LeapBackBlog 2013 Film Awards – Part 1: Technical Achievements

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 2: Supporting Performances

Part 3: Directors

Part 4: Leading Performances

Part 5: Films

Arcade Fire & Owen Pallett – Score – her

Her is a film that address emotions we all struggle with and openly embrace when it comes to our relationship hopes, dreams, and fears. Arcade Fire and Owen Pallett (as well as some additional contributions from Karen O) deliver a score that fits these emotions as well as the hip aesthetic of the film. Her has a cool pop-culture quality to it, and thus it is only fitting that Arcade Fire would be scoring the film. Their music fits the ambiance wonderfully, while also adding an additional emotional accent. It is wistfully optimistic, in that there is an inherent sadness (as there is with the main character Theodore) but also a real hope that happiness and true connection is still a possibility (here is their song Supersymmetry, written for the film).

K.K. Barrett – Production Design – her

K.K. Barrett has made a career out of making films that feature a fresh, modern, and sophisticatedly cool style (things like Being John Malkovich, Adaptation., Lost in Translation, Marie Antoinette, and Where the Wild Things Are). He does the same again with Her. From the costume design, set decoration, and set design/locations to the lighting, the film has a brilliant aesthetic of bright solid colors that pop against the mundane of normal life. Barrett does not just create his art for the sake of being art; it also fits really well with the film’s narrative. Theodore just wants to find connection, when he feels so alone. With his bright shirts, he is always singled out in the frame, amplifying the sense that he is separate from the world around him. Barrett’s design work in Her is extraordinarily cool (I want to live in Theodore’s world – his apartment, his office, the restaurant he goes on a date too – everything is so interesting and artistically compelling).

Judy Becker – Production Design – American Hustle

American Hustle is a film that will likely be best remembered for its standout performances, but also for its fabulous production design (and costume design, courtesy of Michael Wilkinson). The whole affair is grand game of dress up with outrageous hair styles and extravagant costumes, but Judy Becker’s work does something magical. It completely embraces the con-man genre and all the shenanigans that come with it, while also grounding the film in what feels like a realistic world. She offers a backdrop that is playfully nostalgic with a sense of realism as well (given the world of the narrative). It is splendid work.

Sean Bobbitt – Cinematography – 12 Years a Slave

12 Years a Slave is a heartbreaking tale of Solomon Northrup’s perseverance in the most treacherous and humiliating years of his life – a free man tricked and sold into slavery. Sean Bobbitt’s cinematography is beautiful as he uses natural lighting to great effect. The Louisiana plantations that Solomon finds himself tethered to feel lazily sublime and even whimsical through Bobbitt’s photography, remarkably juxtaposed to the horrors that Solomon witnesses and is forced to endure. But there is also a tension and inner darkness to Bobbit’s work as well, as if this exquisite backdrop only exists as a thin veil desperately trying to conceal a rotten and decaying society – a façade to hide pure evil (similarly to the way the film shows that really the true villain of the South is the honorable man who simply abides and takes part in slavery – who is more a villain Ford or Epps?). Bobbitt’s collaborations with Steve McQueen have and continue to produce some of cinema’s finest work. And, on a side note, Bobbitt’s photography for The Place Beyond the Pines was also very good.

Bruno Delbonnel – Cinematography – Inside Llewyn Davis

It is no secret that Bruno Delbonnel is one of my five favorite active cinematographers (along with Emmanuel Lubezki, Roger Deakins, Wally Pfister, and Robert D. Yeoman). He continues to bring his style of color saturated photography to the films he works on with such an elegant mastery. With Inside Llewyn Davis, he gives the film a feel and look that is almost surreal but at the same time very fitting for the time period and place (1960s Greenwich Village). It echoes the sadness of the film, while still adding a resonating beauty. It is phenomenal work.

Emmanuel Lubezki – Cinematography – Gravity

One might ask: “Why does Gravity feature 2013’s most impressive cinematography? All the visuals are created digitally.” Simple, while Emmanuel Lubezki and director Alfonso Cuaron worked with the visual effects team to create the look of Space, Lubezki still painstakingly needed to match everything that happens in the visual effects, lighting wise, on the actors’ faces when they were filmed live – no small task (in fact, a very difficult task). Lubezki’s lighting is perfect, beautiful, and enthralling. His collaborations with Cuaron continue to push the boundary of what is possible in film.

