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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
Does It Float?: To The Wonder
Movie theatres can make all the difference when it comes to the movie.
Some people have sadly given up on the actual moviegoing experience and hopped on over to home streaming VOD devices. It’s a bittersweet feeling realizing that you can’t blame these people for doing so. Home theatre equipment is much more accessible nowadays; and, plenty of movies are available during – or before – their theatrical release. At home, you don’t have annoying and immature patrons surrounding you, there are usually no noisy or bright distractions (i.e. cell phones), and you can pause the film whenever you want to and pick it up when its most convenient for you. Of course, the first two examples are entirely up to you and your ability to pay attention and ditch the Smartphone for two hours.
Have movie theatres taken on an irrelevant title? Never. The VOD experience could become so relaxing and easy to any Jane or Joe who can pick up a remote control, but a trip to the movies cannot be diminished.
The experience and the sincere feeling of sitting with a number of people who may be watching the movie for the first time is absolutely enthralling as you all witness something new. No matter if the movie turns out to be a memorable winner or a lifeless dud, you end up remembering that communal vibe.
With Terrence Malick’s latest dreamy escapade To The Wonder, that feeling of sitting in a movie theatre and allowing a film to wash over you is especially apparent and wonderfully worthwhile. The filmmaker takes on a loose, gorgeously captured structure and tells it using plenty of challenges that turns To The Wonder into a modern day silent film. The results are breathtaking and warm – even when our leads’ mistakes cause her to crumble.
However, when I watched To The Wonder at home, the experience was different. Not only in the sense that the environment had changed, but because the film had difficulty trying to take hold of me as strongly as it did before. The film is still very powerful and one I still consider as “one of the best movies of the year”, but the challenges I met during my re-watch were certainly a surprise.
I further discuss my second go at Malick’s opus in the fourth webisode of Does It Float?.
To read my original review, click here!
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WIN a Blu-ray/DVD Combo Pack of Terrence Malick’s ‘TO THE WONDER’
In celebration of Wylie Writes’ brand spanking new Facebook page, I’m giving away a Blu-ray/DVD combo pack of Terrence Malick’s enchanting To The Wonder courtesy of VVS FILMS and Touchwood PR.
I’ve hailed To The Wonder, a film starring Olga Kurylenko, Ben Affleck, Javier Bardem, and Rachel McAdams, as one of the best of the year and an absolute pleasure to watch. I also plan on re-visiting Malick’s ambitious character study in an upcoming webisode of Does It Float?.
The giveaway is OPEN TO CANADIAN RESIDENTS ONLY. If you live in Canada, all you have to do is “like” the page. By becoming a Wylie Writes fan, you’ll be automatically entered.
The giveaway closes on August 6 at 8:00 EDT and one random winner will be contacted through Facebook and prompted to provide an address to which we will mail the prize to.
GOOD LUCK! To The Wonder is available on Blu-ray, DVD, and VOD on August 6.
To the Wonder
By: Addison Wylie
Fresh off his enigmatic Oscar nominated The Tree of Life, Terrence Malick hits theatres (and VOD in the USA) with To the Wonder, a character study of sorts – but even I have a hard time calling it a straight “character study”.
The film is a character study in the sense that Malick’s film has a loose story and a small ensemble portraying fictional people written by the complex director, but To the Wonder feels like much more of a human nature retrospective displaying an ongoing search to find true happiness in life.
As he’s been known to do, Malick offers an array of ideas for the moviegoer to grasp onto and build a substantial “story” around. It’s actually funny that To the Wonder and Spring Breakers are both playing in movie theatres at the same time being as the latter is similar to a Malick film dipped in a vat of cocaine and vodka.
The film starts off with a couple, played by Olga Kurylenko and Ben Affleck, grinning ear to ear and being very flirtatious with one another. Multiple clips show viewers that the two travel and seek out rare destinations such as a tide slowly rolling in around their feet and a peek with a gorgeous view of the quietness around them.
A red flag is raised almost instantaneously. With all of these stunning locations, neither one of them says more than a few words. Affleck doesn’t even speak at all except for to laugh. Wouldn’t someone have eventually said, “isn’t this beautiful?” or “look over there!”?
But, then more of these moments occur with more staring and caressing. As a moviegoer, you catch on that Malick is doing this on purpose to represent something. Eventually, I realized Malick was using these moments of quietness to represent how strong their emotions towards each other are. It’s also a proposed challenge for the actors to try and portray what they’re feeling without using words.
It sounds pretentious, but it’s in fact the opposite and actually quite fascinating and genuine. Breathy narration occurs throughout the film, but instead of explaining everything that’s taking place or to explain motives or feelings, it’s utilized as more of a tool to establish an atmosphere. You can read into the narration as the screenwriter/director trying to be a poet, but it’s clear he’s using these passages to set a bedrock tone for the actors’ performances to stand on.
Affleck eventually asks Kurylenko to come back home with him. Smitten, she agrees and travels to America with her young daughter. However, there’s a shift in attitude and adjustments to be made – more than she and her daughter expected. This serendipitous step into romance is slowly evaporating as she’s slowly losing that spontaneous allure she had in the relationship. Her daughter has to get used to a new school and new American ways in a place that always feels as if it’s in development. As Kurylenko copes with her new surroundings, she tries to find happiness and her way back – wait for it – to the wonder.
Unknowing to her, others around her feel the same emptiness. Maybe not with love, but with a personal connection. Some townsfolk, including Kurylenko, try filling this hole with religion, but the religious leader in this community (a priest played by Javier Bardem) is longing for that face-to-face connection church goers have with him. Something his God – who he wholeheartedly believes in – is having a hard time providing.
The theme of “finding a connection with another” is a frequent theme in movies and helps build character development. Another reason why these scenes of silence are important is because it makes To the Wonder stand on its own as a film that’s unlike anything you’ve seen.
What also makes it original and memorable is how seemingly uplifting it is towards missteps, as these lost individuals try to fill this void. Malick is telling moviegoers that trial and error is inevitable when trying to relocate happiness you once felt. We can learn from these fumbles, but shouldn’t feel bad for taking a chance.
At least, that’s what I took out of my moviegoing experience. Malick is a true definition of an artist. This is a painter showing you his artwork and asking you to decipher what the reds and blues mean. What you take out of the film is ultimately your interpretation and no one can tell you differently. Malick knows what it all means, but he’s never going to tell you.
As for the film as a whole, I thought it improved in areas where I thought The Tree of Life should have. I thought The Tree of Life covered a lot of ground – maybe too much – but with his latest film, the screenwriter/director is able to display dreamy visuals, superb performances, and a constant interest without feeling as if he’s overstaying his welcome.
To the Wonder is an exceptional film made by someone who understands that film is a medium that’s malleable and can be represented in different ways. It’s a pleasure to watch and to allow to wash over you. It’s also less meaty than the The Tree of Life and certainly less ambitious, but then again what isn’t? Perhaps that isn’t necessarily a bad thing.
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