The 9th Annual Davies Awards in Film

 

A Look Back at 2014:

Cinematically 2014 was a long, bizarre year that seemed like it would never end, much like many of the runtime-be-damned films we watched.  It’s hard to pinpoint a defining theme as filmmakers were all over the map and seemed to be throwing everything and the kitchen sink at viewers, though time travel (in fantastic terms in Interstellar and The Edge of Tomorrow while in more realistic terms in Boyhood) and biopics (especially at the end of the year) seemed to make the most compelling cases.

Strangely I found myself disconnected from many of the overly praised but still very high quality “independent” films (Boyhood, Birdman and Selma) while I found enormous entertainment value in the smartly crafted mainstream masterpieces (Interstellar and Gone Girl).

Early in the year we were treated to some of the strangest and most unnerving independent fare with the cold Canadian entry Enemy and the ever-odd Under the Skin, both slow-burn psychological thrillers that could make David Lynch squirm and swoon.  At the end of the year, when it came to the biopics, The Imitation Game showed us how it should be done even when going by-the-numbers, while The Theory of Everything showed us how wrong by-the-numbers can go.

When it came to up-and-coming directors, Jeremy Saulnier (with Blue Ruin) and Jennifer Kent (with The Babadook) left us on the edge of our seats begging for more, while Ava DuVernay basked in the glory of being the first to attempt a MLK biopic with the noble Selma.

On the veteran auteur front, David Fincher delivered a dark comedy for the ages with Gone Girl while Christopher Nolan aimed for the stars with the year’s most ambitious and memorable effort, Interstellar.  Meanwhile in a tale of two Andersons, Wes Anderson delivered his best yet with The Grand Budapest Hotel while Paul Thomas Anderson delivered his least yet with Inherent Vice…which was still a pleasing effort and a notch about Wes’ best. Continue reading

Nightcrawler or How to Start Your Own Business

Nightcrawler

Wow…what a scathing satire Dan Gilroy’s Nightcrawler would’ve been in say…1994 or 1995 on the heels of the OJ Simpson “White Bronco Chase” that was ushering in a new age of television reporting.  What a horrific view of what was to come…a prescient prediction of how bad it could get (and did get) if we continued down that road.  Instead, it’s 2014, and Nightcrawler crashes into screens, oddly anachronistic, taking place in some bizarro-world where local nightly news still matters and no one seems to be aware of YouTube and social media.  Honestly, who was this film made for?  Scared senior citizens without computers who still watch the nightly news?

Louis Bloom (Jake Gyllenhaal), a man with no back story who claims to have learned everything on the internet (this, along with his use of the GPS on his phone are the only things that hint at this being a present-day set story), happens by accident upon an accident late one night on the LA streets and is mesmerized by the free-lance film crew (headed by Bill Paxton) capturing video they plan to sell to Channel 6 (whose cool red-lit antenna atop their studios evokes 666…wow…subtle).  Very quickly Lou applies all of that self-help, business 101, go-getter bullshit he read on the internet and begins to crawl the nights searching for anything that bleeds to sell to the Channel 6 news director (Rene Russo).  It’s not long before things escalate and Lou begins to take drastic measures, where he skirts the law and common decency to turn the stories and events he captures into more sensationalistic leads.

Jake Gyllenhaal, thankfully, takes full control of the film.  His performance is what makes Nightcrawler worth watching.  Continue reading