Anthony Dod Mantle – Cinematography – Rush

A lot of what makes Rush a great sports drama is its atmosphere of high stakes. Anthony Dod Mantle’s brilliant digital photography gives the film all the atmosphere it can handle. His work creates a thrilling and realistic experience for the audience, often giving them the feeling that they are right there with the drivers, whipping around the track. His ability to mix his footage with actual footage seamlessly is also paramount to the film’s perceived realism and ability to pull the audience into its narrative. As much as I like and support film still being shot on film, Dod Mantle continues to make a strong argument for digital.

Steven Price – Score – Gravity

Gravity is an exciting, intense film. Steven Price’s score works perfectly with the visuals and emotions of the film, creating an ‘edge of your seat’ experience for the audience. The music also captures the feeling of isolation very well. There is a removed sense to it, a sadness that comes from being lost and alone (the piece entitled Don’t Let Go is a good example). Working with director Alfonso Cuaron, Price plays with his score as well. There are moments in which he blows it out to jolt and captivate the audience. It is wonderful work. And, on a side note, his score for The World’s End is very good too.

Adam Stockhausen – Production Design – 12 Years a Slave

Adam Stockhausen’s production design in 12 Years a Slave is paramount to the film’s success, as he must create a world that feels as honest and natural as possible. He does this and more. The film looks and feels real, which only pulls the audience further into the narrative and emotional power of the film. Solomon’s world is bright in the North as a free man, but when he finds himself enslaved his world becomes utterly bleak. His cramped, dark, and decrepit world is presented in the shadow of the grand homes of his masters. Stockhausen is able to put the audience in Solomon’s place, making the experience all the more devastating, haunting, and ultimately uplifting (in that Solomon does preserver in the face of everything that would strive to bring him down).

Hans Zimmer – Score – 12 Years a Slave

Hans Zimmer’s score for 12 Years a Slave is probably my favorite of 2013. Not because it is necessarily the best composed music (though, it is quite elegant and moving – his piece entitled Solomon comes to mind), but because Zimmer also employs incredibly raw (almost off-putting) distorted noise as well to create a very visceral and unnerving experience (the score used during the riverboat scene when its paddlewheel is thrashing is particularly intense). It is this modern musical aesthetic applied to what is otherwise a very naturalistic period piece that stands out and is so striking. It is ambitious and brilliant work from Zimmer, collaborating with director Steve McQueen. Zimmer also provided great musical scores for Man of Steel, The Lone Ranger, and Rush in 2013.

American Hustle (2013) – Review

Review: American Hustle is a delightfully entertaining, extremely well acted con man film. It is about two con artists, Irving Rosenfeld and Sydney Prosser, who are blackmailed by an FBI agent, Richie DiMaso, into helping him conduct sting operations. However, DiMaso’s scope begins to spin out of control as the con gets bigger and bigger with the team now going after members of the U.S. government and the mob. Rosenfeld sees that everything is getting out of hand and needs to figure out a way to get over on everyone and survive what has become a dangerous game.

Con man films often conform to a very specific kind of narrative, one that involves deception and plot twists – usually trumping character development. American Hustle is no different in terms of its basic plot construction, as it is often difficult to tell what is real and what is for show and the film works in a very good plot twist. But unlike most con man films, its narrative does not revolve around the con. Writer-director David O. Russell has fictionalized the true events of the ABSCAM FBI operation (a real case) to create what is much more a character centric narrative. The con is then ultimately just what brings these characters together, while the character flourish and the narrative even begins to feel a bit like a romantic comedy.

The conventions of the con man genre are not entirely sidestepped however. Like all the best cons, everyone gets what they want – well except the mark. What works particularly well about American Hustle is that the audience gets what they want too, which gives the film a very satisfying feel. The audience is treated to a narrative that makes them laugh, characters that explode off the screen, and a story that engages them.

