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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
The Way, Way Back
By: Addison Wylie
Nat Faxon (who you may have seen playing bit parts in Broken Lizard films and playing the title male on the unfortunately short lived TV show Ben & Kate) and Jim Rash (who you may have caught on the cult television hit Community) have Academy Awards under their belts. Their screenwriting, along with Alexander Payne penmanship, earned all three of them a prestigious Oscar for their adaptive screenwriting in The Descendants.
Now, Faxon and Rash have taken the reigns and co-directed/co-written their own indie entitled The Way, Way Back. The results are extremely amiable and it’s incredibly tough not to like or to find any flaws. It’s this year’s most eligible sleeper hit and also a well kept observational film about outcasts.
Newcomer Liam James plays our young lead, Duncan. Trying to get through his early teens, Duncan spends all his time hanging out at home and accompanying his mom, Pam (played by Toni Collette). He has no interest in friends, romance, hobbies, or anything really. He’s content with being by his lonesome, but is aware that this isn’t exactly the best way to live his budding teenagehood.
His Mom’s boyfriend Trent (played with versatile strength by an out-of-the-element Steve Carell) sees this and pushes Duncan to take more risks. Unfortunately, he does this by pointing out his weaknesses and subtlety berating him in front of company.
When Trent invites Pam and Duncan to his summer home by the beach, it’s Duncan’s worst nightmare. Trent’s harshness doesn’t let up and Duncan’s even further away from anything he’s used to.
James lays on the misfit mannerisms awfully thick, occasionally making Duncan’s out of place and unwanted appearance very obvious and broody. However, it’s a performance that becomes heartwarming and sweet once he finds his calling at the Water Wizz, a Never-Never Land of sorts disguised as a waterpark.
Here, he finds the park’s owner Owen. Owen is played by a scene stealing Sam Rockwell who does what he does best – sharply charming, sarcastic, and highly likeable. He takes Duncan under his wing and shows him the ropes of the waterpark. Nothing is mentioned about Owen seeing a bit of himself in Duncan or anything else that follows a similar cliché. Rockwell’s welcoming clown just hates to see anyone having no fun.
Some of the credit goes to the performances of Faxon and Rash, who also play scene stealing employees at the Water Wizz, as well as a sternly funny Maya Rudolph – who is usually seen picking up Owen’s pieces – regarding how the film stays in check with its fun-loving attitude restraining the film from becoming obnoxious. But, it’s the writing and the careful but caring direction from Faxon and Rash that is super mindful of what their sweet, little indie could blur into; and they do a terrific job at keeping their vision away from those pitfalls.
The directorial duo take their time establishing the summertime environment before heading to the waterpark. But, the scenes showing how peer pressure affects Duncan’s mother amongst Trent’s sloshed cottage buddies (especially a cringe worthily hilarious performance by Allison Janney) is very effective and ties these themes of “feeling left out” into the adult world with ease.
The film features many scenes of Duncan overhearing conversations and characters witnessing small mannerisms that offer a lot of insights on someone or something else. These characters are learning with the audience (sometimes through third party perspectives), which allows an element of common interactivity between movie goers and the performances. The Way, Way Back doesn’t treat these characters or the audience as buffoons. Some may act that way, but the film understands that their story can be taken just as seriously as any of the good-natured leads.
Since it is an observant film and goes at its own leisurely pace, The Way, Way Back isn’t exactly the flashiest or the most exciting movie you’ll see this Summer. However, the film may look routine, but this dramedy fills the quota from all ends with plenty of laughs and heart.
Like a lazy river at a waterpark, The Way, Way Back allows the viewer to sit back and take in life’s quiet moments. Each situation is easily relatable, the performances are outstanding and genuinely funny, and the film’s smart dialogue – sans a mumbled, quick f-bomb – is never blue and manages to make you smile while staying impressively clean. The Way, Way Back is impossible to resist.
Wylie Writes 