The Best Films of 2013

THE BEST FILMS OF 2013 
by Joshua Handler

2013 has been a remarkable year for film, both independent and mainstream, which made making this top 10 list incredibly hard.  While I do have the films ranked, the rankings really don't mean much, as each film on my top 10 list is a masterpiece in its own right and represents the best that this year in film had to offer.  Don't watch my number three over my number nine just because they were ranked that way by me.  These films all deserve to be seen.

When compiling this year's top 10 list, I tried to watch as many top 10 candidates as I could a second time to see if they gave me as much pleasure viewing the second time as the first.  While I didn't get to see all twice, the ones I did re-watch were either as good, if not better, the second time.  My number one film would have placed lower had I not recently re-watched it.  I loved it the first time I viewed it, but the second time really showed me how highly brilliant and rewatchable it was.

This year I chose my top 10 from about 180 films that I saw this year.  I didn't include films that I saw at festivals that did not receive theatrical releases in 2013 (I have one exception that I will explain later).

While mainstream film was decidedly horrible this summer, the fall and winter offerings were superb (look at The Hunger Games: Catching Fire, Frozen, American Hustle, The Wolf of Wall Street, and countless others for good examples).  World cinema was especially daring this year.  Wadjda was the first film to come from Saudi Arabia – and it was directed by a woman.  Blue is the Warmest Color was a three-hour epic about a lesbian romance that was released with an NC-17 rating.  And, speaking of romance, love stories were especially good this year.  Before Midnight and Her, along with Blue, were two of the most insightful romances in years.

Enough blabber from me.  Here is my top 10 films of 2013 with a few other "best of" lists:

Toni Servillo as Jep Gambardella in THE GREAT BEAUTY
Courtesy of Janus Films

1. THE GREAT BEAUTY (LA GRANDE BELLEZZA) (Dir. Paolo Sorrentino) – Crazily stylized, stunningly shot, ambitious, entertaining, hilarious, bizarre, moving, electrifying, and the list goes on – Paolo Sorrentino’s The Great Beauty is impossible to describe using one word or a million.  No film this year has felt as alive and has been as jaw-dropping as The Great Beauty.  It is a film that consistently surprises with every scene.  While there is a central narrative, the film is essentially a series of individual scenes, each one more entertaining or moving than the next.  The best film of the year, for me, is a film that makes me feel electrified and amazed throughout its running time.  It’s an indescribable sensation.  While I have loved many films this year, no film made me feel that sensation until I viewed The Great Beauty again.  When I saw it for the first time, I knew it’d end up on my top 10 list, but the second time was the clincher.  From Toni Servillo’s complex lead performance to Sorrentino’s unique direction, this film reaffirmed why I love film and showed me how a filmmaker could take an old story and make it feel fresh and new.  And, the party scenes are among the best I’ve ever seen.  I’m going to stop writing now – by you reading this post, it’s taking time away from you going to see it.  My full review here.

Left to Right: Julie Delpy as Celine and Ethan Hawke as Jesse

Photo by Despina Spyrou, Courtesy of Sony Pictures Classics

2. BEFORE MIDNIGHT (Dir. Richard Linklater) – Anyone who reads this blog or follows Roboapocalypse on Twitter or Facebook knows how much I love Richard Linklater’s trilogy of films that has spanned 18 years.  Before Sunrise was a great start, Before Sunrise was even greater, but somehow Linklater and co-writers/stars Julie Delpy and Ethan Hawke managed to top themselves once again with Before Midnight.  This film comes nine years after Before Sunset and picks up nine years later and finds Jesse and Celine together with kids in Greece.  Viewing this film feels like catching up with old friends after a long time away.  Delpy and Hawke’s acting has never felt more natural and the dialogue has never been richer or funnier – they manage to put into words sensations and thoughts that most of us have but never vocalize.  With this film, though, there’s a dark undertone, which gives the film more depth than its predecessors.  Now that Celine and Jesse are older and a couple, they must look towards the future and decide whether they will be able to last as a couple for the rest of their lives.  As a profound statement on love, marriage, and life, Before Midnight is one of the few films that consistently astounds.  My full review here.

Adèle (Adèle Exarchopoulos) (L) and Emma (Léa Seydoux) in Abdellatif
Kechiche's BLUE IS THE WARMEST COLOR.
Courtesy of Sundance Selects

3. BLUE IS THE WARMEST COLOR (LA VIE D'ADÈLE) (Dir. Abdellatif Kechiche) - No film has ever captured first love in all its pain and glory like Palme d'Or-winner Blue is the Warmest Color.  Rated NC-17 and causing an enormous amount of controversy for its 7-minute-long lesbian sex scene (among other things), the film is so much more than an explicit lesbian movie.  The film follows Adèle (Adèle Exarchopoulos), a teenager in France, who comes of age and learns about first love through her relationship with the slightly older Emma (Léa Seydoux).  At an epic running time of 179 minutes, the film barely drags and is as immersive a film as they come - you feel as if you've lived with Adèle for years by the film's end.  Blue is a universal love story, one that will connect with any teen experiencing first love or any teen who's struggling with coming out.  Abdellatif Kechiche's penetrating eye makes this one of the most moving and detailed love stories ever committed to film.  My full review here.

