Archive for the ‘Honorable Mentions’ Category

With any luck, I’ll have the Top 10 completed by mid-January. “The Post” hits Salt Lake City on the 12th and, let’s be honest, I’m going to love it. How *much* I love it remains to be seen, but I can hardly put a list together without seeing the latest Spielberg film.

One thing I’ve already noticed from my shortlist is that 2017 did a great job of spreading the love throughout the year. Instead of the usual November-December cluster of quality, this year’s shortlist includes several early-summer releases and at least one that premiered back in February (hint, hint).

The popcorn fare was also better than usual. I already wrote in my honorable mentions how we got five legitimately great superhero flicks this year. Add to that a risky (read: polarizing) entry into the Star Wars franchise, another you’re-lying-if-you-say-you-didn’t-like-it Fast and Furious film, and a remake of “It” that, IMHO, outdoes the original.

But when looking back at the slate of mainstream, pair-it-with-a-coke, studio fare, there was one film that stood out for it’s thrills and chills. While not the best movie of the year, in an academic sense, it was definitely the most fun I had at the movies and that’s why this year’s Number 11 film is:

Baby Driver

Click on that embedded video, right now. Even if you’ve already seen the movie and especially if you haven’t, do yourself a favor and watch that clip, which is the 6-minute bank heist and car chase that cold opens Edgar Wright’s fantastic movie.

Wright, director of similar genre-blending pop culture staples like Shaun of The Dead and Scott Pilgrim vs. the World puts his signature editing style to its maximum effect in Baby Driver. The film stars Ansel Elgort as Baby, a getaway criminal with tinnitus who relies on a steady soundtrack of music to drown out the ringing in his ears and who is forced to take less-than-legal jobs to pay down a debt. He meets a girl near the end of his indentured servitude, setting up the kind of “one last job” scenario familiar to heist movies, but deployed in a way that marries sound, sight and action choreography in a way that only Wright can.

The chase scenes are, quite simply, unparalleled and matched with a dynamite soundtrack and joyful performances by a crew of A-list actors (including Jon Hamm, Jon Bernthal and Jamie Foxx) playing both into and against their stereotypes.

The one sour note, cosmic in nature, is the inclusion of Kevin Spacey as Baby’s puppet master. It’s a supporting role in the film’s goings-on, but nonetheless harder to stomach now that Spacey’s decades of predatory behavior off-screen has come to light. Perhaps future releases will swap Spacey out, George Lucas style, and I suppose some consolation can be found in that fact that [Spoiler Alert] Spacey’s character need not return for the sequel. I defer to everyone their own calculus on whether or not to watch films that feature terrible people, but for me, the talent and effort of the many other individuals involved in Baby Driver deserve to be celebrated.

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I’m still a few weeks out from completing the due diligence for this year’s list. Living in Salt Lake City doesn’t help things, as several of the big December titles won’t make it to Wasatch Front theaters until January (sigh).

But the end (of the year) is near, and inevitably there are more films warranting recognition than fit onto a Top 10 list. Sure, I could write a longer list, but ain’t nobody got time for that.

Here’s a few favorites from the year that you should check out if you haven’t already.

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Best January Surprise: “Split”

Welcome back M. Night Shyamalan. The pop culture world had rightfully written off the erstwhile-wunderkind behind The Sixth Sense and Unbreakable after a lengthy string of mediocre to downright awful films.

Wisely, Shyamalan gave up on trying to be blockbuster director (remember After Earth? Ugh) and went back to his smaller-scale roots, crafting a low-frills, eerie thriller about a man with multiple personalities, some of whom like to kidnap young girls as offerings to “The Beast.” James McAvoy anchors the film with his playful and committed performance, and the signature twist at the end is a whopper for fans of Shymalan’s filmography, setting up ever more exciting things to come.

Stream it on: HBO Now/Go

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Best Box-Office Flop: “Free Fire”

“Free Fire” to put it mildly, was not a successful film. It had a limited, art house run and while not an expensive film to produce (online reports say roughly $7 million) it made decidedly less than that in ticket sales.

And that’s a shame. It takes a fairly traditional set up — a gathering of criminals erupts in violence after a deal goes bad — and churns out a funny, exciting and entertaining-as-hell bottle episode of a movie as the various characters (played by Cillian Murphy, Armie Hammer, Brie Larson and Sharlto Copley  try to gun their way out of a bad spot, shifting alliances and betraying hidden motivations as they go.

