#6
Lone Survivor
As a film critic I believe it is incumbent upon me to explain all aspects of why I like a film, and since I consider myself to be more of an emotional viewer than an admirer of the technical process, that explanation often comes down to attempting to explain the unexplainable… the emotional connection.
Exploring the nuts and bolts of a film is fine and dandy and with Lone Survivor I could have simply mentioned the tremendous sound design, great performances and the sense it was an authentic portrayal of what appeared to be 48 hours in hell for four Navy SEALs trapped in the mountains of Afghanistan. However, I’ve never been a Navy SEAL. I’ve never been to Afghanistan. I don’t know if it’s authentic or not, what I do know is that it moved me in ways that were hard to put into words. Watching such a horrific event, I knew it wasn’t necessarily enjoyment I got out of the film, but I couldn’t help but watch it twice in less than 24 hours.
REVIEW SNIPPET:
What’s most astonishing is that despite the harrowing nature of the story and how sad it is, I also found it uplifting and inspiring. It’s a journey into hell and yet I’ve watched it twice so far and could watch it again right now. It’s the men and their code of honor that bonds them. It could also, very easily, be the comfort of knowing I am safe here in my house in Seattle while these men risk their lives for my freedom and with that comes a sense of equal parts pride, sorrow and shame. With a movie like this it’s almost impossible to put into words why it affected me as much as it did. The point is, it’s a feeling.
Read my full review here.
#5
All is Lost
Gravity is likely to be the “lost in the great void” story many remember from 2013, but All is Lost is without a doubt (in my mind, at least) the superior cinematic effort.
Equally harrowing and human, All is Lost relies on our want to survive and our compassion for others. Writer/director JC Chandor doesn’t bother us with too many details with Robert Redford playing a character known only as “Our Man” as he battles the elements after his yacht begins taking on water in the middle of the Indian Ocean. It’s not important to know anything about him as long as we recognize him as a fellow human being. His plight is our plight and his fight for survival is something I hope many of you were able to enjoy in theaters and feel sorry for those that will have to wait to see it on their television screens.
REVIEW SNIPPET:
Considering this is a nearly dialogue free feature with only one actor, I can’t help but believe this is going to be a mainstream hit. It’s an existential exercise that everyone can connect with, but it’s a thriller at its core. Just watching as “Our Man” has to manually pump water out of his boat, you begin to feel his pain and connect with his struggle. You wish you could help and not only do you believe his plight, you believe he can survive, as the terrifying situation weighs heavy on your heart.
Read my full review here.
#4
Laurence Anyways
Laurence Anyways was my introduction to writer/director/actor Xavier Dolan. I have since seen Dolan’s three other feature films — I Killed My Mother (2009), Heartbeats (2010) and Tom at the Farm (my review) — and Laurence Anyways is undoubtedly the best of the lot, though it’s so very easy to find quality in all of his films.
I first saw Laurence Anyways back at the Cannes Film Festival in May of 2012 and was absolutely floored. I watched it again on Blu-ray this year and the power of the film’s narrative and exceptional nature of Melvil Poupaud and Suzanne Clement‘s performances remain strong as ever.
What I’ve loved about watching Dolan’s films is the fact his cinematic inspirations are often visible, but he doesn’t resort to imitation. He’s found a way to channel his favorite filmmakers and make the style all his own, something more modern and different in the most subtle of ways and I can’t wait to see what he has to offer us next.
REVIEW SNIPPET:
I was floored by Dolan’s cinematic control; the power displayed in his musical choices, the imagery, his use of color, his instincts as to when to go experimental, when to dial it back, when to go handheld and more. With the confining walls of shooting in 1.33:1, Dolan delivers a film that on the surface is about a transsexual coming into his own in the mid-’90s and the obvious issues that arise, but deep down it’s about the difficulties with love we all experience.
Read my full review here.