Leonardo DiCaprio is Jordan Belfort in THE WOLF OF WALL STREET,
from Paramount Pictures and Red Granite Pictures.
Photo credit: Paramount Pictures
© 2013 Paramount Pictures. All Rights Reserved.

4. THE WOLF OF WALL STREET (Dir. Martin Scorsese) – At 71 years of age, Martin Scorsese hasn’t lost his touch – in fact, he’s gotten better.  With his innovative 2011 film Hugo, Scorsese showed that he was still willing to push the boundaries of cinema with his immersive use of 3-D and with The Wolf of Wall Street, he shows that he still has the energy of a young man.  Telling the true story of Jordan Belfort, a stockbroker whose hedonistic lifestyle eventually lead to his inevitable downfall, Scorsese teamed up again with Leonardo DiCaprio who gives a performance for the ages.  His energy level is high and with Wolf, DiCaprio shows his impressive knack for physical comedy – the Quaalude scene is probably my favorite of the year.  Jonah Hill, Margot Robbie, Rob Reiner, P.J. Byrne, among others, round out the supporting cast along with Matthew McConaughey who steals every scene he’s in.  At 179 minutes, Scorsese keeps the pace racing and Terence Winter’s screenplay features dark humor, clever dialogue, and raunch in equal doses.  Scorsese and Winter push the envelope as far as possible and, in the process, create one of the most outrageous (and outrageously entertaining) American films in years.  My full review here.

Tom Hanks stars in Columbia Pictures' "Captain Phillips."
Photo by Jasin Boland
©2013 Columbia Pictures Industries, Inc. All Rights Reserved.

5. CAPTAIN PHILLIPS (Dir. Paul Greengrass) – Paul Greengrass proved once again that he’s a master of suspense with Captain Phillips, the true-life story of an American ship captain (Tom Hanks) whose ship is hijacked by Somali Pirates.  As the eponymous character, Tom Hanks gives a career-best performance, which is saying something given his legendary career.  The final scene of the film is one of the finest pieces of acting I’ve seen this year.  Barkhad Abdi is also excellent as Muse, one of the hijackers.  Billy Ray’s screenplay is brilliant for humanizing the pirates as well as telling a compelling story.  Greengrass keeps the tension going throughout the entire running time and kept me on the edge of my seat unlike any film this entire year.  Like last year’s Zero Dark Thirty and Greengrass’ own United 93, we all know the ending to this story, but it is the direction, Barry Ackroyd's cinematography, the screenplay, and acting that keep us riveted.  My full review here.

Brie Larson and Keith Stanfield in SHORT TERM 12Courtesy of Cinedigm

6. SHORT TERM 12 (Dir. Destin Daniel Cretton) – No film this year was more heartfelt and moving than Short Term 12.  The film follows Grace, a troubled foster care home supervisor, who tries to help the teens she cares for as she deals with her own problems.  Short Term 12 garnered a lot of attention after winning both the Grand Jury Prize and Audience Awards at this year’s SXSW Film Festival and managed to gain critical acclaim up until its theatrical release in August.  When I saw this film for the first time in July, I really had no idea what to expect.  When the film was over, I couldn’t believe what I had seen.  I have seen countless troubled teen films, but none had the honesty that Short Term 12 had.  Nothing felt contrived or clichéd and every single performance is perfect.  This is the performance that will make Brie Larson a star and will make Destin Daniel Cretton a talent to watch out for.  My full review here.

Courtesy of Drafthouse Films

7. THE ACT OF KILLING (Dir. Joshua Oppenheimer) – Few films go beyond just being films.  The Act of Killing manages to be a psychological experiment, a social experiment, a historical document, and a riveting film.  The film shows what happens when perpetrators of the 1960s Indonesian genocide are challenged to reenact their crimes for a film that they can make in any film genre.  The results of this experiment are fascinating and quite disturbing.  I wonder what would have happened if this experiment had been done with the Nazis.  There’s nothing more to say other than it’s the single best documentary film I’ve ever seen.  I’ll post a link to my review as soon as it’s posted.

Waad Mohammed as Wadjda

Photo by Tobias Kownatzki © Razor Film, Courtesy of Sony Pictures Classics

8. WADJDA (Dir. Haifaa Al Mansour) – Wadjda, the first movie to come from Saudi Arabia, was the heart-melter of the year.  Director Haifaa Al Mansour had to direct some of the film out of a van due to the restrictions imposed on women in Saudi Arabia.  Wadjda is a deceptively simple film that tells the story of a young girl, Wadjda, who dreams of getting a bicycle but cannot since she’s a girl.  The film blends this simple story with searing social commentary to create an inspirational story that shows that simplicity is sometimes the key to success.  Waad Mohammed's performance as Wadjda is astonishing and Haifaa Al Mansour's screenplay is economical and occasionally very funny.  This is a film that I could watch over and over again.  I have not written a full review of the film.