Stream it on: Amazon Prime Video

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Best Binge: “Okja”

Netflix is inching closer and closer to having it first bonafide film smash. It’s original television shows have already broken through, but it’s original films have yet to cross that Rubicon. In 2015, Beast of No Nation was a critical success, but wasn’t exactly a water cooler conversation, and the streaming giant is putting a lot of weight behind next week’s “Bright,” starring Will Smith in a more traditional (and likely underwhelming) fantasy-adventure role.

But all of that makes Netflix’s acquisition of “Okja” all the more interesting, and commendable. In no world was a surreal drama about a South Korean girl trying to save her pet giant pig from the slaughterhouse, and directed by the guy behind “Snowpiercer,” going to achieve mass appeal.

Okja is like nothing else you’ll watch this year. It’s got both Jake Jake Gyllenhaal and Tilda Swinton in roles that almost seem to be competing to out-crazy the other and a legitimately hard-to-watch scene of forced animal reproduction, all in service of a larger allegory on the meat processing industry. It’s out there, like *way* out there, and it’s great.

Stream it on: Netflix

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Best Foreign: “Raw”

Written and directed by Julia Ducournau, “Raw” is a French film about a vegetarian woman at veterinary school who develops a compulsion for raw meat after a new-student hazing ritual. That compulsion becomes intense, to put it mildly, eventually leading to fatal results.

It’s a dressed-down approach to what could have been a campy, neo-Zombie/Vampire retread. If there is anything supernatural at play, Ducournau only hints at it, instead preferring to tell a human story of addiction, which just happens to involve the consumption of human flesh. The movie is also deft in its use of gore and practical effects, making quiet scenes hang in the air with apprehension — a particular sequence involving the main character’s sister, a botched bikini wax and a pair of scissors stands out.

Best to watch it on an empty stomach.

Stream it on: Netflix

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Best Superhero: “Logan”

As far as superhero films go, 2017 was an embarrassment of riches. Warner Brothers, which has little to show for its DC efforts so far, scored a major victory with Wonder Woman, the long-overdue superheroine movie we’ve all been waiting for. Marvel had two successes by embracing the weird in Guardians 2 and Thor: Ragnarok. And even Sony got into the game with it’s Spider-man: Homecoming, which put Peter Parker back in high school where he belongs.

(The less said about 2017 *other* big superhero movie, the better).

But the biggest risk, and subsequently greatest reward, was Fox letting writer-director James Mangold go out on a limb with the studio’s marquee character, Hugh Jackman’s Wolverine. In “Logan,” Wolverine is nearing the end of his long life, his healing powers of near-immortality waning, and is living off the grid as a limousine driver in a post-mutant world while caring for an ailing Professor Charles Xavier.

For long stretches of the movie, you might forget you’re watching a superhero film. It has little of the computer-generated phantasmagoria that have come to define the genre, instead putting its characters in actual dirt, covered in blood and sweat. It also does what most of these mega-franchises are too afraid to do: it ends.

Stream it on: HBO Now/Go

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Best Documentary: “Chasing Coral”

Climate change is no longer something that can be safely ignored (in fact, it never was) and yet the nonsensically controversial and unnecessarily partisan “debate” drags on. Meanwhile, the Earth’s oceans get hotter and hotter, literally cooking the plant and animal life that make up a largely-unseen but crucially important ecosystem beneath the waves.

That effect, happening in real time, is what “Chasing Coral” captures, by sending a team of divers with underwater cameras to document the bleaching of the Great Barrier Reef. The footage is striking, showing the decimation of once-vibrant areas over a matter of weeks, and making it abundantly and undeniably clear that our oceans are burning we all fiddle with the politics.

Stream it on: Netflix

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Best Horror: “It”

The horror genre took a decidedly indie-dominated turn a few years back, with films like “The Babadook,” “The Witch,” and “It Follows” generating buzz while mainstream fare puttered along with diminishing returns.

But there’s no denying the particular alchemy of “It,” which managed to take one of the biggest titles in horror history and update it. With all deference to the great work by Tim Curry, the old “It” doesn’t hold up very well, and it was high time somebody take another stab at adapting Stephen King’s signature work for the big screen.

