark. Vibrant and alive with the Cuban inspired flavours of the food and the music, Chef is a joyous film and not to be seen on an empty stomach.
9) What We Do in the Shadows (Jermaine Clement & Taika Waititi)
With What We Do in the Shadows Kiwi duo Taika Waititi and Jermaine Clement take a subject matter, vampires, with which popular culture is teetering on the edge of overload, and a form, the mockumentary, that is every bit as tired and combine them to create a vibrant, original and downright funny movie. Juxtaposing the extraordinary with the mundane, the film follows a trio of vampire flatmates living in Wellington. The New Zealand sense of humour brings a slightly different sensibility to the film than we’d get from an American or British equivalent.
10) Under the Skin (Jonathan Glazer)
This year saw two films in which Scarlett Johansson got a bit cerebral. While Lucy was among the year’s worst films, Under the Skin was among its best. This odd film sees Johansson driving around Glasgow and the Scottish highlands, picking up men and then… well it’s best not to give away too much. A most peculiar and entrancing film, when you get to the end of Under the Skin you won’t quite know what you’ve seen but you’ll know you’ve seen something.
The Next Best (alphabetical): The Dark Horse (James Napier Robertson), Dawn of the Planet of the Apes (Matt Reeves), Frozen (Chris Buck & Jennifer Lee), The Lego Movie (Phil Lord & Christopher Miller), Nightcrawler (Dan Gilroy), The Wolf of Wall Street (Martin Scorsese)
The Worst Movie of the Year:
I, Frankenstein (Stuart Beattie)
200 years after being brought to life, Frankenstein’s monster finds himself in the middle of an ongoing war between demons and gargoyles for… You know what? It’s not worth going on. This diabolical film which recasts Frankenstein’s monster as an action hero is utter nonsense and would have Mary Shelley rolling in her grave.
Other stinkers: Grudge Match (Peter Segal), Love, Rosie (Christian Ditter), Lucy (Luc Besson), My Mistress (Stephan Lance), Non-Stop (Jaume Collet-Serra), They Came Together (David Wain)
by Duncan McLean
What were your best and worst films of the year? Post in the comments section and let us know.
Review – Boyhood (2014)
Director: Richard Linklater
Starring: Ellar Coltrane, Patricia Arquette, Ethan Hawke, Lorelei Linklater
There has never been a film quite like Richard Linklater’s Boyhood. Wanting to make a coming of age film which truly captured the experience of childhood and adolescence, Linklater came up with a bold concept: he would cast a six year old boy, and over the next 12 years follow that character from the beginning of his school life to his leaving for college. While Michael Apted had done something similar with his Up series of documentaries, in which he has revisited the same subjects every seven years since 1964, no one had attempted to tell a fictional story in this fashion.
A unique concept required a unique approach. Shot in 39 days between 2002 and 2013, each year the cast and crew would gather together when their schedules permitted for three or four days of shooting. Rather than running from a set screenplay, they started with a basic structural blueprint, and then Linklater would write the film as they went, year by year, enabling it to grow organically as its cast did.
This approach to production meant that, in Linklater’s words, time became a collaborator on the film. Time brings with it change and uncertainty, not to mention risk. Changes in the young actors had to be taken into account as the screenplay evolved. Each year, Linklater would start the process by having a chat with his young lead, Ellar Coltrane, about where he was in his life, and that discussion would serve as inspiration for the character. Similarly, the world changed over the twelve years the film was in production, and the film navigates those cultural and political changes. So we see the Iraq War and the election of Barrack Obama, events which wouldn’t have been known at the commencement of the project, become a part of the story.
The result is a film which manages to be both epic in scope and incredibly intimate at the same time. With no strict narrative to speak of, Boyhood simply recounts an ordinary life. Mason’s family goes through their fair share of changes and trials, but these events are all presented devoid of any melodrama. Even without a central narrative thread to hook us in, the characters are so well formed that we care about what happens to them. Mason is a dreamer, a curious boy with a thoughtful, artistic temperament. We watch him shape himself into a young man, no doubt in opposition to the string of abusive, alpha-male types that his mother has coupled with since his parents’ divorce. The film is called Boyhood, so obviously is centred around Mason’s experience, but it has just as much to say about girlhood through his sister Samantha, and parenthood through the journeys of his mother and father.
Ultimately, the film works because there is something strangely fascinating about watching these characters actually grow up before your eyes. This ageing process is often subtle. Linklater opts not to telegraph the progress through time with captions letting us know when we have leapt forward a year, instead trusting his audience to work it out for themselves through the little details: changes in haircuts, music styles and personal electronics.
Incredibly ambitious and effectively executed, Boyhood is a unique and at times quite profound cinematic experience.
Review by Duncan McLean
Have you seen Boyhood? Leave a comment and let us know what you thought.
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