Paulina García stars in GLORIACourtesy of Roadside Attractions

9. GLORIA (Dir. Sebastián Lelio) - This is the only film on this list to not have been released in the United States outside of festivals.  I chose to include it because it will be released soon enough on January 17 and is far too good to not be celebrated on a list such as this.  Sebastián Lelio's Gloria is a film that would have never been made by Hollywood in its current form simply because it's too subtle and too frank.  The film tells the story of Gloria (Paulina García), a woman in her mid-50s, who learns how to live life again.  This film really snuck up on me.  Lelio plays the film so close to real life and so far away from genre clichés that its power could be completely missed - and that is its genius.  Paulina García's gutsy, warts-and-all performance gives the film warmth and character.  She is the entire film and it is a pleasure to watch her - we all know someone like Gloria.  Gloria is a film that revolves around a strong middle-aged woman who always seems real - something we don't usually see in films - and that's something to commend on its own.  Seeing García at a press conference, I had trouble separating her from her character - that's how good she is.  My full review here.

JOAQUIN PHOENIX as Theodore in the romantic drama "HER," 
directed by Spike Jonze, a Warner Bros. Pictures release.
COURTESY OF WARNER BROS. PICTURES
©2013 UNTITLED RICK HOWARD COMPANY LLC

(tie) 10. HER (Dir. Spike Jonze) - Spike Jonze's Her is a remarkable romance that tells the story of a man, Theodore Twombly (Joaquin Phoenix), who falls in love with his advanced operating system, Samantha (the voice of Scarlett Johansson), in the near future.  Phoenix, one of the most versatile and exciting actors working today, shows that he's as good a romantic leading man as any.  He made me care for Theodore in a way that I cared for few other protagonists this year.  Johansson's voice acting may be the best ever vocal performance, as she creates a three-dimensional, lovable character that we never see.  Amy Adams plays Theodore's friend Amy and gives one of her warmest performances.  Jonze's screenplay (the first he's written solo) gives great insight into the evolution of love in the Digital Age and provides a glimpse of what relationships might be like in the very near future.  Arcade Fire's score is magnificent, as is Hoyte Van Hoytema's cinematography.  Her is a love story for the ages.  My full review here.

Oscar Isaac in Joel and Ethan Coen’s INSIDE LLEWYN DAVIS 

Photo: Alison Rosa, ©2012 Long Strange Trip LLC

(tie) 10. INSIDE LLEWYN DAVIS (Dir. Joel and Ethan Coen) - Melancholic, elliptical, and evocative, the Coen Brothers' latest, Inside Llewyn Davis, might be their best film yet.  Inside Llewyn Davis tells the story of Llewyn Davis, a folk singer in 1961 Greenwich Village, who tries to make it, but keeps failing.  Through Bruno Delbonnel's rich, hazy cinematography, Oscar Isaac's sympathetic performance, and the Coens' alternately hilarious and tragic screenplay, Inside Llewyn Davis captures a bygone era in all of its beauty and pain.  The structuring of the film is a feat in itself, and John Goodman's performance is among his most memorable.  This film shows why the Coens are masters.  My full review here.

(Left to right) Bruce Dern is Woody Grant, June Squibb is Kate Grant and 
Will Forte is David Grant in NEBRASKA, 
from Paramount Vantage in association with FilmNation Entertainment, 
Blue Lake Media Fund and Echo Lake Entertainment.
Photo credit: Merie Wallace
© MMXIII Paramount Vantage, A Division of Paramount Pictures Corporation. 
All Rights Reserved

(tie) 10. NEBRASKA (Dir. Alexander Payne) - While Nebraska is the first of Alexander Payne's films that he hasn't written (Bob Nelson wrote this film), it is no less strong.  The film tells the story of Woody Grant (Bruce Dern), a borderline senile man, who goes on a road trip with his son, David (Will Forte), after getting a letter in the mail telling him that he has won a $1,000,000 Mega Sweepstakes Marketing prize.  Bruce Dern owns this film.  It is his towering performance that makes this movie the moving experience that it is.  Dern takes advantage of the small moments and makes them shine.  Will Forte is also surprisingly excellent and June Squibb is hilarious as Woody's wife, Kate.  Bob Nelson's honest, moving screenplay strikes a balance between comedy and drama, and the black-and-white cinematography by Phedon Papamichael is stunning.  My full review here. 

And 10 more that barely missed the top 10 (in alphabetical order): 12 Years a Slave, American Hustle, The Attack, Beyond the Hills, Blackfish, Cutie and the Boxer, The Dirties, The Hunt, Let the Fire Burn, Stories We Tell, Tim's Vermeer

And some more that I loved: Drinking Buddies, The World’s End, The Punk Singer, Laurence Anyways, Una Noche, The Spectacular Now, Much Ado About Nothing, Crystal Fairy, Twenty Feet From Stardom, The Past, Philomena, Gravity, Paradise: Faith, Don Jon, Mud, The Angels' Share, A Hijacking, All is Lost, After Tiller, Ain't Them Bodies Saints, The Wind Rises, You're Next