Enter director Andy Muschiett, working off great writing by multiple screenwriters and equipped with a cast of capable child actors (including Stranger Things’ Finn Wolfhard). The script moves the action up a couple decades to capitalize on peak-80s nostalgia and wisely trims some of King’s more problematic impulses. And deserved credit to Bill Skarsgård, who is faced with the task of filling Curry’s shoes while making the character of Pennywise his own. He succeeds.

Stream it on: N/A

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Best Indie: “It Comes At Night”

Few films stuck with me after I left the theater the way “It Comes at Night” did. Set in a thinly-defined post apocalyptic world, ICAN is focused on a family who live in solitary isolation in a boarded-up cabin, barricaded to keep out the unspoken menaces of a communicable ailment and the people who might bring it with them. After a man invades their home, ostensibly in search of supplies, the family is forced to weigh their safety over the risk of exposing themselves to other people.

It’s a quiet, dark and moody film with an omnipresent air of menace. So much is left abstract, with blurred lines between nocturnal dream sequences and diurnal reality, and only whispers on the wind and the fear on the characters faces communicating the stakes. The conclusion is haunting and begging for interpretation and it left me shook like few films can.

Stream it on: Amazon Prime Video

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The 2017 Wood’s Stock Balls-To-The-Wall Award: “Mother!”

The saying is “Nothing ventured, nothing gained,” and by God, did “Mother!” venture. A challenging and provocative film by Darren Aronofsky, operating as an allegory on religion and the creation story (I guess?) “Mother!” would likely have been best served as a limited art house release, but distributor Paramount decided instead to go all-in on a nationwide roll-out.

That meant a lot of surprised and frustrated audiences, earning a rare “F” grade from CinemaScore (akin to exit polling, but for theaters) and a lot of “What were they thinking?” from the entertainment press.

But all of that noise distracts from the actual movie, which is bonkers and beautiful and dangerous and confusing and incredible. A synopsis would be pointless, suffice it to say that an artist and his wife find their country home increasingly invaded by strangers who adore the man’s work, culminating in a hypnotically gonzo sequence that follows Jennifer Lawrence through an escalating hellscape of violence and destruction. It’s a boldly executed, jarring film, the sheer ambition of which left my jaw on the floor.

Stream it on: N/A

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The top 10 is finished. I have the films selected, ranked and ready to go. In fact, I was about to skip the Number 11 post entirely and go straight to the business when I was struck by the sentimentality of tradition and the memory that my finacêe made me insist that I acknowledge *her* favorite movie of the 2016 at some point during my year-end posting.

Luckilly for her (and me, let’s be honest) is that her favorite movie also happened to be the 11th best movie of 2016. And that movie is…

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Arrival

Director Denis Villeneuve is on a pretty impressive streak, with this year’s “Arrival” coming after last year’s “Sicario,” and both “Enemy” and “Prisoners” in 2013. I haven’t seen his earlier work, but if what I hear about “Incendies” is true, then the streak continues.

His film are difficult to categorize, and none more so than Arrival, which is ostensibly a science-fiction film about aliens visiting Earth but doubles as an examination of hope and the binding power of communication.

It’s also a showcase for actress Amy Adams, whose linguist and interpreter Louise Banks is the heart and soul of the plot. After a number of disk-shaped, hovering craft appear, Banks is scooped up by the U.S. government — along with Jeremy Renner’s mathematician Ian Donnelly — and given the task with communicating with the beings inside, a pair of tentacled forms that employ a written language of circular ink blots.

Beautifully shot and scored, Arrival is heavy on atmosphere, which hums in harmony with the largely abstract themes on screen. And in a year as divisive and rhetorically toxic as this one has been, it’s poetic — maybe fated? — and cathartic to watch a film that champions a rejection of competition and isolation in service of a greater good.

Optimistic and movingly heart-breaking, with an arthouse-quality production and craftsmanship, “Arrival” is the 11th-best movie of the year.

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2016 was bad. Just ugly, toxic, divisive, terrible, horrible, no good, very bad.

Except for film. In that one category, 2016 was *awesome*! It was a year when filmmakers took risks, writers bucked convention, directors toyed with genre and even the stiffest franchise fare from the major studios flexed their creative muscles — for good or ill.

The annual Top 10 is coming soon. But as always, and in particular this year, there was an abundance of quality film that demands recognition.

