LeapBackBlog 2013 Film Awards – Part 5: Films

Film in 2013 was fantastic. We saw tons of wonderful performances, powerfully emotional dramas, hysterical comedies, gripping thrillers, big and entertaining blockbusters, and grand technical achievements. This year was particularly difficult in narrowing down my choices for my favorite films, performances, directors, and technical accomplishments. For example, I loved Amy Acker in Much Ado About Nothing and Oscar Isaac in Inside Llewyn Davis, but neither quite made the list, and the same can be said for David O. Russell’s wonderful directing in American Hustle or Hoyte Van Hoytema’s sublime cinematography in Her (both just missing out on the list, when they would have made it in most other years). And, there are a number of good films that did not make the list either (and a few I have not yet seen). As it stands, the LeapBackBlog Film Awards are made up, through difficult deliberation, of the films that entertained me and grabbed me as something special, the performances that engaged me, and the craftsmanship that delighted me. These are my favorites of 2013.

Part 1: Technical Achievements

Part 2: Supporting Performances

Part 3: Directors

Part 4: Leading Performances

American Hustle

2013 was filled with many great performances and films, leaving so many overlooked. American Hustle, however, is not one of the overlooked films and its highly entertaining and wonderful performances have run the table, garnering an Oscar nomination in every acting category (and four performances among my favorite 20), which is only fitting, as it is a film completely built upon its great and eccentric performances (as well as nostalgically festive costumes and production design). Yet, David O. Russell’s film does not get lost in all the big performances and showy aesthetics. At its core, it is still a character driven narrative with strong, well-developed characters that the audience invests in. American Hustle is a lot of fun, and is one of the better con man films in recent memory.

Fruitvale Station

Fruitvale Station tells the true story of Oscar Grant, a young black man recently released from prison who is desperately trying to put his life back together and provide for his family (be a good husband to his soon-to-be wife and father to is young daughter). However, his life is tragically taken on New Year’s Eve 2008 when he is accidently gunned down by police during an incident on the BART train from San Francisco to Oakland. Making his feature debut, writer-director Ryan Coogler creates a very emotionally impactful film by showcasing the man that Grant was, his strengths and weaknesses. The audience can see themselves in the man through his hopes, dreams, and fears. Thus, when the climactic scene arrives, it is devastating, and maybe for a moment viewers feel (to some degree) the helplessness that those less fortunate (deemed inferior in society due to economic means, race, or often both) feel constantly (in a system designed to keep them forever marred in poverty and crime with no real viable escape). If nothing else, the film creates a connection between Grant and every viewer (regardless of their background), putting them in his place. It is a powerful experience – one that hopefully leads to people treating each other with a bit more kindness and respect. In a year of many strong indie character dramas, Fruitvale Station is one of the best and most involving.

Gravity

3D is in most cases a worthless feature, tacked on after the fact to garner high ticket prices while actually making the film-watching experience worse (and yet people still pay for it in droves…it makes no sense). That is not the case at all with Gravity. Alfonso Cuaron (a harsh critic of 3D) uses the technology to create a completely immersive experience, capturing the imagination and to some extent giving viewers a taste of a ‘real’ Space adventure (when really none of us will ever get to go experience Space first hand). Gravity proves that 3D can be a fantastic cinematic tool (if used properly), while shaming its use in 99% of other films. There is no other film as deserving of the price of admission in 2013, as this is a film that demands it be seen on the largest screen possible (while the rest of these top ten films can be enjoyed equally at home). It is a thrilling spectacle that also happens to feature strong performances and resonates emotionally. In most years, it would be the clear cut film of the year. It is just an incredible cinematic achievement.

her

Love in the modern age turns out to be a lot like love in any other age; it is about connection. Spike Jonze’s film Her is about connection and also the lack of connection we face culturally at present (and possibly to a greater extent in the future). The film takes place in the near future and is about Theodore Twombly, a man struggling with melancholia in the wake of his wife splitting from him. He craves connection but fears being hurt again. Thus, a relationship with his new hyper intelligent self-aware OS Samantha seems safe. Yet, Theodore finds himself falling hard for Samantha, while at the same time frustrated by the limitations of the relationship now that it has become deeply emotional. Jonze creates a completely believable relationship between Theodore and Samantha that plays out in a manner that feels truthful to our own experiences. It is as such a film that is incredibly relatable, and also somewhat a warning. We are so dependent on technology that we seem to put it in the place of human activities that we need as people to create true connection. We are isolating ourselves in the name of being social through technology. Her is a touching and kind of sad romantic narrative that is not afraid to be optimistic about the future as well.

Inside Llewyn Davis

There are many kinds of musicals. Filmgoers seem to be most accustomed to the kind in which characters break into song to express the emotions they hold inside them without it feeling out of place in the world of the narrative (My Fair Lady, for example). Inside Llewyn Davis too is in a way this kind of musical, though most would not regard it as one at first. The Coen Brothers’ film is about Llewyn Davis, a struggling folk musician as he toils away trying to make a career out of his music (while being a bit of a bastard). Davis is very gruff on the outside, with a short temper and seemingly a cold heart. But, when he plays his music (and there are multiple musical performances in the film), the audience sees his true soul, which is filled with guarded emotional sadness (primarily from the loss of his musical partner and a bad relationship with his father). It is also through Davis’s music that we see that beauty exists in a word that is otherwise faded and cold. In this way, Inside Llewyn Davis is indeed a musical – a very, very good one.

Rush

Who knew that Ron Howard (a filmmaker I have dismissed often in the past and probably will again in the future) would make a film that would be among my ten favorite, especially in such a competitively deep year as 2013. But that speaks to the quality of Rush, Howard’s Formula-1 drama focusing on the great rivalry and friendship between James Hunt and Niki Lauda. Rush is a fantastic sports drama (probably one of the five best in cinema history), built upon the excitement and danger of car racing at its highest level. And yet, it is an even better character drama, as Howard explores both Hunt and Lauda: what motivates them to be the best. Suffice it to say, Rush is my favorite Ron Howard film – a film that is very well acted, wonderfully shot, and even directed with skill.

Short Term 12

Character dramas that are utterly moving and completely engrossing are a rare breed, films that resonate so deeply that we as viewers find ourselves fully invested and connected to the characters. Short Term 12 is one such film. Built upon one of 2013’s most incredible performances by Brie Larson, this gravely overlooked film is about Grace, a supervisor at a facility for wayward youths while they await placement in a foster home. Grace devotes herself fully to helping these kids, while trying to contain her own demons. Writer-director Destin Cretton’s clearly personal narrative is rich with great character moments and honest emotion, but what is so refreshing about the film is that it has an unyielding optimism (something often lacking in modern pop culture, rife with cynicism) even though the narrative comes from a place of deep wounds and seemingly insurmountable pain. Grace is a real role model for young people. Short Term 12 is a film that needs to be seen, and I encourage anyone who has an opportunity to watch it to do so; it is without question among the five best films of the year.

