2014 Year-End Movie Review: Jason Zingale

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After watching hundreds of films throughout the year, it can be somewhat daunting trying to compile a Top 10 list that isn’t laden with footnotes, caveats and what-ifs. (That’s the whole point of the Honorable Mentions section.) My annual year-end features tend to follow a pretty similar formula in that two things are almost always certain – they will include a mix of blockbusters, awards contenders and genre flicks, and there will be several notable omissions – and the 2014 edition isn’t any different. So what if Richard Linklater’s “Boyhood” didn’t make the cut, or that “Selma” is ranked too low? These are my favorite movies of the year, and if you’ve got a problem with that, go make your own list.

Best Movies of 2014

1. “WHIPLASH

A gripping, electrifying and brutally unrelenting thriller, Damien Chazelle’s sophomore effort draws you in from the very first beat of the drum and never lets go, like a freight train of intensity and emotion that leaves you breathless and your heart still pounding when it’s over. “Whiplash” isn’t just one of the best movies of the year; it features perhaps one of the best endings to a movie ever. Chazelle doesn’t waste a single frame in this pressure cooker of a story about a young musician so determined to achieve greatness that he’s willing to do whatever it takes to get there, even if that means enduring the physical, verbal and psychological abuse of the one man capable of squeezing out every last drop of potential. Miles Teller is phenomenal in the lead role, capturing Andrew’s commitment and passion to his craft with an all-in performance that’s soaked in literal blood, sweat and tears, but it’s J.K. Simmons who steals the show with his turn as the borderline psychotic Fletcher, hurtling insults like a drill instructor that are as funny as they are frightening. The film has earned a lot of attention for these two performances, although it would be short-sighted not to mention the superb writing and dynamic editing as well, because they’re just as essential to its success. For a movie about perfection, “Whiplash” comes pretty damn close.

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2. “BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE)

Alejandro González Iñárritu may not be the most prolific director around, but that hardly matters when you make movies like “Birdman or (The Unexpected Virtue of Ignorance),” a remarkable piece of filmmaking that’s as refreshingly original as it is wildly ambitious. While it’s a pretty incisive satire of Broadway and fame, the movie goes even deeper than that, digging into themes of ego, family and artistic integrity vs. commercial success. More than anything else, though, it operates as a character study of a broken man trying to reclaim his former glory, and in that regard, the film reminded me a lot of Darren Aronofsky’s “The Wrestler.” Some of it is played for laughs, but it’s mostly a profoundly sad look at one man’s struggle to validate his existence. The acting is top-notch across the board – especially Michael Keaton, Edward Norton and Emma Stone – however, the real magic comes from Iñarritu’s decision to stage the movie as one long tracking shot. The balletic precision and sheer ballsiness required to pull that off is mind-boggling, but it results in a more immersive and seamless viewing experience akin to a theater performance, and it’s one that’ll be mimicked for years to come.

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3. “NIGHTCRAWLER

Dan Gilroy’s “Nightcrawler” might just be the most frightening film of the year – not in the scares it delivers (because there are none), but rather the chilling peek that it provides behind the curtain of a completely different kind of horror: local TV news. This isn’t the first time that subject has been satirized before in cinema, but “Nightcrawler” tells its darkly comic tale of immorality in the newsroom through the eyes of a Rupert Pupkin-esque antihero more terrifying than any masked killer. The cinematic influences are boundless in Gilroy’s directorial debut, but that hasn’t stopped him from producing a first-rate thriller highlighted by a career-best performance from Jake Gyllenhaal. The actor has been taking bigger risks lately with darker, more mature material, and Louis Bloom is the pinnacle of this career rebirth – a wickedly entrancing and transformative piece of acting that’s fully deserving of an Oscar nomination. Rene Russo is also really good as the Dr. Frankenstein to Gyllenhaal’s monster, feeding into his sociopathic tendencies with an equally amoral disposition, but the movie simply wouldn’t work without Gyllenhaal’s dynamic performance, because it’s the quiet ferocity he brings to the role that makes Bloom such a fascinating character.

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2014 Year-End Movie Review: David Medsker

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Let’s get this out of the way up front: there is a lot of popcorn on my list this year. That might sound bad, since critics are supposed to dislike what’s popular (that’s not true, actually: we just dislike anything we think is bad, whether or not it’s popular), but hey, I’m just happy that I liked enough movies this year to put a Top 10 list together. (This is my first full Top 10 since 2010.) There weren’t a lot of blockbusters this year, but some of the year’s biggest films were big for a reason: they were better than the others.

Of course, I say that, and yet the top four movies on my list barely made a penny. Let’s see if we can change that, shall we?

My Favorite Movies of 2014

1. “WHIPLASH

The Battle of Alpha Males: it’s a timeless plot device. Usually it concerns two guys on the same level (“Tin Men,” “Pushing Tin”) and sometimes involves having sex with your enemy’s spouse (again, “Tin Men” and “Pushing Tin), but here it is the battle of student versus teacher at a music conservatory. Miles Teller, the prodigious drummer, and J.K. Simmons, the sadistic teacher, have never been better, but the movie’s best trick is that it gets the audience to root for both sides, even though both men are horribly flawed and unlikable. It came and went quietly in its theatrical run, but this is a must-see when it hits the video circuit.

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2. “NIGHTCRAWLER

It’s assumed that everyone’s soul has a price, that there is a limit to what people will do for money or success. “Nightcrawler” makes it painfully clear that when it comes to a functioning sociopath like Louis Bloom (Jake Gyllenhaal, who’s superb), all bets are off. Indeed, the uplifting corporate buzz speak that Louis uses to influence characters in the film serves a dual purpose: it gets him what he wants, and it warns the audience that if they work with or for anyone who uses that language, RUN.

3. “BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE)

There are so many genius moments in this movie that it is hard to count. The entire movie is shot to look like it was done in one take, even though it takes place over several days (your move, Alfonso Curaón). Edward Norton is pitch-perfect casting for the part of Mike, playing on his own reputation as a difficult actor, but having Michael Keaton play the lead, a guy who did exactly what his character does in walking away from a blockbuster franchise, is just sublime. It is one of the rare films that uses mainstream pop culture as a means to make an artful statement about life. There are many unforgettable moments, but the movie’s last shot will be permanently etched into your memory.

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