10 Greatest Movie Moments/Scenes (in no particular order):

The Quaalude high gone wrong in The Wolf of Wall Street

Christian Bale fixing his toupee in the opening of American Hustle

Jennifer Lawrence and the "science oven" in American Hustle

The first party scene in The Great Beauty

The finale of The Act of Killing

The final scene of Captain Phillips

The anniversary party in Short Term 12

The long walk through the ruins in Before Midnight

The fight scene in Blue is the Warmest Color

The lunch scene in The Wolf Wall Street

The first scene with the elderly woman in Prince Avalanche

The eavesdropping scene in Much Ado About Nothing

Listening to “Gimme Shelter” in Twenty Feet From Stardom

The single-take robbery in The Bling Ring

The bar shoot-out in Only God Forgives

The space debris scene in Gravity

Crystal Fairy and the rocks in Crystal Fairy

The clapping scene in The Conjuring

Any dream sequence in The Wind Rises

The opening of Inside Llewyn Davis

The jetlag in Paris in Frances Ha

The final scene of All is Lost

The diner scene in Jackass Presents: Bad Grandpa

Woody’s walk through his childhood home in Nebraska

"Let it Go" in Frozen

The walk in the carnival in Her

Best Performances (in no particular order):

Joaquin Phoenix in Her

Scarlett Johansson in Her and Don Jon

Adèle Exarchopoulos in Blue is the Warmest Color

Bruce Dern in Nebraska

Chiwetel Ejiofor in 12 Years a Slave

Lupita Nyong’o in 12 Years a Slave

Michael Fassbender in 12 Years a Slave

Gaby Hoffmann in Crystal Fairy

Leonardo DiCaprio in The Wolf of Wall Street

The cast of American Hustle

Ali Mosaffa in The Past

Joanna Scanlan in The Invisible Woman

Judi Dench in Philomena

Toni Servillo in The Great Beauty

Oscar Isaac in Inside Llewyn Davis

John Goodman in Inside Llewyn Davis

Jake Gylenhaal in Prisoners

Tom Hanks in Captain Phillips

Brie Larson and cast in Short Term 12

Kathryn Hahn in Afternoon Delight

Olivia Wilde in Drinking Buddies

Suzanne Clément in Laurence Anyways

Miles Teller in The Spectacular Now

Shailene Woodley in The Spectacular Now

Ethan Hawke in Before Midnight

Julie Delpy in Before Midnight

Cate Blanchett in Blue Jasmine

Greta Gerwig in Frances Ha
Sandra Bullock in Gravity

Margarete Tiesel in Paradise: Love

Paulina García in Gloria

THE INVISIBLE WOMAN Review

Left to right: Felicity Jones as Nelly Ternan and Ralph Fiennes as Charles Dickens

Photo by David Appleby, Courtesy of Sony Pictures Classics

THE INVISIBLE WOMAN 

2013, 111 minutes

Rated R for some sexual content

Review by Joshua Handler

Ralph Fiennes' The Invisible Woman is one of the most underrated films of the year.  Fiennes directed this film from a screenplay by Abi Morgan (The Iron Lady, Shame) and also stars in the film along with Felicity Jones (Like Crazy), Kristin Scott Thomas (The English Patient), and Joanna Scanlan (In the Loop).  The film tells the story of British author Charles Dickens' affair with a much younger woman, Nelly, and its effects on Dickens, his family, and Nelly herself.

Fiennes directs this film with ease and his lead performance is nothing less than magnetic.  Most other actors would have played Dickens as a crusty old historical figure.  However, Fiennes brings an energy to the role that makes his performance and the character come to life in a way similar to that of Daniel Day-Lewis in Lincoln.  Dickens is a man in this film, not a legend or icon.  Felicity Jones matches Fiennes with an emotional performance that makes their scenes together entrancing.  However, Joanna Scanlan is the standout as Dickens' wife, Catherine, a repressed, unhappy woman.  In one scene near the middle of the film, Catherine must deliver a gift to Nelly from her husband that was accidentally given to her instead of Nelly.  In this scene, all of the heartbreak and humiliation felt by Catherine on account of Charles and Nelly's affair is laid bare.  Up until this point, Catherine was a background character, seemingly lacking in personality and love for her husband.  However, during this scene, we come to understand her and connect to her, all because of Scanlan's penetrating performance.

The film's first 45 minutes or so are incredibly slow - almost too slow.  However, what follows the first bit is so gripping that the opening 45 minutes are immediately forgiven.  The film becomes a fascinating exploration of celebrity in the 19th Century as Dickens tries to hide his affair with Nelly so that his public image isn't ruined.  Just as celebrities in the present day try hard to cover up affairs, Dickens tries to cover his in The Invisible Woman.  By exploring these themes, Abi Morgan makes the film more relevant and more relatable.  This film is much more than simply a 19th Century-set period drama.

Finally, the cinematography by Rob Hardy (Shadow Dancer, Boy A) is richly beautiful.  In one particularly memorable shot, the camera is focused in on Nelly looking at something in the distance, and we wonder what it is.  Slowly, the camera zooms out and a horse races across the screen - she is watching a horse race.  The entire race scene is conveyed in a single shot that builds curiosity before its ultimate reveal.  Shots like this and others throughout the film give the film a fresh, exciting feel.  With the technical mastery on display and Fiennes deft directorial hand, The Invisible Woman never feels stuffy and cold, but rather alive and full of heart.