The Spectacular Now

While many popular young adult films focus on grand adventures or supernatural romances, The Spectacular Now tells a much smaller, more relatable, and dramatically engaging story. It is about Sutter, a high school senior who lives in the now with no regard for his future, content to just have fun in the moment. And then he meets Aimee, a nice girl who has plans for her future forcing Sutter to reconsider his world view. What makes James Pondsoldt’s film work so well is that these characters are beautifully played by Miles Teller and Shailene Woodley (each just missing out on making the acting lists) and resonate emotionally as real people with relatable problems. Namely, the film deals with alcoholism in young people, as well as growing up with deadbeat parents. How do we overcome the faults of our parents? This is a question many young people sadly must face. While The Spectacular Now is primarily a character drama, it also works as a charming romance. Recent YA films like The Hunger Games and The Twilight Saga are blowing up the box office, but films like this and The Perks of Being a Wallflower are really the great films leading the resurgence of good and meaningful films aimed at young adults.

12 Years a Slave

Slavery in America continues to this day to shape public consciousness and popular culture, and yet until 12 Years a Slave no other piece of media has been able to so directly tackle it on a profoundly emotional level. What makes Solomon Northup’s story so compelling is that in a way it encapsulates the full experience of Slavery. Northup was a proud and prosperous freeman who was tricked and captured against him will, transported by boat to a new place and then sold into slavery. His first master was kind to him, but still his master. His second was a monster. Yet, Northup endured. Finally, after twelve year, he was again free, returning home to him family, filled with supreme happiness but also unspeakable sadness for those not as lucky as he and the unshakeable scares of what he witnessed and had done to him during his enslavement. Steve McQueen’s film is filled with brilliant performances, beautiful and haunting aesthetics, and deeply moving emotional resonance. It is my favorite film of 2013.

The Wolf of Wall Street

The Wolf of Wall Street is centered on the exploits of Jordan Belfort, a stock trader who starts out in penny stocks only to build an empire. However, Belfort’s business practices are not all legal leading to an FBI investigation and his eventual downfall. Martin Scorsese’s film is highly entertaining. Scorsese engrosses the audience in a world of wild drug use, sex, ego, and greed, which plays as very funny, possibly shocking, and maybe even secretly inviting (courting the darkness inside us all). The lifestyle of a high powered Wall Street trader is so excessive that it all feels exaggerated and kind of insane, but Scorsese uses it to explore what happens when capitalism is left to run amuck – the dark side of the American Dream – an issue that is still very relevant in the world today (especially in America). It is a masterfully made film, and one of the most powerful cinematic experiences of the year (be it the gleeful joy of laughing at all the antics or the abhorrence at the crude manner by which these characters live).

Honorable Mentions (11-25):

Before Midnight, The Bling Ring, The Conjuring, The Counselor, Frozen, The Hobbit: The Desolation of Smaug, The Hunt, Iron Man 3, Much Ado About Nothing, Mud, The Place Beyond the Pines, Side Effects, This Is the End, Thor: The Dark World, and The World’s End

LeapBackBlog 2013 Film Awards – Part 3: Directors

Film in 2013 was fantastic. We saw tons of wonderful performances, powerfully emotional dramas, hysterical comedies, gripping thrillers, big and entertaining blockbusters, and grand technical achievements. This year was particularly difficult in narrowing down my choices for my favorite films, performances, directors, and technical accomplishments. For example, I loved Amy Acker in Much Ado About Nothing and Oscar Isaac in Inside Llewyn Davis, but neither quite made the list, and the same can be said for David O. Russell’s wonderful directing in American Hustle or Hoyte Van Hoytema’s sublime cinematography in Her (both just missing out on the list, when they would have made it in most other years). And, there are a number of good films that did not make the list either (and a few I have not yet seen). As it stands, the LeapBackBlog Film Awards are made up, through difficult deliberation, of the films that entertained me and grabbed me as something special, the performances that engaged me, and the craftsmanship that delighted me. These are my favorites of 2013.

Part 1: Technical Achievements

Part 2: Supporting Performances

Part 4: Leading Performances

Part 5: Films

The Coen Brothers – Inside Llewyn Davis

The Coen Brothers have essentially been making films for three decades, amassing a fervent cult following and a firm place among the top American (if not among all filmmakers in cinema history) auteurs. With Inside Llewyn Davis they again show off their talent for making films that center around antiheroes, as Llewyn Davis is not a nice person and probably not a good man. Yet, the audience is asked to and does feel sympathy for him. They are drawn in by his art, excusing the man. This simple exercise speaks profoundly to how art is treated by people across time and culture. Man is deeply flawed and often very ugly (not physically, but morally or spiritually or whatever you want to call it – people often seem to deviate to the darkside when left to their own devices or put in a position of power or control); and yet art is strikingly beautiful and moving. It is humanity’s light in the darkness, our legacy of achievement amidst the devastation and cruelty. The Brothers take this theme and weave it into a circular story about a man who is just trying to make a career out of his music, but is having a real tough time. Plus, as is typical of all their films, the Coen Brothers again showcase their impeccable skill and eye for genuinely stunning aesthetics.

Alfonso Cuaron – Gravity

Gravity is in many ways 2013’s most impressive film – certainly from a cinematic spectacle perspective. It is a momentously thrilling and involving experience that grabs the audience and never lets them go until its conclusion. It is riveting. However, the film turning out as fantastically brilliant as it has was completely dependent on the work of auteur Alfonso Cuaron, who worked for three-plus years to get everything right. Famously, Cuaron is not a fan of 3D (similarly to most top directors); and thus for him to make a film to be primarily seen in 3D, it had to look perfect. Cuaron creates the best 3D audiences have ever seen, in terms of both the overall cinematic experience and technical quality. And that is just the 3D! Cuaron also needed to create a realistic feeling zero-g environment, which he achieved working with master puppeteers (along with a fabulous performance from Sandra Bullock). Gravity is in some ways an even bigger technical achievement than it is a piece of great narrative cinema (though, it is that too). This was unquestionably the most difficult film to make for a director, and the result of all Cuaron’s work is so very satisfying. There was no better cinema-going experience in 2013 than Gravity.

