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?

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Life in the Key of Malick in To the Wonder

To the Wonder 1

I could’ve done without the “the” in Terrence Malick’s latest cinematic symphony To the Wonder.

To wonder…

…that is what Malick’s life as an artist has been all about. To wonder…what it’s like to kill for the heck of it (Badlands)…to love when life is like a shaft of wheat blowing in the wind (Days of Heaven)….to wonder what it’s like to kill someone and mean it, to live
and love in war (The Thin Red Line)…to wonder what it was like to discover a new land, a new love, a new way of life (The New World)…to wonder about the beginning and end of time and the loss of a loved one (The Tree of Life).

To the Wonder is a meditation on loneliness.

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