2014 - Highlights

2014 has been a great year for movies. You'll hear all sorts of naysayers talking about the doom of cinema and how the box office is plummeting. This is painful to hear. The box office ebbs and flows with demand; I'm sure at the end of 2015, with its dinosaurs, avengers, spies, dystopian rebels and stormtroopers, no one will be predicting the end of cinema. The slight drop in the box office is something Hollywood must take on the chin and move on; it happens, but film is universal and people will never tire of great stories. That said, let us take a look back at some of 2014's greatest stories! Here's our Top 10:

(N.B. films selected according to UK/festival release dates; mild spoilers may follow)

Boyhood
Boyhood's extraordinary ambition has been a well-trodden subject over the past six months, often making people overlook the sheer emotional power of Richard Linklater's fascinating and thought-provoking study of humanity. Anchored by weighty performances from Patricia Arquette, Ellar Coltrane and Ethan Hawke, Boyhood fully embraces Linklater's love for naturalism and it is in this that the film finds its true power; you see fragments of your own life in Mason's, particularly if you're an early millenial like he and I, or in Olivia's, or in Mason Sr.'s. This is helped by the passage of time being dealt with so deftly. Linklater gives you no indication that time has gone by, as in life, which makes Mason's childhood even more poignant. The film allows time to flow rapidly and Linklater's ability to condense such an important phase of life into only three hours - while maintaining an extraordinary emotional core - is astonishing.

Interstellar

On a surface level, Boyhood and Interstellar are dramatically different. Initially, one seems a simple, bare bones look at humanity and the other an epic space odyssey. Yet, as you watch their stories unfold, their narratives evolve into something more spectacular than either of those brief summaries could suggest. In the case of Interstellar, Christopher Nolan uses the mediums of time and space to explore the significance of love in humanity. The relationship between Cooper (McConaughey) and Murph (Foy/Chastain/Burstyn) provides the emotional tug of the story, an effect only amplified by their pair's separation. As with Boyhood, the passage of time plays a crucial role in proceedings, but it becomes much more heart-breaking here. The ending has proven polarising (clichéd, for some), but there is an important truth in Nolan's message, as even the vastness of space couldn't damage the beauty Cooper's humanity.

Pride

Again, initial impressions would deem Pride to be a much less technically impressive film than Boyhood or Interstellar. It is a low-budget, British film, without the 'gimmick' of Boyhood nor the scale of Interstellar. This film, which sees a group of gay men and women form an alliance with striking miners in order to promote both their causes, is the ultimate crowd pleaser.  There is something glorious about seeing a plethora of fine British actors (including Bill Nighy, Imelda Staunton, Ben Schnetzer and George MacKay) in both hilarious and heart-breaking form; this is full-blooded, joyous filmmaking, driven by old-fashioned story-telling and an array of wondrously endearing characters. It boldly gives you the funny, the thought-provoking and the heart-breaking, often in the same scenes, and never fails to demonstrate the emotional and political magnitude of the scenario. Pride, with all its charm and vigour, is soaringly lovely.

Still Alice 

I was lucky enough to see this at TIFF earlier in the year and I remember walking out enthralled by what I had just seen. Amidst all the buzz, Julianne Moore's performance retains its power and visceral impact. It is heart-breaking to see Alice, a renowned linguistics professor, deteriorate as she falls into the clutches of early on-set Alzheimer's. Moore, who has always been one of my absolute favourite actors, utilises her entire acting arsenal here, from gradual facial tics to utter despair. It also helps that she's backed my strong work from Stewart and Baldwin, although there is never any question that this is Alice's story. The entire film is laced with cruel irony, as the woman previously so proficient with words begins to lose her previously formidable skills with them. Even worse is the gradual fading of her family out of her memory. Still Alice is extraordinary, a timely reminder that anyone, even the greatest, are susceptible to the ruthlessness of disease.

Guardians of the Galaxy 

It wouldn't be a highlights of 2014 movies article without the quirkiest (and, in our opinion, best) entry in the Marvel Cinematic Universe. What's not to like about a thief, two thugs, an assassin and a maniac defending the galaxy? Compared to the rather politics-heavy Captain America: The Winter Soldier and Fox's time-travelling X-Men: Days of Future Past, Guardians of the Galaxy was a romp of the most enjoyable nature. For a start, this is the most quotable movie of the year (the Jackson Pollock joke, "I am Groot", "do not ever call me a thesaurus", "I will not succumb to your pelvic sorcery!"), but also one of the best looking. Xandar is a crisp utopia, Knowhere is a beautifully conceived ruin and the battle between the Dark Aster and the Nova Corps is one of the best action sequences of the year. Sure, the main trio of villains (Ronan, Nebula and even Thanos) are one-dimensional, but it's worth tolerating for the glorious interplay between the five leads.

