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Wylie Writes’ Ten Best Movies of 2013
By: Addison Wylie
Now that we’ve recognized the bad movies that were slingshot at audiences last year, it’s time to move on and engulf ourselves in the cream of the crop.
2013 introduced a wide variety of great films to audiences. I feel like I say that every year, but as I scour my selected picks, the only thing these movies share are the odd genre they’re grouped in.
Take documentaries, for example. Audiences were shown terrific autobiographies that opened their subjects like books. André Gregory: Before and After Dinner was one that caught my interest. Gregory is a writer, an actor, a director, an all around theatrical wiz, yet he presents himself as such a humble human being who could easily sweep the average movie goer off their feet. Director Cindy Kleine doesn’t have to stretch to find a comfortable groove for this pleasant doc.
Nicky’s Family wasn’t necessarily a straightforward autobiography like André Gregory: Before and After Dinner, but it told a revolutionary story involving Nicholas Winton. Winton, who rescued Jewish children before WWII, is shown in high regard with Matej Mináč’s film. Nicky’s Family may look like something you’d find on PBS on a Sunday afternoon, but the doc’s importance could impact a sold-out stadium.
Rounding out the list of sensational documentaries was Lucy Walker’s The Crash Reel, a film that snuck onto our radars when the year was winding down. The message about the importance of safety during extreme sports follows alongside snowboarder Kevin Pearce’s inspirational story. Walker’s doc is incredible, and you’ll never want to take your eyes off of it.
There were a few independent films that caught my attention and impressed me with their storytelling. The Oxbow Cure, for instance, is a film that moves deliberately slow. However, Yonah Lewis and Calvin Thomas were able to chill me to the bone with their frigid settings and drawn out creeping.
Sally El Hosaini’s My Brother the Devil was a fantastic feature film debut, providing superb performances from actors who could rationalize their drastic arcs quite well. Sean Garrity’s Blood Pressure was a worthy-enough thriller with an anchoring turn from Michelle Giroux. The film has its flaws, but I enjoyed myself all the way through this low budget drama.
And, Tower. I desperately wanted Tower and actor Derek Bogart to receive more recognition for their contributions to Toronto’s indie scene. It was an uncomfortable, often amusing and unhinged jarring character study from filmmaker Kazik Radwanski. I’ve seen a lot of fine performances from lots of actors in 2013, but Bogart’s portrayal of a disconnected wanderer stuck with me all year round.
Of course, I had some mainstream picks. I thought The Wolf of Wall Street was great fun. It was a lengthly film, but it showed audiences that Martin Scorsese is still a gutsy filmmaker willing to tackle any genre at any given time. August: Osage County was another strong contender. It’s ensemble cast knocked the film out of the park, and frequently had me in stitches.
Blue is the Warmest Colour, The Spectacular Now, and The Way, Way Back were three coming-of-age films that were unforgettable. All three featured moving performances from everyone involved, the creative minds behind the flicks were fearless, and nothing was sugarcoated. Movie goers could sense the filmmakers treating the characters with earnest gratitude, which helped sustain the staying power of each flick.
But, enough lollygaging. Let’s take a look at what fleshed out the top spots of 2013.
Underrated Movies:
Everyday is Like Sunday
It’s A Disaster!
Nicky’s Family
Texas Chainsaw 3D
Warm Bodies
Honourable Mentions:
#15. Tatsumi
#14. Charles Bradley: Soul of America
#13. To The Wonder
#12. Nebraska
#11. Short Term 12
Wylie Writes’ Ten Best Movies of 2013
#10. Spring Breakers
Spring Breakers acts as a statement about the impatient youth of today, and about the need for constant change amongst a modern younger generation.
It’s also a stylistic blast and an interesting conversation starter. Filmmaker Harmony Korine reassures his fans that he isn’t leaving, and he brilliantly introduces younger audiences to a new way to look at movies.
#9. Her
Spike Jonze’s poignant work is a personal film about an impersonal society.
#8. Downloaded
Downloaded is a fantastic documentary on the brink of a remarkable level involving the rise and the inevitable fall of the file trading peer-to-peer service Napster.
#7. 12 Years a Slave
An absolutely brutal, but rewarding watch that’s extremely well acted by its vast ensemble.
Filmmaker Steve McQueen shows an anthropological side to the relationship between an owner and his slave, as well as a fascinating, stomach churning outlook on how easy it was for people to consider other people “possessions”.