Overall, The Invisible Woman is a film that deserves attention.  Fiennes' direction and performance, Scanlan's powerhouse, and the thematic richness of this film should keep audiences invested enough to look forward to whatever Fiennes decides to direct next.  If his next film shows as much control as this film does, Fiennes will not only be recognized as one of the finest actors working today, but also one of the finest directors.

3.5/4

THE SELFISH GIANT Review

Swifty (Shaun Thomas) and Arbor (Conner Chapman) in Clio Barnard’s SELFISH GIANT. Courtesy of Agatha A. Nitecka.

THE SELFISH GIANT

2013, 91 minutes

Not Rated

Review by Joshua Handler

Clio Barnard's dark drama The Selfish Giant has been winning raves around the world for its devastating depiction of friendship, and for good reason.  This is a film by a woman who has an enormous talent for telling a powerful story without pulling at the heartstrings.  Barnard also impresses with her ability to direct two incredible performances out of her two young lead actors Conner Chapman and Shaun Thomas.  

The film tells the story of Arbor and Swifty, two best friends living in a working-class area of the UK, who steal scrap metal and sell them to Kitten, a crooked local scrap dealer.  However, Kitten begins to favor Swifty, causing a strain in Arbor and Swifty's friendship.

The Selfish Giant is a grim film that shines due to the performances and Barnard's direction.  There are many small moments, particularly in the gut-wrenching final third, that make this film a winner.  Barnard seems to be in complete control of her film, and Chapman and Thomas are perfectly cast.  Chapman made me care for Arbor through good and bad.

Overall, The Selfish Giant is a beautiful film that will resonate with many due to its honesty and stark sense of realism.  You have to like your films on the darker side to enjoy this film.  However, even if you don't, this may be worth viewing simply to see a great piece of filmmaking.  Clio Barnard is a director to watch out for.

3.5/4

THE WOLF OF WALL STREET Review

Leonardo DiCaprio is Jordan Belfort in THE WOLF OF WALL STREET, from Paramount Pictures and Red Granite Pictures.
Photo credit: Paramount Pictures
© 2013 Paramount Pictures. All Rights Reserved.

THE WOLF OF WALL STREET 

2013, 179 minutes

Rated R for sequences of strong sexual content, graphic nudity, drug use and language throughout, and for some violence

Review by Joshua Handler

How is Jordan Belfort still alive?  That is one of the many questions that linger after viewing The Wolf of Wall Street, the film based on Belfort's memoir.  Belfort's life was insane - he took every drug he could get his hands on, slept with any women he laid his eyes on, and made more money than most towns could lay their hands on.  In short, his life was extreme.

The Wolf of Wall Street tells Belfort's story, from his first days on Wall Street to his ultimate demise.  Directed with ample energy by Martin Scorsese and featuring a jaw-droppingly physical performance by Leonardo DiCaprio, Wolf finds this duo at the top of their respective games and may be their best collaboration yet.  This drug-fueled trip into the lives of Wall Street stockbrokers is outrageous in every way.  It is also an ironic follow-up to Scorsese's previous film, Hugo, as Wolf is probably Scorsese's most explicit film, Hugo being his most family-friendly.  Scorsese and screenwriter Terence Winter (Boardwalk Empire) push the R-rating to the limit (the film was heavily cut to avoid an NC-17 rating) - it is rare to see a mainstream go this far in every respect.  

This film comes at a time where films about American excess and greed are in.  As we move out of the economic depression that has burdened our country for the past few years, we are seeing more and more films about American greed and the lengths people will go to in order to achieve the American Dream.  This year, we've seen The Bling Ring, American Hustle, and now The Wolf of Wall Street, three films that center around people trying their best to achieve the American Dream.  Amusingly enough, all three films focus on people achieving the Dream through illegal means.  Of the three, The Wolf of Wall Street leaves the greatest impact, not least because of the lengths it goes to show just how out of control some people get while trying to live the Dream.  Jordan Belfort is a man who lives for money.  His entire life is money.  He's addicted to it.  During the opening voice-over, Belfort (played by DiCaprio) tells us that he takes every kind of drug imaginable, but the most addictive drug is money.  

Terence Winter's screenplay makes watching this horrifying story endlessly watchable with his fully-developed characters, witty dialogue, and unconventional storytelling devices.  Winter makes great use of voice-over, something that is looked down upon by many for being a cop-out.  Instead of using the voice-over for pure exposition, Winter uses it to enhance the story.  During a few scenes, the voice-over is used to comment on whatever action is happening onscreen.  Additionally, there are some asides that allow the Belfort character to explain something to the audience.  However, these asides never break the flow of the movie since they are not used to interrupt a scene.  Instead, they are built into the structure of a scene to make the scene work.  In lesser hands, these storytelling devices would have come across as clumsy and disrupted the film's pace.