Dawn of the Planet of the Apes

It is extremely satisfying knowing that a franchise which began in 1968, faded out around 1973, was poorly ressurected in 2001 and (finally) rebooted in 2011 still has stories to tell. In the case of Dawn of the Planet of the Apes, the franchise has never been stronger. Of course, technological improvements help massively; since Tim Burton's 2001 reboot, we've gone from distractingly fake looking apes to gorgeously detailed, soulful characters. The apes are so great, in fact, that the human characters are rather overlooked (Gary Oldman has very little to do), but this seems relatively unimportant when the apes, played brilliantly by actors like Andy Serkis and Toby Kebbell, are so fascinating to watch. The poster on the right alone shows the detail and technical prowess the film employs, but this shouldn't distract from the compelling story behind the effects. Even better is the political undercurrent woven into the narrative (something Tim Burton seemed to have missed), which serves only to enhance the already fascinating story.

How to Train Your Dragon 2 

In a world before Dreamworks released How to Train Your Dragon, most people agreed that Shrek and Shrek 2 were the best films Dreamworks had to offer. But with How to Train Your Dragon and its sequel, director Dean DeBlois has lovingly crafted a beautiful tale of friendship and adulthood. It is as typically dazzling visually as you'd expect, but unlike the empty spectacle present in some blockbusters, the sequences here are exhilarating, only improved by the sensational score by John Powell. As the trilogy steers Hiccup into adulthood, it becomes only more satisfying, as much for adults as it is for children. Not since the Toy Story series has an American animated franchise had such a broad appeal, nor such interesting characters. However, unlike other animated series, it seems to have a clear direction; this isn't a money-grabbing sequel, this is a director wanting to tell a great, fully fleshed out story. Such vision is uncommon in mainstream Hollywood, let alone just in animation. 

The Grand Budapest Hotel

When a film released in March gains awards season momentum, you know it's a cracker. The Grand Budapest Hotel is one of those rare cases. Here, a spectacular and hilarious Ralph Fiennes leads an all-star cast (including but not limited Tilda Swinton, Jude Law, Jeff Goldblum, Owen Wilson, Willem Dafoe and Bill friggin' Murray) in an energetic, buoyant romp through the fictional Republic of Zubrowka. The bond between the protagonsit, Fiennes's Gustave H. and his lobby boy, Zero (Tony Revolori) is great to watch, as Fiennes's charming and cheerfully profane concierge bounces off the deadpan Zero. The film's style has been greatly dissected over the past year for good reason; Anderson employs intricate minatures, fantastic costumes, hair and production design and 3 (!) aspect ratios. As a filmmaker he is very ambitious, although, for this writer, it is not until now that he has become truly great.

The Lego Movie

There is something inherently joyful about the way Phil Lord and Chris Miller work. Do you think any of the other comedic directors today would take on such oblique and seemingly uninspired properties like 21 Jump Street, Cloudy with a Chance of Meatballs or The Lego Movie? Probably not. Yet, with the talents of these two men, all three have earned sequels and in the case of The Lego Movie, a spin-off and a sequel. Their casting is also pitch-perfect; Chris Pratt is great as the everyman, Liam Neeson is an inspired choice as Good Cop/Bad Cop (riffing on his new-found status as an action hero) and Will Arnett is so hysterical as Batman that he earned himself a spin-off. The film is visually stunning and the emotional wallop at the end is utterly unexpected. This is a spirited, hilarious, irrerevent feature, which fully utilises its talented cast and directors, as well as demonstrating the uniqueness of animation and how inventive one can be when given free reign.

X-Men: Days of Future Past

 If you'd asked me a few months which film I thought was better, X-Men: Days of Future Past or Captain America: The Winter Soldier, I would have gone with the latter. Yet, on a recent re-visit of the pair, X-Men held up best. Perhaps that's because I find Captain America a little bland, or maybe it's because I have been invested in the X-Men franchise for the best part of a decade. Bryan Singer's double sequel (it finishes the stories of the team from the original trilogoy and continues the stories of the First Class Team) is a riveting, first-class blockbuster, with a starry cast and interesting time-travel framing device. All the action scenes in this year's comic book movies (minus TASM2 and the 300 sequel) have been great, but none exceed the quality of the now famous Quicksilver sequence. Evan Peters makes a great, if brief impression, and, if nothing else, is outstanding proof that the X-Men franchise still has legs.