Jim Mickle’s We Are What We Are shows a hauntingly humanistic portrayal of something that’s downright unfathomable: cannibalism. The film is an excellent slow burn with a jaw-dropping payoff.
#5. A Hijacking
Unfortunately overshadowed, A Hijacking is a riveting docudrama that I hope gets the respect and attention it deserves despite ingredients that some may be seasick about.
Dallas Buyers Club is an all around exceptional piece of work with flawless lead performances by Matthew McConaughey and Jared Leto.
#3. Mud
Like the film’s stoic bluegrass backdrop, Mud resonates quietly. It’s an outstanding movie with phenomenal acting and careful direction.
#2. Before Midnight
Richard Linklater’s Before Midnight is brilliantly observant with its authentic portrayal of two people who love – and will always love – each other. The screenplay is simply one of the best.
#1. The Place Beyond the Pines
A complete 180° for filmmaker Derek Cianfrance. This sweeping drama about redemption, fatherhood, and “doing the right thing” is absorbing and never drops the ball. A true classic in the making.
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‘Ten Best Movies of 2013’ Artwork by: Sonya Padovani
It’s A Disaster!
By: Addison Wylie
Todd Berger’s ill-timed and ill-titled comedy is being released at a perilous time – which isn’t the filmmaker nor the movie’s fault. However, It’s A Disaster! is too small and vague to be deemed as controversial or hateful, but it’s theatrical run is so quiet that it runs the risk of not becoming a blip on the average moviegoer’s radar. It’s unfortunate because Berger’s comedy of manners is pretty good and sophisticatedly funny.
The film centres around a group of couples who gather for a Sunday brunch – a tradition for the friends. The friends put on smiles, sip away at glasses of wine, and catch up with each other abut life. Meanwhile, each member of the group has lost their love for these get-togethers. They appear happy, but the audience knows they would rather be anywhere but there.
Just then, the electricity cuts out. Outside becomes desolate – not even a dog is in sight. Soon, a neighbour runs over in a hazmat suit and informs the brunching troupe that bombs have gone off downtown unleashing lethal nuclear gas. Everyone has been told to stay indoors and seal off any openings including vents and doorways.
Berger and his talented cast treat the deadly circumstances with straight faces, but Berger’s script allows the company to get sidetracked when preparing for the worse. A search for a radio becomes an amusing emotional rekindling as characters find old items while others have a debate as to whether you pronounce it “duct tape” or “duck tape” and if satellite radio is worth shelling out extra money for “better results”.
It’s A Disaster! is like watching a really good, well timed comedy team re-enacting their long running comedy show for the big screen. It may be hard to comprehend why It’s A Disaster! needs a cinematic treatment when a troupe like Second City could perform this in a theatrical setting, making the chemistry that more real. But, let’s focus on what Todd Berger is serving audiences, because it’s worth looking at.
The roles are filled out by relatively unknown actors, but they have immaculate timing and skill with delivering all types of jokes. An impressive strength that the company can control is their ability to keep running jokes afloat and funny.
The more recognizable faces are David Cross, Julia Stiles, and America Ferrera and they’re just as strong as their other comedic cohorts. A qualm I had with last year’s Lloyd the Conqueror is that there was a line drawn in the sand between the more skilled performers and the amateurs. I’m very glad that the same separation cannot be found in Berger’s film and that he treats all of his actors as equals.
The film hardly tries too hard to make the audience laugh and a lot of the jokes are written and acted in a dry manner. It’s a style of comedy that isn’t going to make everyone double over with laughter, but as the jokes keep coming, the company keeps a generally consistent momentum which holds our interest throughout and often tickles our funny bone.
Moviegoers won’t feel the comedy dragging its feet or ditching its style when the film decides to focus more on the story. When more bleak moments enter the picture, the ball never feels dropped. We actually appreciate Berger wanting to give us more than we bargained for. Specifically, there’s a very well written and well acted scene between Stiles and Cross as they talk about what a would-be life between them would be like. It’s darkly funny, but very comforting and bittersweet.
It’s A Disaster! is the type of movie that briskly exits theatres only to catch attention on VOD and DVD. It’s a concrete example as to why independent cinema deserves to be seen and supported. Without our eyes on it, it settles for cult classic status on home viewing when it can be so much more. With the talent on screen as well as Berger’s special script and direction, this has all the promise and potential to be a hit. A small hit, but a hit nonetheless.
Wylie Writes 