Winter and Scorsese do not judge Belfort.  While they do not condone his behavior (they show it in all of its depravity), they don't chastise him.  The Wolf of Wall Street isn't a message movie - it is simply a tale of a man trying to live the American Dream to its fullest.  You may be wondering then, what is the point?  This film is a continuation of a theme Scorsese has explored in countless films such as Raging Bull, Goodfellas, and Hugo: the struggle to make dreams become reality.  Raging Bull is a film about the failure to live dreams.  Hugo is about making dreams reality.  The Wolf of Wall Street is about what happens when a person wants more after making their dream a reality.
     
Belfort is expertly played by Leonardo DiCaprio.  This performance is what his entire career has been leading to, as it merges DiCaprio's charisma with his serious acting skills.  At the beginning, Belfort is an enthusiastic young man wanting to make an honest living for himself on Wall Street.  By the end, he is an unrepentant criminal.  DiCaprio's mastery of his craft here is powerful to watch.  This is a performance that both requires him to be both a physical comedian and a dramatic powerhouse (the Quaalude high gone wrong is an example of the former, the scenes where he gives speeches to the Stratton Oakmont office are an example of the latter).  Through this constantly evolving performance, DiCaprio comes to embody the monster that is Jordan Belfort and carries this three-hour film from start to finish.  

As Donnie Azoff, Belfort's business partner and best friend, Jonah Hill proves once again that he is as gifted a comedian as he is a dramatic actor.  Hill's scenes with DiCaprio showcase both of their knacks for improvisation and also their chemistry.  

The supporting cast is also great.  Margot Robbie is sharp as Belfort's second wife, Rob Reiner is hilariously irreverent as Belfort's father, but Matthew McConaughey steals the show in his handful of scenes near the beginning of the film.  McConaughey plays Mark Hanna, Belfort's first boss.  As many of you have likely witnessed from the trailer, Hanna is a bit offbeat, what with his habit of chest thumping and humming during lunch.  McConaughey nails every detail and then some.

Overall, The Wolf of Wall Street is another stunning achievement by Martin Scorsese.  The energy on display here feels like the energy of a 20-year-old, not a 71-year-old.  The Wolf of Wall Street may be his longest film to date (Casino being the second longest at 178 minutes), but it charges along at a breathless pace.  As a continuation of Scorsese's exploration of the American Dream, it is every bit as thematically rich, dementedly entertaining, and meticulously-crafted as any film he's made.  In short, this is a masterpiece of America Cinema.

4/4

MS .45 Review

The new Ms .45 poster.Courtesy of Drafthouse Films

MS .45 

1981 (re-released 2013), 80 minutes

Not Rated

Review by Joshua Handler

Abel Ferrara's Ms .45 has never been released in the United States uncut before.  Upon release in 1981, it received an X rating, but was then cut for an R rating.  Now, for the first time ever, Drafthouse Films has brought this film back to theaters in its uncut form and it is a glorious piece of low-budget filmmaking.

The film tells the story of a young mute seamstress, Thana (Zoë Lund), who is raped twice in one day, causing her to go on a killing spree, killing any man who makes sexual advances towards her.

Ms .45 is a really intense example of gritty filmmaking out of New York City.  It is reminiscent of early Scorsese films in its combination of lovingly crafted scenes of violence and compelling human drama.  Ms .45 distinguishes itself from other films of its time (particularly exploitation films) in that it doesn't present Thana as a victim and it doesn't exploit its scenes of gun violence or sexual violence.  This film shows that the sexual assaults traumatized Thana, something unprecedented for a film of its time.  Thana feels like a human largely due to Zoë Lund's powerful performance.

Lund's performance is wordless, but she packs quite a punch.  Her eyes are like a window into her soul and behind her beautiful exterior is a disturbed and sad woman who simply wants to be left alone.  

Abel Ferrara directs this film with an energy and passion that propels the film towards its violent climax.  While the budget was very low for this film, the filmmaking craft is very strong.  The film never feels sloppy even when its low budget shows.  Ferrara creates genuine tension and throws in some beautifully-placed shocks at many points during the film.

I would also like to put in this note at the end (and no, no one is paying me to say this): Drafthouse Films is a distributor that every film lover should support.  Not only have they brought some of the best films of recent years to U.S. movie screens like The Act of Killing and Bullhead, but they've also brought back fabulous gems like The Visitor (my review here) and Wake in Fright, one of the most unique thrillers from the 1970s.  Drafthouse's commitment to independent cinema is remarkable - without them, I would have never seen a gem like Ms .45.

Overall, Ms .45 is a great film.  Abel Ferrara and Zoë Lund are quite the team and the film they created here is far better than almost any other film of its kind due to its commitment to the human drama at its center and its gritty power.  The film begins its release this weekend and expands throughout the next two months.  A full release schedule can be found by clicking here.