Spike Jonze – her

Based on the premise of Her alone, the film could have turned out many ways, seemingly all of which end up in a film that is laughable, silly, and probably cheesy. This could have been a generic horror film in which Samantha, jilted by Theodore, becomes like Skynet and tries to destroy him, realizing humans are inferior beings. Or, this could have been a kooky romantic comedy that somehow ends with Samantha’s consciousness transported into a cyborg or even a brain-dead human woman, thereby giving Theodore the complete package. But in Spike Jonze’s hands, Her is a narrative about love and relationships in the modern world. It is a film about connection or lack of connection. It is a film about how in a way technology has created a culture of self-inflicted isolation and loneliness. But chiefly, Jonze makes a film that is almost universally relatable, as it hits on all the emotional moments of new relationships – how they are amazing and beautiful in the beginning and how they can fall apart simply through the organic growth of the people in them. The film resonates deeply because it is very honest in its approach to its handling of emotions. There is no manipulation or falling back on clichés to convey information. Jonze has simply created a beautiful, funny, and kind of sad film about modern love (and in this way, the film is a bit like the Before Sunrise series, which culminated in this year’s Before Midnight).

Steve McQueen – 12 Years a Slave

It is safe to call Steve McQueen an auteur filmmaker. Starting with the brilliant films Hunger and Shame, McQueen has promoted himself as one of cinema’s great new talents through his work, whose style is specific and powerful. 12 Years a Slave is his most commercially accessible film, even though it is emotional intense and draining. It is a work that gets right at the heart of slavery when so many other films and TV miniseries have merely nipped around it. It is immense and cathartic. It is deeply sad and yet uplifting. McQueen is a director who is unafraid in his approach, lingering when many others would flinch and cut away – there is a haunting shot in the film of Solomon Northrup hung from a tree by the neck, his feet barely touching the ground allowing him to just grasp to life. McQueen holds on this shot for a long time, as life carries on around Solomon as if this is nothing out of the ordinary, all the while Solomon struggles to stay alive. This one, long uncomfortable shot in a way is a summary of slavery – an entire people subjected to inhumane torture while the world goes about its business unconcerned and unhelping, and even worse accustom to this sort of treatment of a supposed ‘lessor’ people. McQueen has made a film transcends slavery to become about not just one person’s struggle or one people’s struggle, but about all peoples’ struggle in a world that is still dominated by those that would oppress. It is an important and meaningful work, and a masterfully made piece of cinema.

Martin Scorsese – The Wolf of Wall Street

With The Wolf of Wall Street, Martin Scorsese has made a film that works in a very interesting manner. Primarily, it is an insanely fun and wild exposé, detailing the sheer and unbridled greed and moral ambiguity of the typical high-powered Wall Street broker. Scorsese invites his viewers to both feel distain for these characters and secretly (or not so secretly) a jealous admiration. This is a film that asks the viewers to look at their own morals. Do we as viewers find these people deplorable or are we envious – probably somewhere in-between. Scorsese shows us the American Dream fully realized, only warped and corrupted from what we hold as the ideal. The Wolf of Wall Street is a wondrous achievement, and in my opinion Scorsese’s best since Goodfellas. It is also worth noting that Scorsese shows his flair for getting fantastic performances from his actors (something we all knew) and his surprising talent for comedy (something we did not know).

Alfonso Cuaron – Movies Spotlight – October 2013

Alfonso Cuaron, 51, is one of the Three Amigos of Cinema along with friends (and Mexican directors) Guillermo del Toro and Alejandro Gonzalez Inarritu. Cuaron is known for his ability to incorporate spellbinding and seemingly impossible technical feats into his films (usually in the form of long-take shots), often with the help of frequent collaborator and childhood friend Emmanuel Lubezki (who has shot six of Cuaron’s seven feature films). This month Cuaron has a new film in theaters – the utterly brilliant sci-fi thriller Gravity. The film stars Sandra Bullock and George Clooney, and is about two astronauts who find themselves stranded in Space after a catastrophic accident destroys their shuttle. Check out the trailer here. It is a remarkable cinematic experience.

Early Career:

Cuaron studied Philosophy at the National Autonomous University of Mexico before pursuing film at the University’s Centro Universitario de Estudios Cinematograficos. There, he made the short film Vengeance Is Mine with cinematographer Emmanuel Lubezki beginning a very fruitful, lasting partnership. The film was controversial, leading to Cuaron dropping out of school. Not only did he produce it in English but he also commercialized it without permission. Cuaron quickly moved into Mexican television, starting as a technician before moving into the director’s chair. He worked on the series Hora Marcada.

Breakthrough in Mexico:

After building up some acclaim for his television work, Cuaron landed a deal to make his first feature film in 1991. Love in the Time of Hysteria (Solo con tu pareja) played to both critical and commercial success in Mexico. Cuaron wrote, directed, produced, and co-edited the film. It is a wonderful dramedy about a womanizer who is tricked into thinking he has AIDS by a jilted former lover (who is a nurse). Confronted with this news, the man first attempts suicide but then he meets a beautiful woman, also attempting suicide, who changes everything. The film is marvelously shot by Lubezki. While it was never released in the States, director Sydney Pollack saw the film and loved it. He hired Cuaron, bring him to America, to direct an episode of his Showtime neo-noir series Fallen Angels.

Coming to Hollywood:

Sticking in Hollywood, Cuaron next directed his first American film A Little Princess. The film was universally praised by critics, but went mostly unnoticed by filmgoers. It is a forgotten gem of a family film though, for those looking for some really good to watch with their kids.

Next, Cuaron tackled a modern adaptation of Charles Dickens’s Great Expectations, starring Ethan Hawke and Gwyneth Paltrow (both at the height of their popularity within Hollywood circles), and featuring Anne Bancroft and Robert De Niro in support. The film does have a few strong moments, but overall it is by far Cuaron’s weakest. It just feels like his creativity and storytelling ability was brutally stymied by outside Hollywood-type creative impulses coming from those with more power and creative control (after all, Cuaron was still new to Hollywood and his name did not command the respect that it does now). Namely, the film feels like the product of Hawke to me.

Alfonso Cuaron – Auteur Filmmaker:

Maybe a little jaded by his Hollywood experience, Cuaron returned to Mexico for his next feature film in 2001. Starring Gael Garcia Bernal, Diego Luna, and Maribel Verdu, Cuaron made the wonderful coming-of-age road dramedy Y Tu Mama Tambien, this time returning to writing, directing and producing his own work. The film took off internationally, becoming one of 2001’s most critically revered releases. Cuaron even garnered an Oscar nomination for Best Original Screenplay for the film. It was also a hit in Mexico setting the country’s Box Office record for biggest opening for a Mexican film.

