One of the best films of 2014 and the very best performance of Jake Gyllenhaal’s career becomes available for home entertainment today.
No telling why it took so long to combine Network and American Psycho, but Nightcrawler is here now, so buckle down for a helluva ride. Jake Gyllenhaal is at his absolute best in a film that is as scorchingly relevant an image of modern media as it is a brilliant character study in psychosis. You should see Nightcrawler.
There may be no better pairing for this acidic look at modern media than the only film that could do it one better, Sidney Lumet’s masterpiece Network. The film is as prescient as any movie could be, predicting with wicked humor and weird precision the catastrophic consequences of pairing network news and profit. It’s one of the best films ever made.
2014 was a banner year, with great films in an enormous range of genres: blockbusters and indies, horror and SciFi, dramas and comedies, as well as films from first time filmmakers, a lot of great stuff from women directors, and an unusually high number of excellent films with one-word titles. No idea that that trend might mean. Anyway, today we walk through our 20 favorites of the past 365 days.
20. Into the Woods: Rob Marshall proves again that he’s the man you want filming a musical, using inventive techniques to bring the cross-cutting fairy tale narratives in this Sondheim musical to glorious life. Not your traditional Disney effort, Into the Woods offers a sophisticated, often dark but insightful and imaginative look at the other side of fairy tales.
19. The Lego Movie: The tone is fresh and irreverent, the voice talent spot-on, and the direction is endlessly clever. The Lego Movie was the most fun to be had at the cinema in 2014.
18. Guardians of the Galaxy: Director James Gunn nails the tone, the color, the imagery, and the sound of one Earthling dartin’ about space scavenging, smooching, and basically living the dream. The effortlessly likeable Chris Pratt leads a crew of ragtag misfits who collectively become the most enjoyable team of intergalactic scoundrels since Han Solo piloted the Falcon. This is the definition of a great summer movie.
17. Calvary: World-weary humor, brilliant writing and one stellar performance from the always remarkable Brendan Gleeson mark this underseen gem from Ireland about humanity, betrayal, forgiveness and redemption.
16. The Imitation Game: A wonderful mix of exciting historical mystery and heartfelt examination of the complicated man at the mystery’s center, The Imitation Game is a film about secrets boasting an Oscar-worthy performance from Benedict Cumberbatch.
15. American Sniper: The bio of America’s most lethal sniper is tense, heartfelt, and wise. Director Clint Eastwood hasn’t been this invested in years, and along with an astonishing lead performance from Bradley Cooper, strikes just the right tone with a story that could have easily been mined for manipulation. It isn’t, which is another reason to salute American Sniper.
14. Locke: A masterpiece in simplicity, Locke tags along on a solo car trip: just you, the great Tom Hardy, and several simultaneous crises he handles on his mobile.
13. Under the Skin: This hypnotic, low-key SciFi thriller – the latest from filmmaker-to-watch Jonathan Glazer – follows Scarlett Johansson around Glasgow in a van. Light on dialogue and void of exposition, Under the Skin demands your attention, but it delivers an enigmatic, breathtaking, utterly unique vision of an alien invasion.
12. The Babadook: A familiar tale given primal urgency, the horror fueled by compassion, the terror unsettling and genuine – this film is more than a scary movie, and it immediately ranks among the freshest and most memorable the genre has to offer.
11. Inherent Vice: Paul Thomas Anderson’s latest defies easy summarization as an inebriated PI (played by Joaquin Phoenix as you’ve never seen him) fits together pieces from several different puzzles to create an unpredictable, barely coherent but wildly enjoyable whole.
10. A Most Violent Year: This gem is a film about the merits versus moral compromise of the American dream, and a slow boil drama that keeps you on edge for its full 125 minute running time because there is absolutely no guessing what is coming next.
9. Snowpiercer: Though incompetently marketed and abysmally underseen, Snowpiercer is an immediate dystopian classic. Visionary direction from Joon-ho Bong maximizes claustrophobic tension while brazen casting victories (Oh my God, Tilda Swinton!) and another solid lead turn from Chris Evens work together to create an enthralling allegory of the makers and the takers.
8. Foxcatcher: Director Bennett Miller’s understated true crime film benefits from seriously unusual casting. Steve Carrel is revelatory as John du Pont, millionaire weirdo and wrestling enthusiast who bankrolled Olympic hopefuls (Mark Ruffalo and Channing Tatum, both award worthy), ensnaring then in his unpredictable psychosis. It’s riveting stuff.
7. Only Lovers Left Alive: The great Jim Jarmusch (Ohio boy!) updates the vampire genre with a well conceived twist on the unusual, aided by Tilda Swinton and Tom Hiddleston’s wonderful performances as well as his own dry humor and magnificent eye for visuals.
