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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
Short Term 12
By: Addison Wylie
Films like Short Term 12 are sometimes the toughest movies to write about. They make elaborate blockbusters like Inception look like a peanut. It’s just so easy to say Short Term 12 is great, recommend it profusely, and move on.
Destin Daniel Cretton’s film is about a foster care supervisor who is having difficulties expressing herself. She keeps emotions sealed tight and lets her empathy feel for her.
Instead of declaring Cretton’s film as a must-see superb character study within its strong independent filmmaking, let’s see if I can dig deeper and express myself a bit more about why this movie is so good.
The dramedy is the product of great writing, powerful performances, and sensitive direction. It’s also a film that is able to restrain itself from being only one form. What starts as a movie documenting a day-in-the-life of a foster care worker – who is also training a new member of her team – lets go of straightforward exposition and lets each character reveal themselves during privy moments.
It’s a movie that could’ve just as easily been a by-the-numbers inspirational tale of a teacher educating inner city kids while also learning more about herself. The perfect amount of these vibes are applied where necessary – most notably during group sessions in the centre. When the adults are interacting with the teens, the camaraderie feels very much as if its been lifted out of a summer camp. The dialogue is lively and quick, which leads to some surprising laugh-out-loud instance.
However, the relationships never get too cutesy or quirky, and we still believe in the authority when they’re put in a position to chastise or detain.
Brie Larson was last seen in the crowd pleaser Don Jon, where her role consisted of deadpan visual gags and about a paragraph of dialogue. Here, Cretton allows her to flex her acting chops in a leading role that’ll definitely put her on the map. Her ability to separate emotion from a sad situation reminds us of what we’ve seen Aubrey Plaza do. But, Larson goes deeper.
Larson is able to show us all sides of her character Grace. There are plenty of cutaways where Larson is given time to silently speak to the audience, and she succeeds tremendously. We figure out more about Grace through the events that unfold and her attachment to a new inductee to Short Term 12, Jayden. The immediate latch-on to Jayden feels a tad rushed at first, but her eagerness is later understandable since Grace hasn’t found anyone else like Jayden to relate to.
The rest of the cast – filled with relatively no namers and young fresh faces – hit home runs constantly. They’re all given their own moments to dig deeper and exude. One particularly memorable heartbreaker is when foster teen Marcus is trying out a new rap on supervisor Mason. The rap is one-take of raw feelings being spilled for the first time. It’s a window into Marcus’ mind through his own creativity. Marcus is played by Keith Stanfield and Mason is played by John Gallagher Jr., and they both submit sensational portrayals.
I would compare Short Term 12 to Half Nelson regarding its lo-fi style and the resonating characters in adult situations. It’s never a real downer, although it’s not afraid to make its audience well up. Destin Daniel Cretton’s film is a refreshing take on these characters and familiar film moulds that ultimately breaks outside the box and becomes its own wonderful work filled with exuberance. Short Term 12 could easily be one of 2013’s most talked about likeable indies.
Wylie Writes 