3.5/4

BREAKING NEWS: Lars von Trier's NYMPHOMANIAC Dated

MAGNOLIA PICTURES ANNOUNCES RELEASE DATES FOR LARS VON TRIER’S NYMPHOMANIAC: PART ONE AND NYMPHOMANIAC: PART TWO

The following is a press release about Lars von Trier's highly anticipated new film  Nymphomaniac: NEW YORK (December 5, 2013) – Magnolia Pictures announced today the U.S. release dates for Lars von Trier’s much-anticipated motion picture event, NYMPHOMANIAC, which will be released as two full-length feature films. NYMPHOMANIAC: PART ONE will open in theaters onMarch 21, 2014, and be available On Demand as of March 6, 2014. NYMPHOMANIAC: PART TWO will open in theaters on April 18, 2014 and be available On Demand as of April 3, 2014. NYMPHOMANIAC: PART ONE is the story of Joe (Charlotte Gainsbourg), a self-diagnosed nymphomaniac who is discovered badly beaten in an alley by an older bachelor, Seligman (Stellan Skarsgård), who takes her into his home. As he tends to her wounds, she recounts the erotic story of her adolescence and young-adulthood (portrayed in flashback by Stacy Martin). PART ONE also stars Shia LaBeouf, Christian Slater, Uma Thurman, Sophie Kennedy Clark, Connie Nielsen and Udo Kier. PART TWO picks up with the story of Joe’s adulthood, and stars Jamie Bell, Willem Dafoe, Mia Goth and Jean-Marc Barr in addition to Gainsbourg, Skarsgård, Martin and LaBeouf. NYMPHOMANIAC: PART ONE and NYMPHOMANIAC: PART TWO mark Lars von Trier’s follow-up to his critically acclaimed film, MELANCHOLIA (released by Magnolia in 2011), and is his third consecutive collaboration with Charlotte Gainsbourg. A groundbreaking filmmaker for more than two decades, von Trier’s other films credits include ANTICHRIST, DOGVILLE, DANCER IN THE DARK, and BREAKING THE WAVES. NYMPHOMANIAC is produced by Louise Vesth for Zentropa Entertainments. As widely reported, the films contain graphic depictions of sexuality to a degree unprecedented in a mainstream feature film. After von Trier's experience at the 2011 Cannes Film Festival, where he was harshly criticized for comments he made at the MELANCHOLIA press conference, he has vowed to cease doing press on behalf of his films and let them speak for themselves. Both films will have their international debut in Denmark, where they’re opening this Christmas Day. http://nymphomaniacfilm.com/ http://www.facebook.com/Nymphomaniac #NYMPHOMANIAC

AMERICAN HUSTLE Review

Irving Rosenfeld (Christian Bale), Sydney Prosser (Amy Adams) and Richie DiMaso (Bradley Cooper) walk down Lexington Ave. in Columbia Pictures' AMERICAN HUSTLE
Photo by: Francois Duhamel
© 2013 Annapurna Productions LLD, All Rights Reserved

AMERICAN HUSTLE

2013, 138 minutes

Rated R for pervasive language, some sexual content, and brief violence

Review by Joshua Handler

David O. Russell is on a roll.  In 2010, he made a massive comeback with The Fighter.  Last year, he followed up The Fighter with the even better Silver Linings Playbook.  Now, he has American Hustle, another winner and bona-fide awards contender.  Smashing together his Fighter and Silver Linings casts, he puts together Christian Bale, Amy Adams, Bradley Cooper, and Jennifer Lawrence along with Jeremy Renner for American Hustle.  The film tells a fictionalized version of the ABSCAM scandal of the 1970s.  This narrative follows an FBI man (Cooper) who arrests two con artists (Bale and Adams) and forces them to take down the mayor of Camden, New Jersey (Renner).  

The screenplay was written by Russell and Eric Singer who make the most out of the already incredibly odd history.  From the opening scene of Christian Bale putting on a ridiculous toupee, I was laughing.  This opening scene epitomizes the tone of the film.  Hustle never takes itself too seriously, which works in its favor.  The situations that Russell and Singer set up are so outrageous that comedy would be the only way to play them.  The dialogue is witty and fast and the movie moves at a very fast pace.  138 minutes have never whizzed by like this before.  

Russell directs this film with his usual passion and energy.  With Russell's brilliantly offbeat sensibilities, Hustle becomes something of a genius piece of cinema.  Many shots use the signature Russell dolly-in on a person's face to emphasize emotion or an expression.  With the amusing nature of the characters, these prove to be extremely effective.

The cast is dead-on.  While Adams (one of my favorite actors working today) isn't the best fit for the part (her precise diction doesn't always work here since she's playing a con artist), she works extremely well with Bale and Cooper, making their scenes together a complete delight. Bale gained a lot of weight for this part and his dedication to the role shows.  He makes his character, Irving Rosenfeld, an endearingly sleazy schlub.  Nothing ever comes off as forced, and through his natural charisma, he shines.  Cooper is hilarious as Richie DiMaso, the FBI agent in charge of Bale and Adams' characters.  Because he's from the FBI, he thinks he's smarter than the two con artists, which is proven wrong time and time again, making him look like an idiot.  This role is a big change of pace from Silver Linings Playbook (Cooper was Oscar-nominated for that incredible performance) and the fact that Cooper pulls it off beautifully shows his versatility.