In a way, Cuaron then decided to return to Hollywood filmmaking (feeding of the success of Y Tu Mama Tambien) by agreeing to direct the third film in the Harry Potter series – Harry Potter and the Prisoner of Azkaban – in England. However, Cuaron did not want to make just another watered-down children’s fantasy film. He wanted to make it vital, dark, and steeped in emotional realism (even if it is only a fantasy film). To do this, he wanted to change many aspects, most notably completely revamping the aesthetic look of the series (in a way undoing everything Chris Columbus had done with the first two films). While many fans were initially shocked by the changes, the series’ producer David Heyman (who has gone on to produce Gravity with Cuaron) liked Cuaron’s vision and stuck by him. The film is magnificent, completely obliterating the low standard that such films had achieved previously. This was not just a Hollywood film for kids, but a piece of art that also happened to be highly entertaining. It altered the course of the series from a quality and aesthetic standpoint (for the good) and raised the bar for all Summer/Holiday blockbusters (along with The Lord of the Rings Trilogy and Spider-Man 2) leading to great franchise films such as Christopher Nolan’s Dark Knight Trilogy and David Yates’s Potter films (especially The Deathly Hallows Part I and Part II). The film, like all in the series, was a box office success, but also achieved high critical praise.

Cuaron next took a slight break from features directing the segment Parc Monceau of the ensemble film Paris, je t’aime.

Staying in Britain, Cuaron began developing his next project – his most ambitious (before Gravity) – an adaptation of PD James’s novel Children of Men about a dystopian future with no children, starring Clive Owen, Julianne Moore, and Michael Caine. The film never really found an audience at the box office, but critics showered it was acclaim. Cuaron again was nominated for a screenwriting Oscar as well as one for editing. The film is not only highly compelling dramatically but also aesthetically and technically stunning. Both Harry Potter and the Prisoner of Azkaban and Children of Men are among my personal favorite films of the past decade.

Cuaron also started his own production company called Esperanto Filmoj during the time he was making films in England. The company first made the comedy Duck Season and then the critically loved international hit Pan’s Labyrinth, directed by friend Guillermo del Toro. The film won three Oscars. Gravity is the seventh feature film produced by the company.

Future Projects:

Working with executive producer J.J. Abrams and writer Mark Friedman, Cuaron is creating a new fantasy drama for NBC called Believe. He is also writing and directing the pilot. It stars Jake McLaughlin and Johnny Sequoyah and is about a gifted young girl who is being pursued by evil elements that want to harness her power. However, an unlikely man, a convict on the run having just escaped from prison, might be her best chance to stay safe. The series will premiere on NBC after the end of the NFL season. Here is the trailer.

Career Highlights:

1)      Love in the Time of Hysteria (1991)* – writer, director, producer (DVD, Trailer)

2)      Y Tu Mama Tambien (2001)* – writer, director, producer (Blu-ray, Video On-Demand, Trailer)

3)      Harry Potter and the Prisoner of Azkaban (2004)* – director (Blu-ray, Video On-Demand, Trailer)

4)      Children of Men (2006)* – writer, director (Blu-ray, Video On-Demand, Trailer)

5)      Pan’s Labyrinth (2006) – producer (Blu-ray, Video On-Demand, Trailer)

*Editor’s picks 

Gravity (2013), in 3D – Review

Review: Gravity is a remarkable cinematic experience, treating the audience to a thrilling journey of human perseverance and striking beauty. The film is about the mission of the Space Shuttle Explorer, tasked with installing new equipment on the Hubble Space Telescope. However, the mission goes awry when the Russians accidently launch a missile into Space destroying one of their communication satellites sending debris into orbit around Earth causing a catastrophic chain-reaction. The debris, moving at incredibly high speeds, is on a collision course with Explorer, having already destroyed multiple satellites (creating even more debris). The crew of Explorer is not able to act fast enough and is caught in the cloud of piercing debris leaving two members of the crew adrift in Space, Mission Specialist Dr. Ryan Stone and veteran astronaut Mission Commander Matt Kowalski. Now, Stone and Kowalski must do everything they can to survive.

Writer-director Alfonso Cuaron’s story is a simple one (leaving behind almost everything sci-fi films are known for). The film is at its heart about the triumphant will of the human spirit to persevere against all odds. And structurally, the narrative is built on the characters facing mounting obstacles in a very classical sense (with a clear three-act structure). Cuaron does a fantastic job managing the pacing and tone. He keeps the audience in a tight suspenseful grip, never letting the tension fully dissipate, but allowing the audience to catch their breath (which is essential when making a great thriller) and take in the sheer brilliance of the stunning visuals. The experience is intense, but ultimately rewarding.

Cuaron keeps the audience intimately attached to the characters (particularly Stone, who is the lead), which creates a bond between the audience and the characters (as to some extent they both go through the ordeal of being alone in Space, seemingly without hope, together). A lot of the film sees Cuaron’s camera very close to Stone’s face or from her perspective. And, if the camera is away from her, the sound design emphasizes her breathing. The audience is always in touch with her emotions (whether she is scared, excited, nervous, etc.). Cuaron is so successful in his ability to connect the audience to Stone that she becomes a vessel for each audience member. The struggle that she engages in, the audience also engages in – her emotions become the audience’s emotions.

The magnificent visuals (created digitally to look as photo-realistic as possible) also do a lot to bring the audience into the film. The vastness of Space is eerie and bleak, while the lush and colorful Earth seems comforting. Space is unforgiving and impossible to sustain life in (as stated in the opening moments of the film), and yet as comforting as Earth may appear it feels so far away, only escalating the terrifying reality that these characters are alone. Additionally, everything feels and looks very real in the environment, which is a credit to Cuaron and his skilled team of technicians. Realistic or not in reality, the film appears to be and feels completely honest in its portrayal of every aspect. The emotional journey of the characters pulls the audience into the narrative, but the stunning visuals set the stage wonderfully.

The visuals are also notable in regards to the use of 3D technology in the film. The amazing depth that it adds is beguiling (and a necessary component to feel the full experience). Avatar reintroduced the cinema world to what 3D, when done well, could offer as a cinematic event experience. But, since Avatar’s release at the end of 2009, there have only been two films that use 3D justifiably (amidst the absolute plethora of 3D releases and rereleases): Life of Pi and Gravity. This film sets a new standard for the medium (in a sense shamming everything that has come before it, aside from Life of Pi – though, Gravity is in completely different category of excellence). The 3D in Gravity is so much better than anything audiences have seen before that it is staggering. Cuaron (who is very critical of 3D’s use in film) spent years in post-production refining the look of this film (and the 3D) until it was perfect – much to the benefit of the audience. I am not a fan of 3D. It almost always looks terrible and actually takes away from the film in almost all cases, but like Avatar and Life of Pi I would implore those wishing to see Gravity to see it in 3D – it is just a transcendent experience unlike any other in cinema this year.