6. The Grand Budapest Hotel: The great eccentric genius Wes Anderson inches his way closer to mainstream acceptance and Oscar with the most meticulously framed, wickedly clever dark comedy. Filled with melancholy and whimsy, full to bursting with fascinating cameos, and boasting an almost unimaginably perfect performance by Ralph Fiennes, it’s a work of genius that could spring only from the mind of Anderson.
5. Whiplash: As sure as J.K. Simmons will walk home with his first Oscar this year, Whiplash will astonish you. No film this year ratchets tension like this one, as one musician and his mentor do battle that makes the Hobbit look light hearted. Brilliantly written, expertly directed, and boasting two excellent performances (not to mention some really great music!), Whiplash is easily one of the best features of 2014.
4. Nightcrawler: No telling why it took so long to combine Network and American Psycho, but Nightcrawler is here now, so buckle down for a helluva ride. Jake Gyllenhaal is at his absolute best in a film that is as scorchingly relevant an image of modern media as it is a brilliant character study in psychosis.
3. Birdman: Meta-magical-realism at its finest, Alejandro Gonzales Inarritu’s look at the transience and transcendence of fame will nab some Oscars this season. This is a brilliant director and a magnificent cast at their playful, creative best.
2. Selma: Ava DuVernay’s account of the civil rights marches in Selma, Alabama doesn’t flinch. You can expect the kind of respectful approach common in historical biopics, but don’t let that lull you. This is not a laudable and forgettable historical art piece, and you’ll know that as you watch little girls descend a staircase within the first few minutes. Selma is a straightforward, well crafted punch to the gut.
1. Boyhood: Richard Linklater manages the impossible. By checking in on one family every year for 12 years, collecting not the major incidents but all those everyday moments, he provides an achingly, hilariously, touchingly realistic impression of an entire childhood. The cast is brilliant, and the sense of family they evoke is as authentic as anything you will ever see on film. Boyhood is a film like none other ever made, and it is imperative viewing.
Weird theme for great 2014 movies: one word titles. The oddest trait we saw emerge in great films this war was the one-word title film. A full 15 of the best films of 2014 had single-word titles – who knows why? Whatever the reason, in no particular order, are the best of the one-word-title films (and some of the very, very best films of the year.
1. Wild: Reese Witherspoon will no doubt garner her second Oscar nomination and quite possibly her second Oscar starring as a woman who walks 1100 miles solo to get her head together.
2. Selma: Ave DuVernay’s powerful, painfully relevant biopic on Martin Luther King, Jr. and the marches on Selma, Alabama delivers all the punch it needs with one word.
3. Unbroken: Angelina Jolie returns to a spot behind the camera for this true tale of Olympic athlete and WWII POW Louis Zamperini.
4. Birdman: Meta-magical-realism at its finest, Alejandro Gonzales Inarritu’s look at the transience and transcendence of fame will scoop up some Oscars this year.
5. Calvary: Woefully underseen, this wry, weary and brilliant look at the affects of Catholicism’s abuses boasts the great Brendan Gleeson’s best performance.
6. Whiplash: Holy shit! JK Simmons gets the role of a lifetime as an abusive music teacher who is either trying to push his students to greatness or is trying to get away with absolute sadism. This may be the most tense film of the year.
7. Nightcrawler: Another amazing film, this one positing a weirdly sometimes likeable sociopath (Jake Gyllenhaal at his absolute best) in the context of local news – what better fit could there be?
8. Frank: Another underseen gem, this one has the great Michael Fassbender hiding inside a giant plastic head in an exploration of madness and music.
9. Foxcatcher: Bennett Miller returns with another masterpiece in understatement, a true crime tale of Olympic wrestlers and insane billionaires that could bring Oscar nominations to the unlikeliest of actors: Steve Carell and Channing Tatum.
10. Rosewater: Jon Stewart proved his mettle behind the camera with this touching, insightful and underseen true story of a journalist jailed during the Iranian elections of 2009.
11. Boyhood: The best film of 2014, Boyhood’s filming spanned 12 years and let us glimpse something no other film has ever captured.
12. Wetlands:Underneath the shock and body fluids is a deeply human story boasting a fearless and nuanced performance.
13. Snowpiercer: The best SciFi in a year of especially great SciFi, the film was sabotaged by its own studio and still wound up wowing audiences everywhere.
14. Interstellar: Not Christopher Nolan’s best, but when his intergalactic epic is working, it is a mind-bending ride.
15. Locke: A one man show that highlights the talents of perhaps the greatest actor of his generation, Tom Hardy. See it. Do it!
