Tag Archives: Rosewater

Countdown: Weird Trend of 2014

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!

Best First Features of 2014 Countdown

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 People tackles 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.

Stewart’s Moment of Zen

Rosewater

by Hope Madden

It should probably come as no surprise that Jon Stewart has keen instincts for telling a tale about journalistic integrity, witness bearing and global politics. It is perhaps even less shocking to find that he can weave wry humor into the most unexpected places, or that his insights are sharp and his material is smart.

His directorial debut Rosewater recounts journalist Maziar Bahari’s story of capture and captivity during protests following Iran’s 2009 presidential election.

The always wonderful Gael Garcia Bernal plays Bahari with the perfect mix of wisdom, naiveté, fear and courage – sometimes all flashing at once across his face. He’s more than matched by two magnificent supporting turns.

Iranian born Shohreh Aghdashloo (House of Sand and Fog) plays Bahari’s mother with pride, humanity and strength in every gaze, every tear. She’s never turned in a weak performance, but as the world-wearied matriarch of a politically troubled family, she is at her stirring best.

Likewise, as Bahari’s detention “specialist” – the man assigned to his daily mental, emotional and physical torment – Kim Bodnia shines. Like his colleagues, Bodnia says more with his posture and expression than with his lines. He creates a layered and fascinating character of a man most films would cast aside as a one dimensional villain.

There are weird comic moments between Bodnia and Bernal that are thrilling to watch.

Stuart possesses genuine skill as a director, layering performances with sounds, images, even framing that enrich every scene. He details early exposition with lovely, rich imagery that provides more power to the foundational scenes than the voiceover alone ever could.

He writes a pretty mean screenplay as well, adapting Bahari’s book into a succinct, approachable but intelligent tale. He knows how to use a quote from Iranian poet Ahmad Shamloo, sees the dramatic benefit of understated dialog, and recognizes the soothing balm of a well placed Leonard Cohen song.

Rosewater is not a condemnation or a chance for finger wagging – an opportunity that must have appealed to Stewart, whose program The Daily Show had actually contributed to Bahari’s plight. Instead Stewart crafts an image of modern journalism, global politics, and outdated ideology that has a pulse as quick as its tongue is sharp.

Just as Stewart the stand-up comic became one of the most urgent and satisfying voices in American broadcasting, so has this talk show host suddenly blossomed into one of this year’s most relevant filmmakers.

Verdict-4-0-Stars

Fall Preview Countdown

 

Football, honey crisp apples, leaves to rake – you know what that means? It means the cinema will turn from alien invasion bombast to thought provoking, character driven awards bait. Hooray!  Here are the ten fall movies we are most excited to spend time with between now and the holidays.

 10. The Hunger Games: Mockingjay – Part 1

Sure, it’s another blockbuster and hardly the kind of adult, autumnal fare you’ll find on the balance of the list, but we don’t care. We’re as geeked for Katniss’s next step as any 13-year-old girl. Director Francis Lawrence took the franchise into ingenious new territory with Catching Fire and we are eager to see where JLaw and team can take the political maneuvering next.

9. Fury (October 17)

Brad Pitt returns to Nazi Germany, but don’t expect the dark comedy of Inglourious Basterds. Writer/director David Ayer (End of Watch) is at the helm of what is being described as a brutal but honest look at WWII.

8. Whiplash (October 23)

The always spectacular J. K. Simmons and talented, young Miles Teller join forces in a cymbal-crashing boot camp for musicians. Buzz for this one is great, and we love Simmons, so we’re ready to rock and roll.

7. Men, Women & Children (October 17)

Jason Reitman made his first major misstep this year with the syrupy mess Labor Day, but we are optimistic he will recover with this ensemble drama about how technology is changing our personal landscapes. Co-writer Erin Cressida Wilson (Secretary) should help.

6. Rosewater (November 7)

Jon Stewart writes and directs this true story of a journalist imprisoned and tortured for simply reporting on Iran’s 2009 election. Clearly a topic close to Stewart’s heart, we are eager to see if he can do at the helm of a film what he’s managed to do with his comedy show: articulate the people’s need for unencumbered journalism.

5. Birdman (October 17)

Alejandro Gonzalez Inarritu takes a break from heady, heartbreaking drama (Biutiful, 21 Grams, Amores Perros) for something lighter and a bit more meta. Onetime Batman, current struggling actor Michael Keaton plays a struggling actor once known for his role as a superhero. We are in.

4. Foxcatcher (November 14)

Steve Carell has gotten notice for an unforgettable and surprising turn in a true crime drama co-starring Channing Tatum and Mark Ruffalo. Director Bennett Miller (Capote, Moneyball) has done no wrong so far in his career, and we are intrigued to see where he takes us next.

3. Interstellar (November 9)

Because Christopher Nolan. If he’s directing, we’re in line for tickets, so this space exploration/wormhole business starring Matthew McConaughey (hey, he’s been a good bet lately, eh?) sounds like time well spent.

2. Gone Girl (October 3)

Who else would we line up to see no matter what? David Fincher, who helms this gritty crime drama about a missing wife and a husband who looks guilty. Ben Affleck stars, which is not always his strongest suit, but we’re betting on Fincher.

1. St. Vincent

Bill Murray plays the aging, boozy whoremonger next door who lends a hand to the neighborhood’s new single mom (Melissa McCarthy) in need of a babysitter. What could go wrong? We will be on hand to find out.