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Best Box Office Flop: The Nice Guys

It is a crime, an honest-to-God, should-be-prosecuted crime that The Nice Guys failed to find an audience. It’s a neo-noir action comedy, pairing Ryan Gosling and Russel Crowe as wise-cracking private detectives in late-70s Los Angeles, and is writer-director Shane Black’s follow-up to Iron Man 3. (Black, by the way, also wrote and directed Kiss Kiss Bang Bang, which if you haven’t seen yet WHY ARE YOU STILL READING THIS PARAGRAPH AND NOT RECTIFYING YOUR WASTED LIFE?)

Black has a talent for structured chaos, in which everyman characters save the day through a combination of ingenuity and dumb luck as dominoes fall around them. His action scenes are like Rube Goldberg contraptions, which burst outward in unexpected ways without every sacrificing credibility. And his scripts, meanwhile, are filled to the brim with smart, winking dialogue that  sizzles with energy. It’s a delightful recipe that in Nice Guys puts a modern spin on the old gum-shoe tale with jazzy, retro setting.

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Best Superhero: Doctor Strange

In a year of strong competition (Deadpool, Civil War) and weak competition (Batman v Superman) it’s Benedict Cumberbatch’s Sorcerer Supreme that turns in the most memorable comic-book tale of the year. As satisfying as the other entries are (or aren’t), they still amount to “Who Punches Hardest?” while Dr. Strange culminates around a kaleidoscopic phantasmagoria and the manipulation of time and space. And while the Marvel movies are routinely lacking by way of compelling antagonists, Strange scores by revealing its big bad to be an amorphous mass while setting up more personal threats down the road. The line for DS-2 starts here.

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Best Documentary: Tickled

Welcome to the wonderful of competitive endurance tickling, where teams of young, male athletes take turns tying each other down and tickling the stuffing out of each other. If that sounds like some weird kinky fetish, well…it kind of is.

What starts as a passing curiosity for journalist David Farrier quickly turns increasingly bizarre and sinister as Farrier falls further down the rabbit whole of internet tickling videos. There’s not much more to say without spoiling the films myriad twists, suffice to say that Tickled tells the kind of true story that gives meaning to the phrase “stranger than fiction.”

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Best Indie (tie): The Witch, Love & Friendship

Two Sundance Festival breakouts share the distinction of 2016’s best indie. Both period pieces, albeit on opposite ends of the genre spectrum, one is a minimalist thriller about a frontier family battling a malicious entity and the other is a Regency-era comedy about a master of manipulation. They’re also among the eeriest and funniest, respectively, cinema produced this year. In either case the filmmakers show an impeccable attention to detail and atmosphere, giving the scenes a lived-in quality in which the actors can disappear, serving spine tingles and belly-laughs in spades.

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Best Western: The Magnificent Seven

In today’s landscape of sequels, prequels, sidequels and all other -quels, its refreshing to see a movie with a healthy budget and recognizable actors commit to telling a single story rather than twisting itself into a narrative pretzel for future installments. And movies are meant to entertain, and sometimes an old fashioned shoot-em-up is exactly what the doctor ordered.

Such are the strengths of The Magnificent Seven, a saddles and spurs yarn about a motley crew of assorted scoundrels teaming up to take out a mustache-twirling villain, with no larger ambitions then to tell its tale of camaraderie and derring-do. It’s a pleasure watching the pieces come together, and it builds to a bombastic climax this is remarkably satisfying for its ability to avoid the pratfalls of lesser efforts while honoring expectations.

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Best Head Trip: The Invitation

When Will arrives at his former home, to attend a dinner party hosted by his ex-wife, something is just a little…off. Thus begins one of the most effective thrillers in years, that takes “slow burn” to a new level, incrementally dialing up Will’s paranoia and building up to a climax that is both inevitable and shocking when it arrives. Director Karyn Kusama is almost too effective at making the audience sense the unease, aided by stellar work by Game of Throne’s Michiel Huisman and jack-of-all-trades John Carroll Lynch, and the final moments of the film’s kicker ending are expertly composed to haunting results.

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Best Setup: 10 Cloverfield Lane

10 Cloverfield Lane, the second film in the barely-defined anthology universe of Cloverfield, has third act problems. Your mileage may vary on the ending, but whether you like or loath the climax, there is no denying that what comes before it is Grade-A mystery box storytelling. For two-thirds of the movie, the audience is kept at arms length about what is or is not going on in an underground bunker and the world above it. At the center is John Goodman, who makes poetry of his doomsday prepper who is either a reluctant savior or an unhinged predator, or both, or neither.