Honourable Mentions:

Captain America: The Winter Soldier: one of the strongest entries in the MCU, mostly thanks atypically strong plotting and, of course, Scarlett Johansson.

The Hunger Games: Mockingjay - Part 1: a powerful, political war film. Universally strong cast and continually interesting themes and ideas.

Fury: simultaneously a fascinating, gripping war movie and a compelling character study. Another great cast.

The Theory of Everything: astounding work from Eddie Redmayne and Felicity Jones propel this from an ordinary romance into an interesting insight into a very difficult relationship.

Edge of Tomorrow: Emily Blunt. That is all.

Note: award contender films like Birdman, Selma, Wild and Into the Woods will be released in 2015 in the UK, hence their absence from the list (if they are as good as I hear!).

86th Academy Awards - Reactions and Predictions

Yes, it's time for everyone to cheer for the favourite film's nominations/cry because their favourite film was unduly snubbed. With the Globes behind us and the Annies and BAFTAs approaching fast, awards season is hotting up and - as always - the Academy are last to reveal their nominations. So, here they are:

Best Picture

• American Hustle
• Captain Phillips
• Dallas Buyers Club
• Gravity
• Her
• Nebraska
• Philomena
• 12 Years a Slave
• The Wolf of Wall Street  

A pretty predictable set of nominations, with Saving Mr. Banks the only real snub, although some may argue that The Butler and August: Osage County deserved nominations. All the momentum is currently going to 12 Years a Slave and American Hustle, with Gravity next in line and I can't see it going to any other film, despite how much I loved Captain Phillips.

What I want to win: Captain Phillips - just an extremely tense, engrossing thriller, with Tom Hanks giving (for me) the performance of his career.

What will will: 12 Years a Slave or American Hustle - probably the former. I could imagine the Globes plumping for Hustle's star power and glitz but I think the Academy will prefer Slave's harrowing true story.

Best Director

• Alfonso Cuarón - Gravity
• Steve McQueen - 12 Years a Slave
• Alexander Payne - Nebraska
• David O. Russell - American Hustle
• Martin Scorsese - The Wolf of Wall Street

Relatively safe choices again, but where is Paul Greengrass? He's been nominated for pretty much everything else, but the Academy have favoured Alexander Payne and Martin Scorsese over him. 

Who I want to win: Now Greengrass is gone, probably Cuarón. He did an incredible job with such an ambitious project and has a lot of momentum in his favour. Russell would be my second.

Who will win: Probably Cuarón. His prowess with both the technical and emotional side of Gravity will pull him through.

Best Actor

• Christian Bale - American Hustle
• Bruce Dern - Nebraska
• Leonardo DiCaprio - The Wolf of Wall Street
• Chiwetel Ejiofor - 12 Years a Slave
• Matthew McConaughey - Dallas Buyers Club

WHERE IS TOM HANKS. Bale was great in American Hustle and everything but Tom Hanks's brilliant performance in Captain Phillips was truly something to behold. Also, no Redford? Whaat.

Who I want to win: Tom Hanks. Who needs a nomination anyway?

Who will win: For me, it's a straight race between Ejiofor and McConaughey, whilst the latter has the Globes momentum, it all depends on which film the Academy favours on the whole.

Best Actress

• Amy Adams - American Hustle
• Cate Blanchett - Blue Jasmine
• Sandra Bullock - Gravity
• Judi Dench - Philomena
• Meryl Streep - August: Osage County

All brilliant performances, but I would have picked Emma Thompson over Meryl. Meryl was solid but she has been better and Thompson's turn in Saving Mr Banks was one of her best. Besides that, a sound list.

Who I want to win: Probably Adams (the only nominee who hasn't won previously) but if Thompson was there, it would be here - in all her heel throwing glory.

Who will win: Cate Blanchett of course, with Bullock running her a close second. Blanchett was excellent in Blue Jasmine and absolutely all of the momentum is headed her way.

