Tag Archives: Reviews

2013’s Top Nine

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So here they are, my best of 2013. I’ll allow my two-month demurral and the list’s incompleteness (who does a top nine?) to speak for the sort of year I had in the theaters. Still, I saw enough to have an opinion and I’m going to share it with you.

Enjoy.

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Salinger (2013)

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Salinger is built like an homage, speaking of the man with a spiritual reverence, maintaining an air of enigmatic romance with “never before seen” imagery and footage. The author’s elusiveness is the throughline, and Salinger wants desperately to play a part in the creation of his mythology, assembling old friends and contemporaries to talk about his work and character with great solemnity. It works, not because the film is effectively made, but because the story of Jerry “J.D.” Salinger is so salient. For those who have read Salinger, and felt a kinship with the man through that writing, Salinger is the rare film that unlocks its subject while somehow telling you what you already knew: He was a true artist, and true artists don’t owe us anything.

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American Hustle (2013)

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I just don’t have much to say about American Hustle. Not for lack of trying, but the film hasn’t given me much to think about since I saw it a week ago. It’s a perfectly okay movie built on a mildly interesting true story that has a few things to say about the follies of greed, and includes a pair of knockout performances. But more than all that, and first, it’s a film that reminds you how utterly flaky Academy voters can be.

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Help! (1965)

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The plot of Help! is absurd and absurdly simple: An eastern cult can’t perform its sacrificial rite without a gaudy ring that, as it turns out, was sent to Ringo and is now stuck on his finger. Led by a screw-eyed Swami named Clang (Leo McKern), the cult hunts the Beatles and the ring around the globe — whenever possible, tomfoolery abounds. It’s a story made for a 20-minute cartoon, yet Director Richard Lester, in his second outing with the boys, somehow found a way to stretch it into a full 92-minute feature.

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12 Years a Slave (2013)

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Steve McQueen probably hated Django Unchained. Where Tarantino’s Django Unchained toyed with history’s facts to make the horrors of slavery a plot point, 12 Years a Slave is a film about a torture perpetrated on millions of black men, women and children. McQueen’s third feature isn’t interested in the audience’s comfort or catharsis, and tells a story full of vicious, hard violence and fractured souls. McQueen brings you as close as he possibly can to the horrors of antebellum slavery, not shying from bloody truths, and ultimately reminds us that far, far too often, history’s mad men and their ugly horrors go unpunished and unredressed.

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Her (2013)

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Superficially, Her is striking because it’s entirely plausible. From the Apple-tinted future tech to the subtle revisions to fashion to the utter solitude found in a crowd, the film has a great deal to say about the near future, and the world we’re in the process of creating. And yet, Her isn’t about the science fiction. It’s not about predicting the future or scaring us straight. It is, simply, a love story in a different time than ours, with a different set of rules and the same expectations. Had he wanted to, Writer/Director Spike Jonze could have explored the futurist angle — there’s ample evidence that he designed his world far past what was necessary for the story he’s telling — but that’s not where his interests as a storyteller lie. They lie with people, and the connections between people, and the unexplored places to which these connections can take us.

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Only God Forgives (2013)

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There are a lot of compelling ideas in Only God Forgivesnot enough to make it a good film, but certainly enough to make it interesting. When you put it next to Drive, Only God Forgives becomes an opiated chapter in Director Nicolas Winding Refn’s Machismo Fables, with Ryan Gosling’s maddeningly stoic anti-hero (known here as Julian; in Drive as simply Driver) at the center. As with his other films, Refn considers the power of violence, and like Drive he explores the lengths to which a man will go for a woman — even a hellish virago of a mother, played by Kristin Scott Thomas. In general, these subtexts seem relevant more for their cultural antiquity than their place in modern culture, and I suppose there’s something to be said for the tenacity of Refn’s thematic exploration, but the utter torpor found in so much of Only God Forgives makes its 89 minutes feel interminable. There’s a viciously sharp performance by Vithaya Pansringarm as the film’s chilling Chang, and certainly Refn’s films always deliver stylistically — this is the most beautifully shot film I’ve watched in months — but his lack of balance is quickly relegating him to a style-over-substance storyteller.

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