Things go a little sideways, to say the least, when the Mary Elizabeth Winstead’s heroine makes it outside. But even if you turned off the film at that point it would be time well spent.

And finally, the 2016 Wood’s Stock Balls-To-The-Wall Award goes to:

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Green Room

Writer-director Jeremy Saulnier made a splash in the indie scene with his film Blue Ruin, a revenge tale that took a nuts-and-bolts approach to on-camera violence. In his follow-up, Green Room, Saulnier flexes those same muscles but with a greater degree of confidence as a storyteller.

The film, which features one of the final performances by the extremely talented and tragically gone-too-soon Anton Yelchin, revolves around a punk rock band fighting for survival after a gig at a skinhead bar goes south. It’s a story of colliding motivations, and told in a way that feels raw and human, within the realm of possibility and prone to the errors of casual mistakes.

Oh, and did I mention that Patrick Stewart plays a neo-Nazi?

Not for the faint of heart, the walls of Green Room are painted red with blood. But Saulnier’s style is not one of torture-porn exploitation. It focuses instead on the lengths people can and do go when backed into a corner, and it makes for a wild ride.

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The clock is winding down on 2015, which means the Internet is once again awash with “Best of” lists for everything from books to music to political gaffes.

Here at Wood’s Stock, we love movies (and as always, “we” = “I”) and the year was particularly rewarding. We’re hard at work sculpting away at our 10 Best Films of the Year list, but once again there remain great films and performances that can’t and don’t make the cut.

And so, here are but a few praiseworthy films that deserve recognition as 2015 draws to a close.

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Best Indie: The Stanford Prison Experiment

Dramatizing one of the most infamous studies in American academic history, The Stanford Prison Experiment chronicles the faux-prison created by Philip Zimbardo at Stanford University in 1971.

Intended to run for two weeks, the experiment was shuttered after 6 days due to the psychological torture forced upon the student-prisoners by their authoritarian guards, who were their classmates, separated in their roles by little more than a coin toss.

The claustrophobic film, largely occupying a single hallway, is almost suffocating as the experiment continues and the conditions worsen. And of course it’s all true, creating a lingering sense of unease by showing humanity’s capacity for cruelty.

*For a double-header, pair TSPE with Experimenter, starring Peter Sarsgaard.

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Best Box Office Flop: The Walk

For the best movie about Philippe Petit’s walk between the Twin Towers, watch the 2008 documentary Man On Wire.

But for the *next* best movie about Philippe Petit, watch The Walk, which stars an almost too-charming Joseph Gordon-Levitt as the high wire artist in a film that is one part heist film, one part biopic and one part love letter to New York City.

The walk only made $10 million in the domestic box office. Global sales put that figure up over it’s reported $35 million budget, but not by enough to be considered a success. That’s a shame, as its dizzying effects and playful tone made for  one of the most enjoyable trips to the theater this year.

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Best Cartoon: Inside Out

If I were a less-cynical critic, Inside Out may have cracked the Top 10. But being the jaded curmudgeon that I am, the delightful Pixar creation about the inner emotions of an 11-year-old child gets an Honorable Mention.

On paper, the concept behind Inside Out sounds impossible to capture on screen. But the magicians at Pixar did what they do and created some of the liveliest and most memorable characters of the year in Joy, Sadness, Fear, Anger, Disgust AND BING BONG!, while also telling a meta-narrative story about how and why we feel the feels.

*Bonus: if you don’t love the volcano short paired with Inside Out then you have no soul.

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Best Rom-Com: Brooklyn

I’m cheating here, since Brooklyn is decidedly *not* a romantic comedy, but it’s the best* love story of the year (*that’s not in my Top 10).

Brooklyn is an immigrant’s tale, following an Irish import who meets an Italian and is forced to choose between her new life and her old. Primarily dramatic, Brooklyn has excellent levity, particularly in a dinner scene that pits Eilis (Saoirse Ronan) against the mouthy younger brother of her new boyfriend.

Where other Coming-To-America stories can be heaped in despair and sadness, Brooklyn makes a case for the seemingly-defunct American Dream. Sometimes it’s just nice to come out of a theater feeling good.

cdn.indiewire.comBest Documentary: The Wolfpack

In a small New York Apartment, five brothers and their sister have lived their lives effectively sealed away from the outside world. Their primary connection to society comes in the form of the movies they watch and exhaustively recreate using homemade costuming.