The theme of rebirth is heavily featured throughout the narrative. There is a scene in particular in which Stone resembles a fetus floating in a womb (when she gets to the International Space Station and takes off her Space suit). Throughout, Stone is tested with obstacle after obstacle, each more challenging and mentally and emotionally demanding. Cuaron makes it clear in the first act that she is a novice in Space. Thus, in order to survive, alone, she must come to terms with her own fear and find within herself the will to live and let go of her dread. In a sense, she must be reborn. Stone lost her daughter in a freak accident and seems to have not fully come to terms with that loss, leaving her sort of floating through life without a true will to stubbornly keep going in spite of the hardships she has faced. Thus, for Stone to overcome her predicament she must find her internal fight. This is something very relatable to us all – to face tragedy and find a way to keep moving forward. Stone’s journey in some ways ultimately becomes about her acceptance of her daughter’s death more so than her struggle to survive. She must want to survive and to do that, again, she must let go of what is holding her back. This is very powerful emotionally and thematically, as it taps into some very basic and human: the want/need to be alive.

In many ways Gravity is ‘pure cinema’ in that it offers a simple story set in an extraordinary environment that completely engages and captivates its audience. The film provides gripping intense suspense, deeply resonating emotional character drama, and even lighter moments of effective brevity. Cuaron has made a film with everything narratively, but Gravity will probably be remembered for its devastatingly spectacular visuals. They are unlike anything audiences have seen in cinema – a new crowning achievement.

Technical, aesthetic & acting achievements: Alfonso Cuaron has now made seven feature films. With each film, he exhibits both an innate ability to capture emotional truth and brilliantly design his narratives, particularly from a directing standpoint. His films are always highly compelling to watch artistically – his use of long-take shots is legendary (Gravity opens with a shot that is almost thirteen minutes long before the first edit – essentially the whole first act). He is among cinema’s greatest active auteurs (and personally, I love his films Love in the Time of Hysteria, Y Tu Mama Tambien, Harry Potter and the Prisoner of Azkaban, Children of Men, and now Gravity).

Composer Steven Price’s score is captivating. It does not just serve the role of accompaniment to the drama on screen; rather it engages the audience on an emotional level as well. It heightens the panic and fear, enraptures the film’s beauty, and transports the viewer’s imagination. Here is a sampling. Cinematographer Emmanuel Lubezki is one of Cuaron’s most fruitful collaborators. They have known each other since childhood and have made six films together. On Gravity, Lubezki faced an incredible challenge: lighting the actors’ faces to match an environment that was created entirely digitally. Lubezki uses what he calls an LED box (which was invented for the film) to light the actors’ to match the VFX scenery. His work looks phenomenal and is even more impressive given the immense degree of difficulty (plus the number of long-takes in the film only amplified the degree of difficulty). Lubezki again separates himself as one of cinema’s most talented D.P.s with his work on the film. It is staggeringly good (here is an interesting interview with Lubezki regarding his work on the film). Andy Nicholson is relatively new to production design, but comes from a background of doing fantastic work as an art director. On Gravity, his design work is wonderfully beautiful (with credit also going to Lubezki, Cuaron, and VFX supervisor Tim Webber) as well as very realistic. As stunning as the film looks (the shots of Earth and the rising sun are breathtaking), an essential component to creating a fully immersive experience was creating a world that looked as authentic as possible, and this is where Nicholson’s work truly shines. The audience never questions whether the characters are really in Space (intuitively knowing that the actors are not), and that is a remarkable accomplishment.

Gravity exists chiefly as a consuming thriller and momentous visual experience, but underneath it is in many ways a character drama built on excellent performances. In a fun nod to Apollo 13, Ed Harris features in a small voice role as Mission Control. George Clooney is very good as Matt Kowalski, playing the astronaut as being very confident (a seasoned veteran) and yet still very human. His charm and charisma not only soothes Stone but also the audience in what could be (and still is) a very traumatic moment (Explorer being overrun by debris sending Stone tumbling into oblivion). Sandra Bullock gives the performance of her career as Dr. Ryan Stone (yes, it completely overshadows the caricature that somehow won her an Oscar). Bullock gives a very physical performance, and one that must have been very demanding (with the aid of puppeteers – who also did the stage production of War Horse). For large portions of the film, Bullock must convey everything just with her eyes, face, voice, and breathing and she is utterly enthralling throughout. Her emotional journey becomes the audience’s journey as well, and that could only be accomplished by her brilliant work.

Summary & score: As a film about the fascination and/or terror of Space, Gravity ascends to the same heights as 2001: A Space Odyssey and Alien in terms of creating pure astonishment and dread. But as a visually jarring experience about letting go and finding a way, against all odds, to persevere, the film is simply wondrous (maybe even overwhelmingly so). 10/10

At the Movies – October 2013 – Part 3: Most Anticipated Films

Must-See of the Month:

12 Years a Slave (Steve McQueen) – Drama – Oct 18

Plot Summary: Solomon Northup, a talented pre-Civil War musician and free black man living in the North, is tricked and abducted. Sold into slavery in the South, Solomon must survive if only for the hope of being free again and returning to his family. Filmmakers: This is auteur Steve McQueen’s third feature film, following the brilliant films Hunger and Shame – each dramatically heavy and expertly directed. McQueen is working with a wonderful group, including: frequent collaborator cinematographer Sean Bobbitt (who shot both of McQueen’s other films), composer Hans Zimmer (The Dark Knight Rises), and production designer Adam Stockhausen (Moonrise Kingdom). Cast: This has 2013’s best cast. It stars Chiwetel Ejiofor and co-stars Michael Fassbender (who has appeared in all of McQueen’s films), Sarah Paulson, and Lupita Nyong’o. The supporting cast features Benedict Cumberbatch, Brad Pitt (who is also producing), Paul Dano, Paul Giamatti, Michael K. Williams, Garret Dillahunt, Scoot McNairy, Alfre Woodard, Dwight Henry, and Quvenzhane Wallis (Henry and Wallis had their breakthrough in last year’s Beasts of the Southern Wild). Expectations: 12 Years a Slave, after premiering at the Telluride Film Festival and winning the Audience Award at the Toronto Film Festival, is the favorite to with this year’s Best Picture Oscar. It is very much in the mix for other awards as well, including: Best Director, Writing, and Acting (Chiwetel Ejiofor, who has long been brilliant and is finally getting some more mainstream recognition, Michael Fassbender, and Lupita Nyong’o). If for no other reason, this is probably a must-see just for the cast alone – and really the same can be said for Steve McQueen’s skill behind the camera and with actors. This looks like an amazing drama that is not so much about the abhorrence of slavery, but more the perseverance of the human spirit, against all odds. Picking a Must-See for October was difficult, as the month holds what will very likely be 2013’s best two films with this and Gravity, but 12 Years a Slave just feels like something substantial and important, a generational cinematic moment (or maybe, I am overselling it). Trailer: Here. Review: Here.

