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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 Oxbow Cure
By: Addison Wylie
The Oxbow Cure had me shivering for all sorts of reasons.
Directors Yonah Lewis and Calvin Thomas are able to flawlessly create moods and feelings using minimalist tactics. With its few instances of dialogue aside, this low budget Kickstarter passion project is practically a silent film as we watch a distressed but tranquil woman named Lena (played carefully by playwright Claudia Dey) escape to a snowy cabin in the woods to carry out an isolation experiment. Is it for personal reasons or for something else entirely? You’ll soon find out if your patience serves you well.
During a scene where Lena turns on a heater and the camera watches the element glow warmer and warmer, it hit me that The Oxbow Cure would probably be one of those meticulous but slow moving movies. But, just as one’s about to judge the film, it impresses by making the uninteresting interesting.
Lena goes on a lot of walks and observes every detail and while movie goers feel the minutes tick on by, we aren’t bothered. Lewis and Thomas are able to keep their film in motion, which is a tough task to do when the film is this quiet. We’re transfixed by the crisp cinematography and the directorial pairs’ visual abilities. When Lena is trapped, we feel suffocated. When she’s blissfully overlooking the scenic landscapes, the audience feels just as relaxed. And, bring a jacket because The Oxbow Cure’s frosty backdrop is going to make you feel chilly.
While the filmmaking duo does a fine job of creating these effective essences and nuances, it isn’t wrong for the audience to wonder if the climax of this woman’s story is going to be as strong as these sensory building blocks. The longer Lewis and Thomas keep us waiting, the larger the skepticism gets.
However, this indie gets increasingly psychological; with imagery that seriously freaked me out. The duo know how to tease accordingly and when a big reveal is ready to be recognized, the two know how to present it. The reactions may come across as more subdued than you expected, but it all adds up to compelling satisfaction.
I’ve seen my fair share of recent minimalist movies and I’ve given less-than-favourable reviews to those filmmakers who have gotten swallowed up in their own droopy inactivity. To those filmmakers: watch The Oxbow Cure and take notes. This artfully atmospheric and ominous flick will teach you a thing or two and treat composed audiences just the same.
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The Oxbow Cure is now playing at the TIFF Bell Lightbox. On August 23, movie goers attending the 7:30 p.m. screening will be treated to a Yonah Lewis and Calvin Thomas Q&A afterwards.
Wylie Writes 