The film succeeds on the great characters that Russell has created, with the help of his fabulous cast. They are rambunctious, infectious, and overblown – yet the majesty of the film is that the actors and Russell still ground them in reality, even though they are played so big. Each has their character moments that pull the audience in (especially Rosenfeld and Prosser who feel the most relatable) and each is very entertaining.

While the film does emotionally resonate, Russell plays it much more for laughs than deep drama – playing into the film being chiefly a piece of entertainment (as it is a con man narrative after all). The film is fantastically funny. It has such an alluring and jovial energy that is it hard not to be enchanted by its charms. It is just a lot of fun to watch, but it also feels a bit unsubstantial. The characters do their dance but its does not really mean anything (due to the lack of a deeper resonance), and yet still the audience is highly entertained.

American Hustle is a showcase of talented actors teaming up with talented filmmakers, providing characters that erupt with jubilant commanding energy and a narrative that beguiles as it captivates. The film is simply a work of cinematic gratification.

Technical, aesthetic & acting achievements: David O. Russell has really become one of American Cinema’s most successful current filmmakers, winning Oscars for his actors in both The Fighter and Silver Linings Playbook – American Hustle is sure to garner a few nominations as well (and maybe a win). Russell does everything well. He is a good visual storyteller, gets great performances (while demanding the attention of some of todays most talented actors), and has snappy, effective dialog. I look forward to his next feature.

Danny Elfman delivers a fun score that is very fitting for the narrative’s tone and time period, however it is completely overshadowed by the fantastic soundtrack. Russell places found music brilliantly throughout the film, heightening the mood and his visuals. And to that, cinematographer Linus Sandgren’s collaboration with Russell is also very good. The lighting is just right, and the camera is aggressive in its movements screaming out to the audience, honing and pointing their attention. Accompanying the lighting is Judy Becker’s standout production design, wonderfully creating the late 1970s/early 1980s with a nostalgic flare. The same can be said for Michael Wilkinson’s costume designs, which in a way steals the show.

As a character driven film, the performances in American Hustle take center stage. Robert De Niro is good in a very small role (channeling a bit of his The Untouchables magic: the ability to make an impact without much screen time). Jack Huston is also good in a small supporting role. Louis C.K. pretty much just shows up to play himself, but it works really well in the context of the character and narrative. He also provides some good laughs (of course). Jeremy Renner gives one of his best performances to date in support (it is up there with his work in The Hurt Locker and The Town). He plays Carmine Polito very sympathetically (which was key to the narrative arc working for Rosenfeld). Jennifer Lawrence is powerfully charismatic as Rosenfeld’s wife Rosalyn, grabbing up all the attention in her scenes. She very well could see yet another Oscar nomination and win for her work. She is so good at playing on the edge – wildly alluring, yet kind of scary. Bradley Cooper was excellent in Silver Linings Playbook, opening eyes to his talent. In American Hustle he is even better as Richie DiMaso, a power hungry, coked-out FBI agent. He thinks he is the smartest guy in the room, even when he is being left behind. Amy Adams is also fantastic in the film as Rosenfeld’s partner in crime Sydney Prosser. Her performance is quieter than her co-stars, but her wardrobe choices are bombastic. In this way, she too pulls attention. Christian Bale just disappears into his characters, and Irving Rosenfeld is no different. Bales transforms himself into a man that is always thinking of the next move, and yet is relatable due to his compassion. Bale goes big and flashy with his look, but the performance is grounded in honest dramatic emotion – which is really true for the film as a whole.

Summary & score: American Hustle is immensely entertaining and features many of 2013’s best performances – all that, while still operating as a fun con man narrative. 8/10

Silver Linings Playbook (2012) – Review

Review: Silver Linings Playbook is a great character piece that feels more like a documentary than a fiction feature. The film is about Pat, a man struggling with being bipolar, who is released back into the custody of his parents (following a stay in a mental facility for a violent episode). Pat is trying to find his center so that he can resume his relationship with his estranged wife Nikki (who has a restraining order against him). To get in contact with Nikki, he enlists the help of Tiffany, the sister of a friend of Nikki’s, who is also struggling with mental disease. For her help, Pat agrees to help her with a dance competition. Their bond becomes a meaningful part in Pat rehabilitation.