Worth Checking Out:

Gravity (Alfonso Cuaron) – Sci-Fi Drama/Thriller – Oct 4

Plot Summary: After an accident leaves astronauts Dr. Ryan Stone and Matt Kowalsky adrift in space, the two must do everything in their power to stay calm and survive until help can reach them. Filmmakers: Finally, auteur Alfonso Cuaron has a new film, after a seven year wait. Just to recap his brilliance, he made the wonderful films Love in the Time of Hysteria, Y Tu Mama Tambien, Harry Potter and the Prisoner of Azkaban, and Children of Men. He is working again with genius cinematographer Emmanuel Lubezki (who shot Children of Men for Cuaron). New to the team are composer Steven Price (The World’s End) and production designer Andy Nicholson (The Host). Cast: Sandra Bullock stars, with support from George Clooney and Ed Harris (who features in a voice-role). Expectations: Gravity has already played to grand praise coming from its festival screenings. Of the almost two hundred films screened at this year’s Toronto Film Festival, four where separated out of the mix for particular accolades: Rush, Prisoners, 12 Years a Slave, and Gravity (the final two noted as the standout films of the festival). It is also getting awards season buzz for Best Picture, Director, Actress, and other technical categories. The film had a long production schedule, particularly in post-production as it was made to be seen in 3D. Cuaron wants the experience to be thrilling, as if the audience is truly abandoned in space, using many very long-take shots. I cannot wait to see the film. It looks breathtaking. Trailer: Here. Review: Here.

Captain Phillips (Paul Greengrass) – Thriller – Oct 11

Plot Summary: Based on the true story of Captain Richard Phillips, the captain of the first American-flagged cargo ship to be hijacked in over two hundred years. Filmmakers: Director Paul Greengrass is probably a perfect fit for this type of film. His style matches the material wonderfully, as he is an expert at creating a gritty and realistic experience for the audience (though some complain about his hand-held camera work) – see Bloody Sunday and United 93 as good comparisons. He also made the strong action thrillers The Bourne Supremacy, The Bourne Ultimatum, and Green Zone (which is underrated). He is working with composer Henry Jackman (This Is the End), cinematographer Barry Ackroyd (who shot United 93 and Green Zone for Greengrass), and production designer Paul Kirby (The Devil’s Double). Cast: The film stars Tom Hanks, and features Catherine Keener, Max Martini, and Barkhad Abdi in support. Expectations: Captain Phillips looks like a very good thriller, though it will be interesting to see how well Paul Greengrass can manage the tension given that the audience already knows how it ends going in. The film has potential to be in the awards season conversation, but it is probably on the outside looking in right now. Tom Hanks very well could factor in as well (though, this also depends on his showing in Saving Mr. Banks, and how that film turns out). This is definitely worth seeing for fans of good thrillers. Trailer: Here. Review: Here.

The Counselor (Ridley Scott) – Crime Drama – Oct 25

Plot Summary: A lawyer looking to make a couple extra bucks tries his hand at drug trafficking. However, he soon finds that he is in way over his head. Filmmakers: Director Ridley Scott is at his best when he is working with great source material, as he is a wonderful visual director: Alien, Blade Runner, Black Hawk Down, Kingdom of Heaven (the director’s cut, of course), and Body of Lies (to name my favorite of his films). On the Counselor, he should have fantastic source material, as it is scripted by author Cormac McCarthy (who wrote the novels No Country for Old Men and The Road). Scott is also working with composer Daniel Pemberton (The Awakening), cinematographer Dariusz Wolski, and production designer Arthur Max (who designed Prometheus for Scott, and Wolski shot it – while the story was a bit all over the place, visually the film was quite brilliant). Cast: Michael Fassbender stars, with Brad Pitt, Cameron Diaz, Penelope Cruz, and Javier Bardem co-starring. Natalie Dormer, Dean Norris, Goran Visniic, John Leguizamo, Rosie Perez, and Bruno Ganz feature in supporting roles. Expectations: The first thing that stands out about The Counselor on paper is just how fantastic its cast is – really a film by Ridley Scott and Cormac McCarthy with these actors is a good enough reason to see it, knowing nothing else and having not seen a single frame. However, we do know more and have seen more. It looks awesome. This is a must-see for fans of great actors and wonderful crime dramas. Trailer: Here. Review: Here.

Most Anticipated Films of 2013 – Part 1: Blockbusters

Blockbusters:

Title: Elysium

Release: August 9

Genre: Sci-Fi Action Drama

Plot: The year is 2159. Earth is ruined. The wealthy live on a space station called Elysium while the rest of humanity toils away below on Earth, forced to stay there by harsh anti-immigration laws that preserve the luxurious lifestyle of the citizens of Elysium. Backed into a corner, an ex-con, Max, agrees to take on a difficult mission to find a way into Elysium, one that could bring equality to the people of Earth.

Director: Neill Blomkamp

Main Cast: Matt Damon, Jodie Foster, Sharlto Copley, and Diego Luna

Why It’s Anticipated: Neill Blomkamp became one of the most hyped directors in the sci-fi genre after his first feature District 9. He was attached to a Halo movie (based on the X-Box game) until that project fell apart, but now fans finally get to see a new film from him. Blomkamp is again working with his District 9 collaborators actor Sharlto Copley, cinematographer Trent Opaloch, and production designer Philip Ivy again (though, Peter Jackson is not involved on the production side this time).

Editor’s Thoughts: Elysium was initially scheduled to debut in March but was pushed back to August. Why is not completely clear, but here are two thoughts: 1) March is overcrowded with big releases like Jack the Giant Slayer, Oz the Great and Powerful, G.I. Joe: Retaliation, and The Host so maybe Sony wanted to place this in a different spot on their calendar and August is the month that District 9 opened in and succeeded. Or 2) the film is not as good as Sony was hoping so they moved it to August where summer blockbuster-like movies go to die (like Total Recall and The Bourne Legacy last year). Reviews of the script by online critics (take that as you will) have not been overwhelmingly positive. I am inclined to think it is more the former than the latter.

Trailer (if available): Here

Title: Gravity

Release: October 4

Genre: Sci-Fi Thriller

Plot: Two astronauts are the lone inhabitants of a space shuttle. However, after a piece of debris crashes into them leaving them adrift and alone, they desperately try to get back home to Earth.

Director: Alfonso Cuaron

Main Cast:  Sandra Bullock and George Clooney

Why It’s Anticipated: Alfonso Cuaron is one of the great directors we have today. He is coming off of two big critical and commercial successes in Hollywood with Harry Potter and the Prisoner of Azkaban (arguably the best of the series) and Children of Men (to go with his two excellent Mexican films Love in the Time of Hysteria and Y Tu Mama Tambien). Gravity has also been hyped after Cuaron screened an early cut for a small audience last year to strongly postive buzz – talk of twenty minute fluid single takes where a buzz among those who saw the cut. Also, having Sandra Bullock and George Clooney will help bring in average filmgoers, which will help the box office (which is good, as if cool films like this do well then Hollywood will make more original content from great directors and not just the same generic nonsense).