One of the most interesting themes you find when searching back over the best films of 2014 is the brilliance of films with one word titles (Birdman, Nightcrawler, Whiplash, Boyhood, Rosewater – it’s a long list!). Another is the remarkable quality of feature directorial debuts. Many of the year’s most powerful, intriguing films came from first time filmmakers, though several of these are industry veterans. Here is a look at the most impressive feature directorial debuts of 2014.
Nightcrawler
Dan Gilroy’s been writing films – many of them mediocre at best – since 1992’s Freejack. It appears he saved his best script for his debut as a director. Nightcrawler is aided immeasurably by the best performance of Jake Gyllenhaal’s career, but Gilroy’s dark, creepy approach to unseemly but enormously relevant material proves his mettle behind the camera.
Rosewater
An industry veteran with a connection to the source material, Jon Stewart made his directorial debut this year with the tale of a journalist jailed in Iran partly because of an interview he did with The Daily Show. The story behind Rosewater is fascinating, and Stewart’s direction proves thoughtful, insightful and inventive.
The Babadook
Aussie Jennifer Kent’s spooky tale opens this week, offering perhaps the creepiest effort of the year. A cautionary tale about parenting, the movie introduces a filmmaker who grounds fantasy in an unnerving level of naturalism, who can draw deeply human performances, and who knows what scares you.
Dear White People
Justin Simien makes the leap from shorts to features with one of the smartest films of the year. Dear White Peopletackles racial issues with confidence and a mix of sarcasm, outrage, hilarity and disgust. Simien never abandons comedy for preaching, but there is not an issue he isn’t willing to spotlight, however uncomfortable. It’s an insightful, biting comedy too few people saw this year.
A Girl Walks Home Alone at Night
Ana Lily Amirpour’s first feature is also the first Iranian vampire film, so extra points there. A Girl Walks Home Alone at Night is a gorgeous, peculiar reimagining of the familiar. Amirpour mixes imagery and themes from a wide range of filmmakers as she updates and twists the common vampire tropes with unique cultural flair. The result is a visually stunning, utterly mesmerizing whole.
Obvious Child
Gillian Robespierre crafts an uncommonly realistic, uncomfortable, taboo-shattering comedy with Obvious Child. A romantic comedy quite unlike any other, it succeeds in large part due to a miraculous lead turn from Jenny Slate. Robespierre’s refreshingly frank film rings with authenticity, and is as touching as it is raw.
Bad Words
We’re willing to give anything a shot if Jason Bateman is involved. Sure, it doesn’t always pay off, but his directorial debut Bad Words is as wry, dry and funny as you’d expect. No one has comic timing like Bateman, and it leads to a quickly paced, lean and hilariously mean effort.
I don’t know why it took so long to combine Network, Broadcast News and American Psycho, but Nightcrawler is here now, so buckle down for a helluva ride.
It is a mesmerizing film, propelled by a career-defining performance from Jake Gyllenhaal. Years from now, his “Travis Bickle” may very well be Lou Bloom, a strangely polite, utterly driven man in search of a purpose.
He finds it via an old camcorder, which becomes his passage into the life of a freelance videographer in L.A. Night after night, Lou waits by a police scanner for a chance to be the first at a crime scene and come away with footage that will fetch a high price from the local TV news stations.
Lou seems like a natural, and soon he’s got an assistant (a terrific Riz Ahmed), brand new equipment and a cozy relationship with a news director (Rene Russo, supporting award-worthy) who describes her broadcast as a “screaming woman running down the street with her throat cut.”
But first, the weather!
Writer/director Dan Gilroy has several screenplays under his belt (The Bourne Legacy, Two for the Money) but may be best known as Russo’s husband. That should change, as his debut as a director is awash in style and biting creativity.
Call it poetic justice that Nightcrawler is opening just as TV news enters the November sweeps ratings period. Yes, the film hits the “if it bleeds, it leads” mantra and hits it hard, but doesn’t shrink from wondering just who that indicts: the show or its audience?
As Lou’s sociopathic tendencies lead him to become more and more involved in the stories he’s covering, the film sharpens its satirical claws. Fear-mongering, class warfare, “bootstrap mentality” and more take a beating, with Gilroy showing great instincts for when to pull back before his hand becomes too heavy.
His gets a great assist from Oscar-winning cinematographer Robert Elswit (There Will Be Blood), who bathes the film in dark, sleek shine, making Bloom’s seedy world inescapable.
But the anchor here is Gyllenhaal’s can’t-look-away performance. He makes Lou Bloom an American psycho for today, unfazed by business cards but unable to tolerate anyone altering his plan for upward mobility. He’s all smiles and positivity, all the while analyzing your weaknesses he will unapologetically exploit when necessary.
Everything about Nightcrawler should be in the 2014 awards mix. Chase this ambulance down, and fast.