Best Supporting Actor

• Barkhad Abdi - Captain Phillips
• Bradley Cooper - American Hustle
• Michael Fassbender - 12 Years a Slave
• Jonah Hill - The Wolf of Wall Street
• Jared Leto - Dallas Buyers Club

This list perhaps brings the most surprises. I'm moderately surprised with Cooper's acting nod and very surprised with Hill's. Similar to the Globes, I probably would have favoured Rush's Daniel Bruhl or maybe Steve Coogan's subtle performance in Philomena.

Who I want to win: Leto, through and through. He's a very dedicated actor and he thoroughly deserves it.

 Who will win: Leto. Everything is going his way. Similar to the Best Actor category last year, this is pretty much a one horse race, although I imagine Fassbender will be the distant runner-up. 






Best Supporting Actress

• Sally Hawkins - Blue Jasmine
• Jennifer Lawrence - American Hustle
• Lupita Nyong'o - 12 Years a Slave
• Julia Roberts - August: Osage County
• June Squibb - Nebraska

Probably the most deserved list of all of the acting categories (although I would have loved a radical nomination for Scarlett Johansson in Her), with old veterans and talented newcomers getting nods.

Who I want to win: I'd love to see Roberts win, or Hawkins, both of whom have been overshadowed by their co-stars Streep and Blanchett.

Who will win: Lawrence or Nyong'o - this one again depends on which film has the most momentum on the night, with my guess being that newcomer Nyong'o will have the Academy's favour.

Best Animated Feature

• The Croods
• Despicable Me 2
• Ernest & Celestine
• Frozen
• The Wind Rises

WHERE IS MONSTERS UNIVERSITY. My second favourite animation of the year has been snubbed, hmph. That, along with Thompson and Hanks is what has disappointed me most this time around. That said, it's nice to see some more independent films garner attention.

What I want to win: Frozen - a lively, funny updated on a Hans Christen Andersen, Frozen was both poignant and entertaining, with rave reviews and an overwhelming take at the box office. What's not to like?

What will win: depending on the mood of the Academy, it could be Frozen or The Wind Rises. I'd plump for Frozen, although the generally sentimental Academy may want to send director Hayao Miyazaki off on a high note.

Other Predictions

Best Original Score: Gravity

Best Original Screenplay: Her/Blue Jasmine

Best Adapated Screenplay: 12 Years a Slave

Best Cinematography: Gravity

Best Original Song: Let it Go - Frozen

Best Visual Effects: Gravity

(I don't feel qualified enough to comment/predict on any of the others!) 

Dallas Buyers Club

Dallas Buyers Club

Overall rating: 4.5 stars

Featuring magical performances from Matthew McConaughey and Jared Leto, Dallas Buyers Club is a deft, sensitive look at what is (still) one of the world's biggest problems, all the more empowered by the dramatic transformations of the two leads.

Dallas Buyers Club tells the story of Ron Woodroof (Matthew McConaughey), a HIV sufferer given only 30 days to live. Unhappy with the medication given to him, he teams up with Rayon (Jared Leto), a transgender woman also diagnosed with HIV, to give other people with HIV better medication. This medication is, of course, illicit and trouble ensues as he attempts to wind his way around the law.

The film's power is in its characters. It succeeds best when it focuses on their intriguing lives and the power of their stories. It's hard to explain how brilliant both McConaughey and Leto are (they're virtually locks for their respective Oscar categories this year) and they carry the film, utilising both their star power and acting chops to great effect. 

It's certainly not a subject to be taken lightly and it isn't. Director Jean-Marc Vallée handles the subject with deft sensitivity and undeniable grace, but is never afraid to dig a little deeper than most, helped by McConaughey's vulnerability. One of the most affecting parts of the film for me was the persistent ringing, present whenever Woodroof is in notable pain. There was something oddly chilling about it and it's perhaps the most memorable part about the entire film, outside of the two lead performances.

It's good old fashioned story-telling, made on a minute budget and driven by its characters, not fancy visuals or any kind of gimmick. Dallas Buyers Club rises above what could have been a sappy, Oscar-bait movie in different hands, to become a moving and engrossing look at a fascinating character.

Her

He

Overall rating: 4 stars

Thoughtful, oddly poignant and well cast, Her is a suitably pleasant, mature look at society, even if the ending isn't quite nourishing enough to satisfy.

Theodore Twombly (Joaquin Phoenix) is an introvert, still upset over a previous relationship and unsatisfied with his personal life, until he mets Samantha, an OS (operating system) designed to evolve like a human. They bond, with their relationship taking many twists and turns along the way.