Writer-director David O. Russell directs the film to have a very realistic feel (much like his last The Fighter). To accomplish this, he uses a hand-held camera and improvised dialog, giving the conversations a more natural progression (so they do not feel stylized for film). The performances are also very naturalistic, with each emotion feeling organic and authentic. This in turn pulls the audience in, as they can relate to the characters because they just feel like normal people. And really, this is the success of the film – its characters and the extent that they resonate with the audience.

The hand-held camera work is very aggressive. The camera often goes out of its way to emphasize details in a given scene. The camera also seems to invade the personal space of the actors at times, giving the film a very intimate but also an intimidating feel (depending on what the scene calls for). Russell does not what his characters and particularly the audience to escape any confrontation. His camera is right there in the thick of things, which gives many of the scenes an uncomfortable energy (which is fantastic).

The audience should feel a little uncomfortable watching the drama unfold, as Russell’s narrative digs into a very personal topic for him – mental disease (specifically bipolar disorder). He is not interested in playing it safe with his narrative, he wants to give a realistic account of people struggling with this disorder and also to show that they are no different than the rest of us – they have goals and dreams, good days and bad days.

To further draw the audience in, the narrative is also set up like a romantic comedy, which informs the expectations of the audience. They root for Pat and Tiffany as a couple. The undertones are there telling them that they should like these characters and want them to be together in the end. Russell also recognizes that the drama of the film is fairly intense and uncomfortable, thus there needs to be both a romantic plot and comedy (this is surprisingly funny at times) to give the audience lighter moments allowing them to breath (otherwise it might be too much). It is an interesting twist on the romantic comedy formula, blending it with a character drama (one that seems primed to pay dividends for its actors come awards season – a feel good romance that also works as a biting character drama).

However, as good a character piece as Silver Linings Playbook is, the narrative is not quite tight enough, leaving it feeling a bit slow at times. It is both a romance and a drama (separately and together). Each story needs time to develop, which puts the other on the back-burner (so to speak). Thus, the audience is being torn between the budding romance between Tiffany and Pat (which is really the secondary story) and Pat finding a way to cope and be okay in the world (which mostly seems to focus on Pat’s relationship with his father, who gets under his skin). Eventually, these two stories align and the film’s pacing seems to work a lot better. Plus, the conclusion is fantastic.

Silver Linings Playbook is a wonderful film that has some of 2012’s best and most developed characters (and performances). Its realism draws its viewer in, and its unflinching look at mental disease without being clinical or derogatory is refreshing.

Technical, aesthetic & acting achievements: David O. Russell has now made six feature films. With The Fighter and now Silver Linings Playbook, he has very much established himself as an actor’s director, as he is garnering brilliant work from his casts. His aesthetic style has also evolved to be this hyper-realism that give his work an authentic quality (that is mostly lacking in Hollywood features), which again attracts great actors. Great actors want to work with great directors, and right now Russell is one of the best.

Danny Elfman’s score for the film is almost unnoticeable, as much of it plays without music or with a found soundtrack. However, when Efman’s work is needed, he delivers a fun bit of music (that plays seemingly lighter than the tone of the film, but still works) and also some dramatic tones (to accentuate moments). Masanobu Takayanagi’s cinematography fits with Russell’s desire to have the film feel realistic. The lighting seem mostly natural and un-stylized, though the camera work (as touched on above) definitely contributes more actively to the overall feel of the film (being intimate yet aggressive). Production designer Judy Becker’s job basically is to give the actors an organic space in which to work, and she succeeds wonderfully. The characters and their homes (which most of the film takes place in) feel real, again feeding into the documentary shooting style.

The cast is universally excellent in Silver Linings Playbook. John Ortiz and Jacki Weaver stand out in smaller supporting roles. Chris Tucker is great in his comeback performance. He is funny, and yet feels completely believable (not like he is merely putting on a show for the camera). Robert De Niro is an icon, but that said he has not really delivered great work or great films lately (probably not since the 1990s). Playing Pat Senior, De Niro is wonderful. He has such humanity to him, that his performance evokes pity and yet he still has an undeniable power enabling him to just command a scene. It is among his best work. Jennifer Lawrence, playing opposite two other phenomenal performances, almost steals the whole film (and for many viewers, she probably does). Her Tiffany is completely unafraid and strong, yet Lawrence also has such a vulnerability to her performances. She gives off so much emotion just with her face and eyes. It is probably the best female performance to date this year. Bradley Cooper announces himself as a fine actor with his performance as Pat. It is easily the best work of his career. Cooper brings such a destructive energy to Pat that the audience feels like he might explode at any moment. However, he also brings a lot of compassion to the role, making him likable when he probably should not be.