The Wolfpack is incredibly personal, zooming in on the experiences of a single family as their barriers begin to come down and The Wolfpack take tentative steps into the community. It’s profoundly bizarre, but the film refuses to pass judgement, instead treating its subjects as just another American family with its quirks.

*Other must-see docs: The Hunting Ground, Going Clear.

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Best reminder that an actor can act: Johnny Depp in Black Mass

Since 2010, Johnny Depp’s starring roles have included The Tourist, the 4th Pirates movie, The Rum Diary, Dark Shadows, The Lone Ranger, Transcendence and Mortdecai.

That’s a bad list. That’s a *very* bad list. He’s had a few supporting roles in decent films (Into the Woods) but as far as top billing, it’s a bad list.

But then he made the brilliant decision to star in Black Mass, playing true-life gangster James “Whitey” Bulger.

And How! Depp has done plenty of disappearing acts in his career but his transformation into Bulger, complete with wispy white hair and dead grey eyes, is haunting and unsettling and full of the kind of onscreen magnetism that Depp hasn’t shown in years.

It’s a great performance in a film full of great performances that never quite synergises on the sum of its parts. That’s a shame, but Depp’s decision to take the role isn’t.

*Also in Black Mass, up-and-comer Jesse Plemons (Breaking Bad) whose career I am watching with great interest.

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The 2015 Wood’s Stock Balls-To-The-Wall Award: Kingsman: The Secret Service

Released in February, director Matthew Vaughn released a movie about elite British spies that was violent, irreverent and completely insane. That film was Kingsman: The Secret Service, and this year’s winner of the Balls-T0-The-Wall award.

Both celebrating and skewering the James Bond spy-genre, Kingsman follows a young man recruited to a secret agency tasked with saving the world from a tech titan (Samuel L. Jackson with a list) who plans on hitting the reset button on planet Earth.

This is a movie in which our hero fights a woman whose legs are swords and is rewarded for his derring-do with a final frame sex joke involving a European princess. It also contains the most memorable scene of on-screen violence in 2015, involving Colin Firth in a bespoke suit, a church full of parishioners, and a frenetic camera that captures every geyser of blood and broken bone.

It’s juvenile and clever, shocking and absurd, unapologetically manic and an absolute blast to watch.

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We’re just a few weeks away from 2015 which means it’s Year-End-List season. I’m still fine-tuning my Top 10 Movies but as always there’s more great films than I know what to do with and it behooves me to give credit where credit was due.

What’s interesting about 2014 is that there’s been a lot of great films, but they’ve mostly been front-loaded to the Summer and Fall seasons. Instead of the usual gluttony of Oscar contenders dropping like a tidal wave in December, most of the late releases have been overlooked by the critics academies and professional publications that have already made their selections.

There’s still some buzzy films out there I have yet to see before sticking a fork in my Top 10, but I would not surprised if the temporary list I made a month ago stays largely intact (the Top 5 is all but locked in. No spoilers).

But until then, here’s a few other movies that didn’t quite make the cut, but deserve to be seen.

*Note: The term “Best” in the following categories actually means “Best that isn’t on my Top 10 list”

13917-3Best Rom-Com: Obvious Child

Obvious Child is a classic story of boy meets girl, girl has an abortion. The movie generated some controversy – largely from people who hadn’t seen it – because it dared to go against the Hollywood norm of carrying unwanted pregnancies to term (see: Juno, Knocked Up, Junior, etc.).

But the movie isn’t really a movie about an abortion. It’s a star-making one-woman vehicle for the hilarious Jenny Slate, populated by light and breezy supporting characters who fill the screen with humor and pathos. Instead of most rom-coms that take a small issue and blow it up to absurd proportions, Obvious Child takes a big, BIG, issue, shrinks it down and sets it slightly off to the side.

lego_aBest Cartoon: The Lego Movie

Longtime readers of Wood’s Stock will remember that I don’t really do cartoons. But even my hollow tin chest felt a tiny heartbeat during this nostalgia fest that perfectly captured the nonsensical Lego wonderlands of of my 1990s childhood. This is the only setting where we will ever get Batman and Gandalf in the same movie. Enjoy it while it lasts.