There's been a lot of hype about Her, a sort-of-sci-fi dramedy by Spike Jonze. Indeed, Jonze won a Golden Globe for his screenplay, with Oscar noms for Best Picture and Original Screenplay. This is well-deserved, as it's some of Jonze's best work. Despite its many accolades, I would have loved to see a nomination for Scarlett Johansson's fantastic voice performance - but that seems much too radical a move for the Academy. This aside, the rest of the cast are just fine, with Joaquin Phoenix giving a sweet turn as the lovestruck divorcee.

The entire affair is very lovely, with a droll undercurrent and subtle message for us. It seems almost like a soft dig in the ribs of society, in the quirky way only Spike Jonze can manage. It's gently cutting, almost perhaps a bit too safe. There were more pockets of Jonze's story to explore, with the lacklustre ending feeling unsatisfying in particular.

The score is just as whimsical as the humour and I wouldn't be entirely surprised for Her to win Best Original Score on the 2nd March.

All this said, I cannot see it win Best Picture. Despite being Jonze's most thought-provoking work to date, with great set design and a superb cast, Her failed to live up to the masses of hype I've heard about it, instead it seems to be a thoughtful but far from excellent look to the future.

2013 - Highlights

As always, we've had a mixed bag in the cinema this year. Reboots, prequels, sequels, spin-offs and yes, the rare beast that is the original movie. We've had great sci-fi, comedy and drama entries, as well as a cluster of solid releases from the animated and horror markets. We've had flops, obvious successes and surprise hits. Stars have emerged, records have been broken and heartstrings pulled. Here's some of my favourites from 2013:


Captain Phillips
Captains Phillips manages to tell a horrifying true story without adding a truly happy ending; something which seems so rare these days (it's for a similar reason that I loved Zero Dark Thirty so much last year too). For a film so devoid of happiness, I felt thrilled when I emerged from the theatre, slightly groggy and exhausted, because I knew I'd just witnessed a miraculous piece of cinema, bolstered of course by Tom Hanks's winning performance (I'm rooting for him at the Oscars in March).
If you haven't seen this, Paul Greengrass's latest, then I implore you to buy the DVD when it hits shelves in February - the cast is pitch-perfect, featuring familiar faces and even some unknowns delivering surprising dramatic heft. The real-life story is sensational, it's beautifully filmed and it is (in my humble opinion) more tense than Gravity; even if it's not a technical marvel. Without a doubt, Captain Phillips is my favourite film of the year. 

Gravity

I know, the boring, obvious choice, but how can it be ignored? Gravity packs an almighty wallop to cinema-goers. With only two main cast members (and a small handful of voice performances), it leaves the audiences stranded in space with Dr. Ryan Stone (Bullock) and Matt Kowalski (Clooney). I expect most of you have seen the film billed as "the cinema event of the year" which blends Avatar-style 3D visuals, two fine lead performances and the tension levels of a terrific, old, Hitchcock classic.

We all know that the film's best selling point is its visuals (Emmanuel Lubezki pulled off some blinding cinematography there), but the screenplay belongs in a much lesser film. This shouldn't completely detract from the wonderful performance from the equally lovely Sandra Bullock nor Alfonso Cuarón's directorial talent. It's surely amongst the favourites to win big at the Oscars this year and I can see why.

 

The World's End
Moving on to something of a significantly lighter tone now, the final instalment in Edgar Wright's hilarious Three Cornettos Trilogy is my personal favourite; with typically funny lead performances from Simon Pegg and Nick Frost and highly stylised direction - it manages to mock two different genres at once, with a sublime sense of insanity.
The whole film is interspersed with a lot more emotional depth than you'd expect, something missing from the first two films. It gives the talented cast a chance to show off some comedic prowess as well as something a bit deeper. This usually fails in comedies (see We're the Millers, Bruce Almighty, etc.) but the strength of the tremendous cast carry it through. It's been dismissed as slightly ridiculous by some, but that, for me, is very much the point. It's not taking itself seriously and it doesn't want us to do so neither.

The Hunger Games: Catching Fire

The most pleasant surprise of the year, Catching Fire saw Jennifer Lawrence and co. return to Panem, with a darker, bolder and more gripping instalment of the franchise. It turned out to be one of those bizarre experiences where I enjoyed myself far more than I imagined I would. I liked the first film, but this one took it to new levels (this isn't coming from a dedicated fan of the books either).

