The Tavianis dissolve every artistic boundary they meet.Īn intense, three-hour lesbian coming-of-age movie with long and graphic sex scenes. You’re inside and then outside the play, immersed and then distanced-a heightened space unlike any onscreen. More Shakespeare, from the great Paolo and Vittorio Taviani, who fictionalize the efforts of a group of maximum-security prisoners-mostly organized-crime members-to rehearse a production of Julius Caesar. Chandor gets the best work in decades from Redford-an actor who has trouble connecting onscreen pushed to the limit of his own self-containment. Chandor’s one-man disaster picture-a cunningly edited procedural about an unnamed man (Robert Redford) trying to keep his damaged yacht afloat in the middle of the Indian Ocean. Despite a thread of melancholy, the movie goes from bliss to bliss. Morgan Neville’s soaring hymn to so-called back-up singers, the “colored girls” (among them Darlene Love, Merry Clayton, and Lisa Fischer) who went doo do doo do doo and so much more but couldn’t make the cosmic twenty-foot leap to fortune and fame. But it’s a complicated weave, by turns grim, exhilarating, funny, and unspeakably moving-and it features a breakthrough performance by Brie Larson as the counselor wracked by her own history of abuse. His casual approach works amazingly well-this might be the best Shakespeare comedy on film.ĭestin Daniel Cretton’s fictionalized portrait of a Southern California short-term-care facility for at-risk teenagers sounds like a good-for-you movie.
Just before postproduction for The Avengers, Joss Whedon gathered a bunch of friends (TV actors, mostly) and shot a Shakespeare movie in twelve days in his own rambling L.A. They rise to the occasion with alacrity, and the result is one of the most lucid portraits of evil you’ll ever see. Joshua Oppenheimer asked admitted Indonesian mass murderers to write, direct, and reenact their atrocities from 40-plus years ago. It’s a bad trip-a documentary that documents a higher and more frightening reality. In any case, it’s marvelous, and so is the cast that includes Christian Bale, Amy Adams, Bradley Cooper, and that mischievous and inspired comedienne Jennifer Lawrence. Russell’s ensemble comedy about the wayward-ridiculous, near-tragic-operation that was Abscam would be at the tippy-top top of this list. In any other year of the last ten, David O. He’s not just unafraid of regressing, of getting lost-he lives for it. Perhaps no actor but Phoenix could express emotions that are so painfully unformed. Her is not just the best film in years, it has the best performance of 2013 by a cosmic margin. (Is Charlie Kaufman the new high priest-the William Gibson-of futuristic psychodrama?) This is like no other movie-although it’s clearly a descendant of Eternal Sunshine of the Spotless Mind.
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(Can you really “date” an OS?) But the satire yields to a sort of transcendental romanticism that leaves you both heartbroken and full of wonder. In the first hour, there’s a vein of satire-of the supreme silliness and pathos of a world in which people turn increasingly to disembodied voices for solace, friendship, sex. Spike Jonze’s futuristic comedy is an exquisite meditation on love, friendship, human connection, and the singularity that might enlarge (or possibly contract) our definition of what that connection means. A lonely man (Joaquin Phoenix) who writes personal letters for other people (they can’t say what they want to say themselves) forms a wondrous bond with his Operating System (voiced by Scarlett Johansson)-which (who?) becomes more and more sentient.
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