Summary & score: Silver Linings Playbook is a flourishing character drama that resonates with, enlightens and entertains its audience. 8/10

Shame (2011) – Review

Review: Shame is dark, angry and unflinching. The film explores the effect that sex addiction has on a successful New York man, Brandon, and how his life (and routine) is disrupted when his sister (Sissy) shows up unannounced. At its core, this is a film built around a brilliant performance by its lead (Michael Fassbender), without which it would fail completely. Both Sissy and Brandon are damaged – but the audience not informed of why – and why is not important to this story. Writer-director Steve McQueen seems only interested in the immediate emotional toll of the addiction on Brandon, and how he seems to be completely disconnected from humanity. While there are glimpses at a normal life (and maybe even feeble attempts by Brandon for connection), he is a slave to his addiction and there is no pleasure in it. The film is affecting as it addresses pain in such a frank manner – it is right there for the audience, uninhibited. Plus, it is not veiled by reasons for the anguish Brandon feels – McQueen wants to look at the darkness straight on, without the stipulations for the audience to cling to and rationalize. As the film progresses, Brandon seems to become less and less human (even appearing as some sort of monster in one climatic scene which is the tail end of his decent seemingly deeper into the darkness – but what makes this film so haunting is that it is unclear if this is just an extreme episode or one of many, which seems to be the case). McQueen also unnervingly makes Brandon somewhat charming at moments, and even places moments of humor into the narrative – just enough to give Brandon a connection to the audience and enough light moments to relieve the tension momentarily. Sissy is the perfect character to crash into Brandon’s world. She is almost the complete opposite of Brandon. He does not want anyone to see, to really touch him on an emotional level. She is completely open with her emotions and intrudes on his world, in a sense making him look at himself, which he does not want to do. The heart of the story (and really the best moments) comes from the pressure that Sissy seemingly puts on him to be more normal, which comes crashing down. The narrative structure that McQueen uses is also interesting and works well with the material. While there is a character arc for Brandon, many of the scenes and sequences feel more like a series of clips of Brandon’s life, not a flowing moment by moment story. It is montage – piecing together specific moments creating the character and building the tension (though, the pacing is not going to work for everyone). But the rhythm that McQueen creates pulls in the viewer, and leaves them emotionally impacted (and this is the power of the film). The ambiguous ending (which seems to be especially popular among indies this year) puts the emotional determination in the hands of the audience (and is the perfect way to end it). Shame is graphic, but not because of the nudity – the emotional strain and look behind the curtain of a much darker psyche will affect the viewer (especially if you give yourself over to the film).

Technical, aesthetic & acting achievements: Steve McQueen, two films in, has established himself as a filmmaker who is not afraid to dive straight into deep and dark emotional issues. As with Hunger, he does not marginalize the emotional weight of his subject (and thus, his films are not going to appeal to those looking for light entertainment, because Shame is anything but that). He is one of the great auteur filmmakers of the new generation. Harry Escott’s score is very good (here is a suite). It hits the right emotional touchstones but is not overwhelming and does not detract from the performances. It picks up on the sadness of the isolation in Brandon’s life, going hand in hand with the pain and anger he feels. Sean Bobbitt’s cinematography is gritty and places the narrative very much in the real world. I liked the long takes in the film, as they reinforce Brandon’s solitariness and allow the score to reinforce the emotions. Judy Backer’s production design also places the narrative in the real world, and is gritty as well. Much of the film is void of color, expressing the bleakness. As good as the film is visually, it is built completely on its performances. James Badge Dale and Nicole Beharie are good in their small supporting roles, but the two principle characters carry the film and almost all the weight. Carey Mulligan plays off-type bringing life but also a deep sadness to Sissy. She is the spark that ignites the narrative. Michael Fassbender gives what is probably the bravest performance of the year, completely giving himself over to the anger, pain and utter bleakness of Brandon. It is phenomenal work.