Jennifer Lawrence, however, steals the show.  As Irving Rosenfeld's wife, Rosalyn, she is loud, sexy, and hilarious.  She is the highlight of every single scene she's in.  All of the class that Lawrence has brought to her other roles is thrown away for this one, making her an irreverent delight to watch.  This is a performance that should win her another Oscar. 

The period detail for this film is impeccable and very funny, particularly the hair.  I already discussed Bale's hair, but Cooper's is curly (and in one hilarious scene, he's wearing curlers), and Lawrence's hair is just huge.  The soundtrack for the film is superb, featuring some of the best songs of the '70s. 

Overall, American Hustle is a hugely entertaining piece of filmmaking from one of the best directors working today.  This is a fast-paced film that will surely thrill audiences when it hits theaters next week.  If the massive success of Russell's past two films means anything, this film should be another hit.  I enjoyed every minute.

For those who cannot wait until December 13 to see American Hustle, the New York Film Critics National Series is showing the film on December 10 in theaters across the nation.  Rolling Stone film critic Peter Travers will also be conducting a Q&A with co-writer/director David O. Russell from New York City and this Q&A will be live broadcast across the nation to whichever theaters are participating in this series.  Check here to see if your theater is hosting a screening.

4/4

AUGUST: OSAGE COUNTY Review

(Left to Right) JULIANNE NICHOLSON, MERYL STREEP, and MARGO MARTINDALE star in AUGUST: OSAGE COUNTY
Photo: CLAIRE FOLGER © 2013 THE WEINSTEIN COMPANY. ALL RIGHTS RESERVED

AUGUST: OSAGE COUNTY

2013, 130 minutes

Rated R for language including sexual references, and for drug material

Review by Joshua Handler

This is how adaptations of stage plays should be done.  John Wells' film adaptation of Tracy Letts' Pulitzer Prize-winning play of the same name is a moving, funny, and powerfully-acted film featuring Meryl Streep, Julia Roberts, Margo Martindale, Chris Cooper, Julianne Nicholson, Juliette Lewis, Abagail Breslin, Benedict Cumberbatch, Dermot Mulroney, Sam Shepherd, and Misty Upham.  This is the best ensemble of 2013 and everyone gives this film their all.  

The film tells the story of the Weston family, the most dysfunctional family you could ever dream of.  Violet (Meryl Streep), the matriarch, is a pill-popping cancer-ridden woman whose husband goes missing.  Upon his disappearance, her daughters, sister, and all of their families come to Violet's house for the first time in years and all hell breaks loose.

The acting in this film is jaw-dropping.  Meryl Streep leads the ensemble as Violet and, as usual, gives a performance for the ages.  Streep is a chameleon and can turn herself into any character.  As Violet, she is completely unhinged and chews the scenery in the best possible way.  Streep commands every scene and while her performance sometimes borders on camp, she is able to keep it in check and make us care for the monstrous Violet.  Violet is pathetic - she has cancer, pops pills, and has a complete disdain for her family.  However, the pathetic nature of Violet is why I cared most for her.  While Violet is always nasty, she is, at the base, a bitter old woman who never had a chance in life.  In some sequences, Violet isn't in the right state of mind and Streep convincingly plays these sequences (she proved she could master old-age mental illness in The Iron Lady).  The highlight of this performance, though, is watching Streep deliver her one-liners.  She seems to relish every single one and performs them with bravado.

The supporting cast is equally as incredible as Streep.  Margo Martindale is a perfect match for Streep, playing Mattie Fae, Violet's sister.  Julianne Nicholson and Juliette Lewis are two other standouts.  Nicholson, Lewis, and Julia Roberts play Violet's three daughters and their scenes together are beautiful.  Julia Roberts (a really talented actress) is hit-or-miss - more hit than miss though.  There are moments where dialogue comes out forced (that may be the screenplay, though), but when Roberts hits, she hits it out of the park.  Chris Cooper is also strong as Mattie Fae's husband, Charles.

John Wells' direction of this film isn't showy, which suits the material perfectly.  The screenplay is so powerful and the actors are so strong that his decision to let them carry the movie was a wise one.  Wells' direction is also impressive because he is able to balance his huge cast and let everyone shine.

It goes without saying that Tracy Letts' screenplay is dynamite.  That being said, from page to screen, some things don't feel quite as nasty.  The most notable change, though, is the ending - this ending in the film is much more uplifting.  While this ending works and is a relief after the nastiness that precedes it, it isn't nearly as powerful as the original ending.  This is a slightly toned-down version of August: Osage County that may anger die-hard fans of the stage play.  Keep in mind, however, that about an hour was cut from the play in order to make it a manageable length for the screen.

Overall, August: Osage County is a powerful, stunningly-acted piece of drama.  While it has its flaws, its cumulative impact is so powerful that it makes up for any of those flaws.  August: Osage County is the best kind of Oscar bait - it is a film that is begging for awards, but one that is passionately-made.  The people who made this film actually seem to care about it.  August: Osage County should please awards voters and audiences alike when it releases on Christmas Day.  It is one of the best dramas of 2013.

4/4