The stakes seemed higher, with a stronger emotional bond between us and the characters, which could easily be attributed to the consistently superb Jennifer Lawrence and the new characters, specifically Jena Malone's Johanna and Sam Claflin's Finnick. The action is gripping and the dystopian world is filled out a lot more this time. It's become a richer franchise than any of us imagined, not just a series of fluffy teen romances with action slotted inbetween.

Alan Partridge: Alpha Papa

Some of you may not have heard of this small British film, based on the hit BBC sitcom of the same name (which is getting a small release in the US next year - courtesy of Magnolia Pictures) but when I sat down to watch it in August, I had a brilliant time. It makes for simple viewing: it doesn't feature much depth, criticises society or feature any particularly intriguing characters, but, that said, the titular lead (portrayed hilariously by Steve Coogan) is as simultaneously endearing and repellent as ever, with a complete lack of forethought providing much of the humour. It's a very British affair (I'm not sure how some of the jokes would translate across the pond) but I encourage you to give it a look. The trailer doesn't do it justice, so if you're feeling wild take a trip to the theatre/buy the DVD when you can. I hope you enjoy its absurdity and quirkiness as much as I did. It's not setting the world on fire and is perhaps slightly below the quality of The World's End but it's a splendidly silly time at the movies.

Frozen

The only animated entry on this list, Frozen is a gleeful reminder of Disney's uncanny staying power, displaying accomplished visuals, affable characters and plenty of humour to boot.
Sure, there's been better Disney plots, but Frozen still packs a few twists towards the end and it's certainly not short of Disney spectacle. In a year with Epic, Turbo and Planes to "excite" audiences, we desperately needed something like this to give us a lift and this does, with the directors (Chris Buck and Jennifer Lee) giving us an easy-going, simple adventure with two amiable new Disney Princesses and another memorable treat in the form of Olaf the snowman. I'll say it, I never had my doubts about Olaf. He was never going to be a problem, in fact, he enhanced the story and provided most of the humour. Another gem to add to the Disney pantheon. 

Saving Mr. Banks

Whilst it arguably has less dramatic heft than Gravity or Captain Phillips, Saving Mr. Banks is so effusive and affecting that it's worthy of a top ten place. I saw it in a cinema so wonderfully packed with Disney zealots, which I felt amplified my enjoyment of the film's subtle charm and pockets of wit.

Emma Thompson is marvellous as P.L. Travers, the author of Mary Poppins, alongside Tom Hanks's warm interpretation of Uncle Walt. It's no doubt that Thompson's performance is more effective, as her troubled childhood is played back to the viewer in several, increasingly wrenching, flashbacks, we begin to understand that there's a lot more to the cynical author than we first thought. It's a film which I expected to be very two-dimensional, little more than Disney propaganda, but I was pleasantly surprised by the emotional edge it had, even if it was a little fluffy at times.

Enough Said

An easy-going, droll look at mature relationships, Enough Said was a lovely, heartwarming swan song for James Gandolfini, as well as a showcase for both lead actors' comedic and dramatic talents. Both Gandolfini and Louis-Dreyfus are immensely talented and the two have a sweet kind of chemistry which is very hard to produce. Many rom-coms fail to have two leads that really connect, something which Enough Said does not lack in the slightest.

The film's effect is multiplied by Gandolfini's tragic death. Enough Said made me realise how talented he truly was; his character of Albert is vastly different to his most famous role, Tony Soprano. There's plenty of subtleties to both lead characters, reflecting the film's decision to stay very close to real life. This in itself brings an even stronger emotional pull to this lovely story.

Blue Jasmine

Further proof of Woody Allen's extraordinary talent, Blue Jasmine is a compelling, dramatic tale of a synthetic, spoilt divorcee (played by the tour de force that is Cate Blanchett) and how she copes badly with her marital troubles. The rest of the cast are also solid, with Sally Hawkins shining in particular.
Of course, Allen's brilliant screenplay is a key part of this, with the same comedic and dramatic edge that has infused his past successes. There's something incredibly Allen-esque about both the script and the memorable score; a sense of both whimsy and drama. 
In my opinion, this is Allen's best for a long, long time as it showcases so many of his talents - his writing prowess, his talent as a character director as well as his ability to string together an absorbing story with memorable characters. Bravo, sir.