Summary & score: Shame is not a fun, entertaining trip to the movies, but for those filmgoers looking for an affecting piece of cinema this is a fearless look at sex addiction. 8/10

The Fighter (2010) – Review

The Fighter is a feel-good story, full of fantastic performances, directing and scenes. At its heart, director David O. Russell has created a narrative about the triumph of spirit, structured around the complications of family dynamics – specifically focusing on the relationship of Mickey Ward with his brother Dicky Eklund and his mother. Mickey grew up in the shadow of his brother both within his family and in his neighborhood – yet Mickey still regards his brother as his hero and an essential part of his life and career as a boxer. The issue (and the driving force of the drama) is that Dicky is an unreliable crack head and their mother is in denial seemingly always taking Dicky’s side. This leaves Mickey with seemingly a lack of personality and the narrative with undefined roles (aka, who is the main character). Dicky, apparently like real life, steals the film and is the center of every scene he is in – Mickey relegated to an observer, yet this is his story, but also a little Dicky’s too. The camera does not exclusively stay with Mickey, nor does it only show his journey. Dicky’s progression is also shown and given significant narrative time. This hurts the film a little as Mickey is the character the audience is supposed to connect with and root for, and while that certainly happens by the end, for a large part of the film he is not charismatic especially with Dicky on-screen. This changes the film from a gripping narrative drama to an informative biography, in which the viewer watches to see the outcome to the “true” story and not because they care about Mickey (this is often the problem with true stories). Though at the same time, the film certainly does benefit from being based on a true story, as viewers are more sympathetic and feel that situations are more relatable when it is “true”. Thus, this both suffers and benefits from being about real people and real situations. David O. Russell is acutely aware of the power of the “true” story element, going so far as to shoot the boxing scenes as if the audience is watching them on TV at the time of their original airing and having the real Mickey and Dicky show up during the ending credits. The visual style of much of the film feels like a documentary as well. He is milking the story for all the emotional and inspirational potential it has. And he succeeds. The film is completely likable, relatable and engaging. By the end, the viewer is committed to these characters and is cheering just as much as the real people were when the events actually happened.  It is an interesting transition – from informative biography with a bland and a colorful character(s) to a film that conclusively has audience buy-in. The film is totally cliché, the supporting characters, outside the main four, are caricatures serving a purely narrative purpose and the audience is manipulated to emotionally flow with the film – yet the film does these things without feeling phony, a credit to David O. Russell and the performances. The main three supporting performances are all very good (one of them is amazing) and Mickey coming out of his shell only makes the ending more impactful. The Fighter by all accounts should be a Hollywood throwaway, but instead it is a great story that the audience is invested in culminating in a good film.

Technical and acting achievements: David O. Russell is already known as a good director, but this film elevates his career as his approach to what could have been an HBO special or TV-movie-of-the-week is remarkable. These were difficult characters and his direction elicits wonderful performances. The score by Michael Book is not overly memorable, but it did not need to be as the point of this film is the characters and the story. However, his score does work with the narrative making the emotional impact all the more moving. Hoyte Van Hoytema’s cinematography and Judy Becker’s production design work very well with the visual style of the film, giving it an authentic and in-your-face feel. The minor supporting cast is good, while mostly serving a narrative purpose, but Jack McGee stands out. Melissa Leo is very good in a difficult role of being both a caring and loving mother but also playing the film’s villain in a sense. Amy Adams plays a strong personality (much like all the principal supporting characters) and is powerful (though is not given too much to do). Christian Bale is absolutely amazing in the film. He commands attention in every scene. He is not even an actor; he is Dicky Eklund. Mark Wahlberg has the impossible task of playing against not only three phenomenal performances but also three forceful personalities. It is a tall order, and he gets swallowed up a bit, but that is the character and it only makes his transformation all the more poignant. It is one of his better performances.

The Fighter is a good boxing film and drama with great direction and performances. 8/10