It is not gross hyperbole to suggest that, box office be damned, the last couple of years have not been Hollywood’s finest. With all due respect to “The Artist” and “Argo,” the previous two Best Picture winners and fine movies, neither of them would have won had they been released in 2010. In fact, “The Artist” wouldn’t have even made my Top 10 list that year, while “Argo” would have slotted slightly ahead of “The King’s Speech” (that year’s Best Picture winner, by the way), which means it would have ranked as the sixth best movie that year. Yes, 2010 was that good, and everything since has been, as far as I’m concerned, a great disappointment.
Enter 2013, and the first time since 2010 that a movie truly excited me, to the point where I wanted to stay and watch it again the second it ended. Then I felt sad because Roger Ebert hadn’t lived long enough to see it. I’m really going to miss him. He was a damned fine writer.
Sadly, I still don’t have enough movies to make a top ten list. This is a combination of two things: missing some daytime screenings (stupid day job), and being rather underwhelmed by some movies with big time buzz, including the one that will likely win Best Picture. That won’t be a travesty along the lines of “Crash” taking the trophy in 2005, but unworthy of the honor just the same.
Only one movie comes even close to this one. I was thrilled when Alfonso Cuaron’s 2006 film “Children of Men” won my local film critics group’s award for Movie of the Year, and what he does here dwarves that in terms of technical achievement, while Sandra Bullock delivers as raw a performance as she’s ever given in her life. Even better, the movie is a mere 91 minutes long. Showing people something they’ve never seen before, while showing respect for the audience’s time: now that is my idea of a modern-day filmmaker.
2. “AMERICAN HUSTLE”
This is one of those ‘little moments’ movies, where the story is thoroughly engaging, but it’s the little bits that will stick in your head, and each of the leads has one. Bradley Cooper impersonating Louis C.K. towards the end. Christian Bale letting it all hang out at the party while listening to Duke Ellington. Jennifer Lawrence and the “science oven.” (Lawrence actually has two, if you include her lip sync of “Live and Let Die.”) Jeremy Renner explaining all of the different things you can heat in a science oven (all Italian foods). Amy Adams introducing Lady Greensly. “American Hustle” has a gonzo spirit, but it’s a smoke screen to distract you from the fact that at least one of the characters at any point in time is already thinking two moves ahead. Brilliant stuff.
If “American Hustle” is a ‘little moments’ movie, “Her” is the one that will lead people to have book club-type conversations after seeing it. If the idea of someone developing feelings for an operating system seems odd on the surface, it won’t once you see Theodore (Joaquin Phoenix) give up people for Samantha (Scarlett Johannson), who satisfies him in ways that real women can’t. Johannson will probably be overlooked by the Academy for the same reasons that motion capture master Andy Serkis has been shunned (only her voice appears in the movie), but she delivers a heartbreaking and utterly believable performance as the zeroes-and-ones Samantha.