Note: many films classed as "2013 films" (including Inside Llewyn Davies, Dallas Buyers Club, The Wind Rises, etc.) haven't been released in the UK yet, but when I see them and if I like them, they're sure to get a spot on the above (or below) list. I'll be updating the article as I see them.

Near misses:

12 Years a Slave - an achingly true story with plenty of acting talent, I never really connected with Solomon Northup's harrowing story enough to merit it a place in the top ten, so it sits at number eleven.

Monsters University - although it was a solid entry in Pixar's famed canon, there were so many good movies this year that I've had to nudge it off the list. It was a difficult decision, as I loved the nostalgia and charm that MU had, but there was too much competition, sorry Pixar!

Now You See Me - an engaging, complex mainstream drama, let down by an incompetent director, who failed to tie up the plot threads well enough at the film's climax. It's flashy, high concept and filled with many great actors, making for an entertaining couple of hours.

Mud - a heartwarming film with the increasingly superb with Matthew McConaughey, Mud sits pretty at number 12.

World War Z - considering the stuff we heard about it during production, I went in with low expectations. I was rewarded with a thrilling, vast drama with a charismatic Brad Pitt at the lead, but it lacks the sophistication and complexity to make the top ten. 

Anchorman 2: The Legend Continues - a bizarre, fun-filled sequel with a great selection of stars, Anchorman was ultimately too hit-and-miss to really succeed.
 

Star Trek Into Darkness - a compelling sequel to J.J. Abrams's reboot, Into Darkness upped the ante for Kirk and co. but was ousted by heavy competition for a top ten spot this year.

Honourable Mentions:

• Roger Ebert - a tour de force of cinema, as well as being the only Pulitzer Prize winning critic, his influence on the world of cinema is much bigger than many believe and his loss is one that will be difficult to forget.
• Peter O'Toole - another brilliant man lost this year, whose starring role in Lawrence of Arabia propelled him to international fame. Besides being a talented actor, he was known for being a rather wild man, he once, hilariously, fell asleep in Paris and woke up in Corsica. What a man.
• Paul Walker - only 40 years old, Paul Walker died in a car crash this year. Known best for his role in the enduringly popular Fast & Furious movies, there was an outpouring of grief around the world for his tragic loss.
• Hayao Miyazaki - a gem of cinema who's relatively unknown outside of the community of dedicated film fans, the famous director from Studio Ghibli retires this year and we wish him all the best.
• The Minions - those silly, plump, little yellow blobs have captured the hearts of millions; earning Despicable Me 2 over $910,000,000 worldwide. I look forward to seeing more of them in Minions, slated for a 2015 (like everything else) release.
• J.J. Abrams - the man came into his element this year, notching another success to his belt with Star Trek Into Darkness and becoming director of the next Star Wars film, due out winter 2015.
• Jennifer Lawrence - she continues to rise even higher this year, giving an even more committed performance in The Hunger Games: Catching Fire than seen in last year's installment and another marvellous turn in American Hustle under David O. Russell. Oh, and she won an Oscar too. She's going to be one of those actresses still famous in fifty years.
• Benedict Cumberbatch - he's had quite a year too. First pulling off a relentlessly brutal performance as Khan in Star Trek Into Darkness, then he was the lone bright spot in the otherwise mediocre The Fifth Estate as Julian Assange and not to mention his performance as Smaug the Terrible in The Hobbit: The Desolation of Smaug as well as his supporting role in 12 Years a Slave.  
• Matthew McConaughey - appearing in Mud, Dallas Buyers Club and The Wolf of Wall Street, he's become a force to be reckoned with. Certainly a far cry from the man who starred in The Wedding Planner. He's also appearing in Christopher Nolan's anticipated Interstellar next year, let's hope he continues this fine form.
• Sandra Bullock - she's become Hollywood's most bankable actress thanks to the commerical success of The Heat and Gravity, she's got another big film coming up in the form Minions in 2015 and she's finally ditched the glut of bad films she's starred in recently (Miss Congeniality 2: Armed and Fabulous and The Proposal serve as the prime examples). It's good to see, as she's a great actress, worthy of at least a nomination at the next Oscars.
• Ben Affleck - yeah, I know, the guy who starred in the useless Pearl Harbour now has a mantle-piece lined with prestigious awards. He won the Best Picture Oscar (along with a plethora of others, although notably not a Best Director Oscar) in February and you might have heard that he was announced as the new Batman?