Editor’s Thoughts:  Gravity was initially scheduled for release in November of last year (and was one of my most anticipated of 2012), but Warner Bros. decided to push it back because the holiday season became overcrowded. Then, they thought briefly about releasing it in early 2013 (like March), but they like the film and think it has awards potential, which is why it now has the October release date. Another thing to be excited about is that Cuaron is working again with cinematographer Emmanuel Lubezki. Their work together on Children of Men is incredible, and this is supposed to feature amazing long-takes. This is the film I am most excited to see in 2013.

Trailer (if available): Here

Title: The Hobbit: The Desolation of Smaug

Release: December 13

Genre: Adventure Fantasy

Plot: Part two of The Hobbit Trilogy finds Bilbo, Gandalf, and the Dwarves continuing their journey to get the Dwarves’ home back from the vicious dragon Smaug.

Director: Peter Jackson

Main Cast: Martin Freeman, Benedict Cumberbatch, Ian McKellen, Andy Serkis, and Richard Armitage

Why It’s Anticipated: An Unexpected Journey was one of the biggest films of 2012, so it stands to reason that The Desolation of Smaug will be equally as big. Plus, this film should be more action-packed as it will drive deeper into the meat of the story’s drama (which was sort of the problem with part one). Another great aspect of this film is that Benedict Cumberbatch is voicing Smaug.

Editor’s Thoughts: It will be interesting to see if Peter Jackson releases this film with both the high frame-rate and regular versions. I was interested, but never got around to seeing An Unexpected Journey in high frame-rate 3D so I cannot speak to it from personal experience. However, most people who did see that version felt that the high frame-rate ruined the movie (#HobbitVomit was trending on Twitter). So, will Jackson stick to his guns and try to win people over or will he give in to the criticism? I did enjoy An Unexpected Journey (even with its pacing issues) and am very much looking forward to part two, because I think it will be much better as there will be more organically story driven action and drama (instead of action scenes being overly long, artificially extended because the story does not have that much action for a big blockbuster).

Trailer (if available): Here

Title: Iron Man 3

Release: May 3

Genre: Action Adventure Thriller

Plot: After attack is waged on Tony Stark, taking a huge personal toll, he sets off to find those responsible. His quest leads him to China where he faces his most powerful enemy yet, The Mandarin. Tony also wrestles with the question that haunts him: “Does the man make the suit or does the suit make the man?”

Director: Shane Black

Main Cast: Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Ben Kingsley, and Rebecca Hall

Why It’s Anticipated:  The Avengers was the biggest film of 2012, and Iron Man and Iron Man 2 were relatively well-received by critics and loved by fans (well, more Iron Man than its sequel). Iron 3 kicks off Phase II of Marvel’s Avengers’ film series, and it looks like a fantastic movie rising to the challenge that Joss Whedon set with The Avengers (which is easily the best film in the series so far).

Editor’s Thoughts: While I cannot know this for sure, I suspect that Robert Downey Jr. brought writer-director Shane Black in to make this film, as they have a strong relationship (Black directed Downey Jr. in his film Kiss Kiss Bang Bang, which helped resurrect Downey Jr.’s career leading to him being cast as Tony Stark), after Jon Favreau stepped down.  Black is one of the best action writers in Hollywood (he wrote Lethal Weapon, The Monster Squad, The Last Boy Scout, Last Action Hero, and The Long Kiss Goodnight before making his directorial debut and writing Kiss Kiss Bang Bang).  Iron Man 3 is only his second film as a director, but Kiss Kiss Bang Bang was brilliant so I have nothing but faith in his abilities. I would go further as to say that I am more excited for Iron Man 3 because Black is doing it. The film also boasts an impressive cast of new actors to the series including: Guy Pearce, Rebecca Hall, Ben Kingsley, and James Badge Dale. In all likeliness, it is between this film, Star Trek Into Darkness, and Man of Steel for best summer film.

Trailer (if available): Here

Title: Jack Ryan: Shadow Recruit

Release: December 25

Genre: Action Thriller, Drama

Plot: Rebooting the Jack Ryan series (again), this adventure finds the young CIA analyst uncovering a Russian plot to crash the U.S. economy via terrorist attack.

Director: Kenneth Branagh

Main Cast: Chris Pine, Keira Knightley, Kevin Costner, and Kenneth Branagh

Why It’s Anticipated: Jack Ryan is Paramount Pictures’ Christmas blockbuster. The Tom Clancy Jack Ryan series has been a fan favorite since its first incantation in 1990 with The Hunt for Red October, only to be followed up with Harrison Ford’s (as Jack Ryan)very entertaining two films with director Phillip Noyce: Patriot Games and Clear and Present Danger. Likely, this will be Paramount’s attempt to create another James Bond, Ethan Hunt, Jason Bourne like franchise and this will probably feature more action than past Jack Ryan films (but will also hopefully feature Ryan playing detective as well like the past films).

Editor’s Thoughts: The first reboot of the series, The Sum of All Fears, came too close to 9/11 and was just too much at the time. Paramount seems to have put together a good team for this rejuvenation (of a franchise I liked a lot in the 1990s). Kenneth Branagh did a good job with Thor and is otherwise a good filmmaker; it is also fantastic that he is playing the villain. The studio turned to Chris Pine as their new Jack Ryan. He is great in the Star Trek reboot, bringing a lot of swagger and energy, and should be a great Ryan. Keira Knightley brings a higher level of talent to the role of Ryan’s wife than past incarnations, so maybe she will be more involved in the drama as well. And, Kevin Costner is a really good choice to play Ryan’s mentor, as it is a role he does well. All in all, it is the cast, director, and my past nostalgia for the 1990s Jack Ryan adventures that have me very interested and excited to see how this turns out.

Trailer (if available): Here

Title: Man of Steel

Release: June 14

Genre: Action Adventure Drama

Plot: A retelling of the Superman origin story. Clark Kent is an alien infant raised on Earth. He grows up hiding his superhuman abilities. When his adopted world is threatened, he must decide if he should reveal his abilities to protect Earth.

Director: Zack Snyder

Main Cast: Henry Cavill, Russell Crowe, Amy Adams, Michael Shannon, and Kevin Costner

Why It’s Anticipated: Superman is maybe the biggest and best known comic book character. Plus, the creative team that reimagined Batman starting with Batman Begins (David Goyer and Christopher Nolan – who’s latest film, The Dark Knight Rises, was one of the best of 2012) is now taking on Clark Kent, which should have you very excited. Goyer and Nolan will probably ground the character in a more realistic character driven environment (as realistic as an alien who fights crime can be) with characters who will emotionally resonate with the audience. While Marvel and Disney want to make really fun comic book movies, Warner Bros (with Goyer and Nolan, et al.) want to continue to make comic book films (with great action) that also appeal as satisfying dramas (like The Dark Knight Trilogy).