X-Men-Days-of-Future-Past-Movie-Review-Image-5Best Superhero(es): X-Men: Days of Future Past

We have officially entered the point of diminishing returns for comic book adaptations. By and large, the climax hinges on who can punch the hardest (see: Thor: The Dark World, Man of Steel, etc.) and the movie is spend chasing down a All Powerful Thing That Will End Everything Because Movies (see: all of Marvel phase 2).

All of that helps make the geek-stravaganza in DOFP so satisfying, because if watching an army of adaptable robots fight a rebellion of mutants with ice, teleportation, magnet, telekinetic and super speed powers doesn’t entertain then why do we even go to the movies? I can see a family drama on the stage, but I need cinema to bring fantasy to life (see: Spider-man: Turn off the Dark).

Fed-Up-MovieBest Documentary: Fed Up

There were a lot of very informative docs this year, but I always give bonus points to a film that either changes the way you think about a subject or the changes the way you live your life. I saw Fed Up in January at the Sundance Film Festival and I’m still checking the nutritional labels of the food I buy at the grocery store.

For all the talk about the obesity epidemic, Fed Up paints a clear villain attacking U.S. waistlines: sugar. Kill sugar and we win the war, and sugary sodas are the tobacco of the 21st century.

You may not agree with that assessment, and there’s valid data to suggest the problem isn’t that simple, but good luck watching Fed Up and not thinking twice about that extra large coke the next time you go to McDonald’s.

One-I-Love_-The_web_1Best Head Trip/Best Indie: The One I Love

I can’t even describe what makes The One I Love great without giving away it’s twisty, head-scratching plot, suffice to say that Elizabeth Moss and Mark Duplass give fascinating, multi-faceted performances as a couple whose flame is waning.

It’s amazing what the film is able to do with what is essentially two characters. Ted Danson makes a brief appearance as the couple’s psychiatrist before they head out for a romantic trip, then spend the rest of the film bottled up in isolation with only the ebb and flow of their emotional well being to keep them company. Also, a WTF third act twist that pulls the rug out and sets it on fire.

o-THE-FAULT-IN-OUR-STARS-facebookBest YA: The Fault in Our Stars

I wasn’t as enamored with TFIOS, book or film, as most, but I still have to acknowledge quality when I see it. John Green has crafted an interesting look at young love that sidesteps most pratfalls and offers some genuine insight into humanity. Sure, the male lead is unbelievably perfect and sure, the stakes leave a little to be desired but it’s hard to not crack a smile with lines like this: “I fell in love the way you fall asleep; slowly, and then all at once.”

john_wick2The 2014 Wood’s Stock Balls To The Wall Award: John Wick

You could argue that John Wick is just a mindless shoot-em-up, and you wouldn’t necessarily be wrong. The plot is as bare bones as bones get: a retired assassin sets out on a revenge rampage after his beloved dog is killed. There’s no grand speeches. There’s no scenery chewing. There’s just John Wick, a silent, brooding Keanu Reeves, doling out cold justice against a veritable legion of underworld toughs.

And yet John Wick’s bloodbath isn’t a cacophonous onslaught. It’s operatic action sequences are filled with a certain, ineffable beauty and it engages in world building that evokes the suave of old black and white noir. It is not a franchise film, but I would love to see a few more corners of the John Wick universe.

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I’m just about ready to post my Top 10 movies of 2013 (I have two more films to watch, although Her is proving to be a challenge since it doesn’t screen in Utah until January. Sigh) and as always, there are more quality films than I know what to do with. This year has seen an embarrassment of riches in Cinemas, which has made whittling down to a final 10 particularly difficult.

So in the spirit of recognition, here’s this year’s list of honorable mentions. As a note, these movies do not necessarily represent what would be ranked 11th, 12th, 13th and so forth from the year. Instead, they are standout films from various categories that deserve some kudos even while they may not have measured up for one reason or another (mostly because the best films this year were just so darned good).

Best January Surprise: Side Effects

January and February are the garbage dump of the Hollywood calendar, as the last of the Oscar season behemoths trickle into wide release distribution and studio execs turn their attention toward their awards campaigns. But ever year, one or two gems take advantage of the less competitive landscape to launch under the radar.

