The 8th Annual Davies Awards in Film

A Look Back at 2013:

It angers me when people complain about the state of film today.  Yes, there’s an orgiastic onslaught of celluloid and digital excrement shoveled into multiplexes every year…but if 2013 proved anything, it’s that art finds a way to survive and quite often thrives in the manure laid across the silver screen.  This past year saw both one of the most accessible art films (12 Years a Slave) and one of the most artistic blockbusters (Gravity) of the decade blossom in the verdant soil of cinema.  I mean hell, Gravity proved that a money gouging gimmick (3D) utilized in so much of that dross that strangles viewers every year can actually be used in the correct artistic context to add…fancy that…new dimensions to film.

And survival and blossoming in the midst of a shit storm – thematically that’s what the year in film was about.  Witness surviving: being kidnapped into slavery (12 Years a Slave), outer space calamities (Gravity), adolescence (Mud), young adulthood (Frances Ha), marriage (Before Midnight), the sins of the father (The Place Beyond the Pines), the lonely high seas (All is Lost), Somali pirates (Captain Phillips), and false persecution (The Hunt).  Hmmm…they do say that all great stories are essentially the same story, don’t they?

Continue reading

His Name is Mud and it’s a Helluva Thing

Mud - in the trees

Look up there…it’s a helluva thing.

Mud, despite its name, is anything but muddy. It’s a finely tuned man’s-man tearjerker about boys coming-of-age, fathers realizing what’s important, the women they love and the trouble we’re all capable of making for ourselves and others. Writer director Jeff Nichols (who previously haunted us with another fine piece of blistering Americana in Take Shelter) crafts the film like an adaptation of a long-lost great American novel, framing it with a strong plot and filling it to the brim with fulfilling character arcs, character foils, and visual motifs of migrating birds, slippery snakes, open windows and the great wide flowing waters of the Mississippi.

Mud sure is a tale, but it’s also a man – a man called Mud, played with crafted precision by good ol’boy Matthew McConaughey, who in the past few years with roles in films like Bernie, Killer Joe and now Mud, has eradicated the stank left on him from years of bad rom-coms and “sexiest man alive” shenanigans to emerge as a truly great (dare I say method) actor. Here he’s a man in hiding on an island out in the middle of the Mississippi River running through Arkansas. He’s discovered by a pair of young teenage boys: good-hearted, sensitive and eager-to-throw-a-punch Ellis (Tye Sheridan, who previously only got to cry and play in The Tree of Life, but here emerges as an appealing young actor worth watching for in the future) and shit-talkin’ smart-as-a-whip Neckbone (Jacob Lofland), who ventured out to the island on the promise of finding a cool-ass boat lodged in a treetop (“A helluva thing,” says Mud). Turns out Mud’s been living in that helluva thing, and boy, does he have some stories for them boys. Continue reading