Editor’s Thoughts: Zack Snyder makes a lot of sense as the director for a Superman movie. He has a great grasp of wonderful cinematic visuals, and his style, which seems to get in the way of his storytelling sometimes, will likely be reined in Nolan (who is producing). Snyder has an overall strong filmography as a director. Dawn of the Dead was a good debut, and 300 showcased his ability to pull off stunning visuals. While Watchman was good, it suffered from overindulgence in Snyder’s style. Sucker Punch on the other hand was completely derailed by Snyder’s style over story and content. Based on the Man of Steel trailers, it appears that Snyder has given the film strong (if not iconic) visuals but has put the story first, which is great news for the film. It looks like it is going to be very good (another piece of good news: Nolan has brought in his frequent collaborator Hans Zimmer to score the film). I also really like the casting of Henry Cavill as Clark Kent. I think he will make a fantastic Superman (and Michael Shannon is going to be a great villain – he was born to be a comic book villain).

Trailer (if available): Here

Title: Pacific Rim

Release: July 12

Genre: Sci-Fi Action Adventure

Plot: Massive aliens attack Earth, threatening the very survival of the human race. In an effort to fight back, giant robots piloted by humans are used to wage the battle for Earth.

Director: Guillermo del Toro

Main Cast: Idris Elba, Charlie Hunnam, Rinko Kikuchi, Ron Perlman, and Charlie Day

Why It’s Anticipated: Enormous mechanized warriors fighting huge alien monsters, what is not awesome about that? It is like Godzilla vs. Mechagodzilla (only Mechagodzilla is good and piloted by humans to stop Godzilla – and there are lots of both).  This should be a highly entertaining huge action film.

Editor’s Thoughts: For the fans of Guillermo del Toro, this holds a whole different level of excitement and anticipation. He is responsible for some good stuff (the Hellboy films and Pan’s Labyrinth), especially when it comes to creating creatures.  Pacific Rim also has a great cast – who is not excited to hear the crazy stuff Charlie Day gets to spout off? Whether this is just a big fun summer movie or something that transcends the blockbuster genre (like say The Avengers and The Dark Knight Rises) remains to be seen, but certainly this is something to get hyped for if you like blockbuster action films.

Trailer (if available): Here

Title: Star Trek Into Darkness

Release: May 17

Genre: Sci-Fi Action Adventure

Plot: The crew of the Enterprise is called back to Earth, however when they arrive they find that a seemingly unstoppable force has devastated Starfleet and left the planet in chaos. Captain Kirk and his crew are tasked with going on a manhunt to bring the responsible man to justice.

Director: J.J. Abrams

Main Cast: Chris Pine, Zachary Quinto, Zoe Saldana, Benedict Cumberbatch, and Alice Eve

Why It’s Anticipated: Despite hardcore Star Trek fans having issues with J.J. Abrams’ Star Trek, it brought the cherished sci-fi world to the masses of movie-goers and they loved it (as did critics). Star Trek Into Darkness looks to be an even bigger adventure. Chances are if you liked the first film you are going to really like this one too.

Editor’s Thoughts: J.J. Abrams is one of the best action-film directors in Hollywood right now. His films have a frenetic pace – always moving forward and packed with action. Yet, he still is able to develop great characters. Plus, they are extremely fun and entertaining. Star Trek into Darkness is his fourth feature film (following Mission: Impossible III, Star Trek, and Super 8). I am also interested and excited to see Benedict Cumberbatch play the film’s main villain. I think he is going to be fantastic (2013 very well could be his breakthrough year, as he is starring in an impressive list of films: August: Osage County, Twelve Years a Slave, The Hobbit: The Desolation of Smaug, and this).

Trailer (if available): Here

Title: This Is the End

Release: June 14

Genre: Action Comedy

Plot: A bunch of friends go to a party at James Franco’s house, and then the apocalypse happens and they have to deal with it.

Director: Evan Goldberg and Seth Rogen

Main Cast: Seth Rogen, Jay Baruchel, James Franco, Danny McBride, and Jonah Hill

Why It’s Anticipated: The film features a ton of funny and otherwise great people on top of the film’s very funny stars in supporting and cameo roles, like: Jason Segel, Emma Watson, Paul Rudd, Michael Cera, Craig Robinson, and Mindy Kaling (among others). Plus, the writing team of Rogen and Goldberg is responsible for Superbad and Pineapple Express (and Rogen wrote on Undeclared and Da Ali G Show, while Goldberg also wrote on Da Ali G Show and co-wrote the criminally under seen Hockey comedy Goon with Jay Baruchel), so generally their stuff is funny and very entertaining. Basically, this has most of today’s best film comedians all together in a crazy action-horror-comedy premise – how is it not going to be awesome?

Editor’s Thoughts: Based on the short Jay & Seth versus the Apocalypse, this has the potential to be an amazing comedy, and certainly the best of the year. But, it is so ambitious that it reminds me of Your Highness (which I thought was going to be brilliant and hysterical but it was ultimately disappointing), so this could just as easily fall apart as be fantastic. That is what happens when you go big – either it works and is great, or it does not and falls flat, but at least it has the potential to be great. Most comedies now are just boring, tired narratives reusing ‘it’ jokes from past films. Seth Rogen, Jonah Hill, Danny McBride, Jason Segel, Paull Rudd, and Jay Baruchel are making the best comedies right now, so having them all in the same film playing themselves should be a lot of fun (and it helps that they are all real life friends and have wonderful chemistry, which is paramount in comedy). Plus, the premise sounds like a riot (I mean, there is a shot of Emma Watson with an ax in the teaser, so…).

Trailer (if available): Here

Title: Thor: The Dark World

Release: November 8

Genre: Action Adventure Fantasy

Plot: After the events of The Avengers, an ancient race of Dark Elves threatens to throw the universe back into darkness – that is, unless Thor can stop them.

Director: Alan Taylor

Main Cast: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, and Christopher Eccleston

Why It’s Anticipated: Thor outperformed the expectations that Marvel had for it, and now after the huge success of The Avengers this new Thor adventure has many fans very excited (though, this is well below Iron Man 3). Marvel is also bringing back almost the entire cast of the first film. The Avengers essentially made all the Marvel Phase II films must-sees.

Editor’s Thoughts: With director Kenneth Branagh not returning, Marvel decided to make an interesting and timely choice for his replacement in Alan Taylor. He is one of the major creative forces behind HBO’s Game of Thrones, directing six of the twenty episodes in seasons one (2) and two (4) and serving as a co-executive producer for all of season two. While Branagh gave Thor a fantasy feel, Marvel wants Taylor to give Thor a much more gritty realistic feel, though still keeping some fantasy aspects – basically they want it to feel and look like Game of Thrones. I think it probably will work out very well for them. Christopher Yost is also one of the film’s writers, which is a great thing too given the material.

Trailer (if available): Here