This year, that claim goes to Side Effects, Steven Soderbergh’s twisty thriller about prescription antidepressants and the people who use them. The tagline for the movie was “In some cases, death may occur,” a riff on the soft-spoken fine print in drug advertisements that foreshadows the fate of Channing Tatum’s reformed criminal husband, the catalyst that sets off a cat-and-mouse game between Rooney Mara and her psychiatrist Jude Law where things may or may not be what they seem.

Best Documentary: After Tiller

There are only four doctors in the United States that practice late-term abortions and in After Tiller, we are treated to a day in the life of each of them. By zooming in with a lazer focus on the real-life people at the heart (literally and figuratively) of the Abortion debate, the filmmakers bypass the screaming protestors and demonstrate how the individuals undergoing and performing these procedures are just people, faced with difficult circumstances and even more difficult decisions.

Best Rom-Com: Enough Said

What happens when a masseuse learns that the man she’s dating is actually the supposedly dead-beat ex-husband one of her clients has been gossiping about for weeks?

It’s the kind of schlocky premise that would feel right at home in a mid-90s Sandra Bulloch movie, but played with extreme earnestness by Julia Louis-Dreyfus and the late James Gandolfini, Enough Said is endearingly sweet, hilariously uncomfortable and poignantly understated. The fact that it was one of Gandolfini’s last performances also punctuates the entire film with a sort of reverent melancholy that lifts the film above its contemporaries.

Best Superhero: Iron Man 3

Sure, the other Superhero movies this year were largely an indistinguishable mass of destructo-porn (I’m looking at you, Man Of Steel) but even with the weak competition that doesn’t lessen what director Shane Black (who also made Kiss Kiss Bang Bang, a movie that if you haven’t seen you should do so immediately) was able to do with the Iron Man franchise. Where most comic-book heroes are investing in the Michael Bay school of EXPLOSIONS AND MAYHEM, Black doubled down on RDJ’s likeability, creating a sort of buddy-cop comedy where our Iron Man spends most of the screen time cracking wise, sans super suit, and making self-referential meta jokes. He also pulled off one of the ballsiest baits-and-switches with his Mandarin reveal, angering fanboys and making a believer out of me.

Best Indie: The Way Way Back

Screenwriters Nat Faxon and Jim Rash proved their moxie in 2012 by picking up Oscars for their work on The Descendants and parlayed that success into their directorial debut, a coming of age tale about a Waterpark of Misfit Toys. At moments heartbreaking and triumphant, TWWB strikes an emotional tone that speaks to the awkward teenager inside all of us and in Sam Rockwell’s waterpark manager gives us the Mr. Miyagi of the hipster-millenial generation. It’s delightful, pure and simple.

Best Head Trip: Prisoners

A lot of critics have put Prisoners on their Top 10 and while I don’t think it rose that high, I can understand the point of view. Prisoners, about the kidnapping of two girls and the lengths their parents and a local detective go to find them, has a way of burrowing into your mind and staying with you for days.

After the two girls are kidnapped on Thanksgiving, a suspect turns up in the form of a quiet and possibly confused man played by Paul Dano. With no evidence, the police are forced to let him go, prompting one of the girl’s fathers (Hugh Jackman) to take matters into his own hands by attempting to torture a confession out of the suspect. That’s just one thread of the multi-layered story, which follows Jake Gyllenhaal’s investigation that seems to only turn up more and more questions with few answers.

The movie poses a litany of morally ambiguous questions as your first identify with and are then conflicted about sympathizing with Jackman’s character and his “whatever it takes” attitude. The underlying question throughout is “What would you do?” which you are left to answer on your own after the smoke clears and the complex maze takes shape.

The 2013 Wood’s Stock Balls-To-The-Wall Award: This is the End

It’s no secret that actors of a feather tend to flock together, giving rise to the multitude of ‘verses’ that critics love to write about above the heads of more casual film viewers (i.e. The Whedonverse, The Apatowverse, The Andersonverse, The Nolanverse). So what happens when a group of comedy actors and all their friends get together to play slightly fictionalized versions of themselves struggling to survive the end of the world?

That, in a nutshell, is This is the End, but the actual film plays like a synergistic effect as the combined powers of all involved make a product greater than the sum of their parts. Presented almost as a series of mock-horror vignettes we see our key group of Franco, Hill, Rogen, Baruchel, McBride and Robinson performing exorcisms, battling demons, making a home-video sequel to Pineapple Express and getting robbed by an axe-wielding Emma Watson. It’s outright absurdity and probably the funniest movie of the year.

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