12 Years a Slave

12 Years a Slave

Overall rating: 4 stars

What will probably turn out to be director Steve McQueen's pièce de résistance,12 Years a Slave is a savage, harrowing true story, reminding us that such cruelty and vile discrimination wasn't actually so long ago, with strong performances from an established cast.

Solomon Northup (Chiwetel Ejiofor), a free black man, accomplished carpenter and fiddler in 1800s New York is lured into slavery, after being told he was joining a lucrative tour with a circus. He's sold on from a reasonably benign master (Benedict Cumberbatch) to a rampant racist (Michael Fassbender) after a violent conflict with a fellow carpenter. A world of abuse, profanity and obscenity follows, with Northup's life growing increasingly difficult to endure.

I try not to spoil the ending in these reviews, as I hate the ending being spoiled myself, but the final act of 12 Years a Slave was  in my opinion the most affecting - blending the abject misery of slavery with a very personal touch. McQueen is clearly assured in his intentions - immersing us in a hideous world with wrenching emotion thrown in too. Much of this comes on the strength of the performances with Chiwetel Ejiofor (a name I've finally learned how to spell), Michael Fassbender and Lupita Nyongo'o almost certain locks for Oscar noms (although I can only see Ejiofor winning, judging by the strength of some of the performances in the supporting categories this year - yes, looking at you Jennifer Lawrence and Jared Leto). There's a surprisng amount of star power, with the aforementioned Fassbender and Cumberbatch, as well as Brad Pitt too.

The horrifying poster above demonstrates what 12 Years is about - it's shameful that us, the human race - so often high and mighty about our treatment of equality , could let such an event happen, something so despicable and unbelievable. Simply, it's a story that has to be told (and not forgotten). At times, my moral strength broke - I flinched and averted my eyes: the whipping, the rape and the abhorrent conditions. It's terrifyingly poignant and true to life. The little music used is extremely effective, as well as the incredible production design.

It's hard to emphasise how appalling parts parts of this feature are. For the sheer shock and awe factor, this feature is marvellous - Steve McQueen has created a raw and disturbing look at the life of a slave.

Magnificent though it is (I think, although I don't want, it to win Best Picture), 12 Years a Slave reminds me of the similarly masterful Citizen Kane. On paper it is excellent, but (borrowing a concept from Empire) I don't think I could ever call this film a friend. It's not something I feel I could ever call my favourite film, instead it's something I'm obliged to respect and admire - not something I could love. It may not be a friend, but the entire thing feels sadly necessary. This generation needs to be educated on the horrors we have committed and that's what McQueen's epic venture is about. Period.

Anchorman 2: The Legend Continues

Anchorman 2: The Legend Continues

Overall rating: 4 stars

A funny, nonsensical sequel from the same cast and crew as the original, The Legend Continues is more of the same barely organised chaos, but it succeeds on the sheer degree of silliness in its script and the plethora of stars (including a slew of wonderful cameos) involved.

The Channel 4 news team are back! But it's a decade later and Ron Burgundy's (Will Ferrell) popularity has burnt out. So at the very start of the movie, he's told that he's going to be fired as the co-anchor of Channel 4 news and replaced by his wife Veronica Corningstone (Christina Applegate). "Heartbreak" ensues, leaving Ron to give Veronica a choice: him or the job. Naturally, she chooses the job, so he's forced to leave her with his six-year-old son, Walter.

After a stint hosting the dolphin show at Sea World, Ron is saved by the arrival of 24 hour news at GNN (the Global News Network). He begins to assemble his old news team, first recruiting Champ Kind (David Koechner) - an unflinching American with an odd fondness for Ron, then Brian Fantana (Paul Rudd) - a sexist, offensive and generally egotistical field reporter and finally Brick Tamland (the fantastic Steve Carrell) - a sweet, but sinfully stupid weatherman. All sorts of chaos ensues, including a rival for the newsteam in the form of James Marsden's Jack Lime (or Jack Lame, as he will later be christened), several arguments, the adoption of a pet shark named Doby and the most hilarious and star-studded brawl you've ever witnessed. There's never really much in terms of a proper plot (as with the original) but several sub-plots littered throughout - most of which involve competition with Lime or Ron's love for Veronica and Walter.

It's very similar to the first film, in the fact that it mainly involves the four charming individuals on the right running around a city (this time it's New York) with vague mentions of the news amidst all their crazed antics. As it turns out, this is very funny, albeit not totally sophisticated - but you get the impression that it's not supposed to be one for the critics. It's a film that lives up to the quirky heart (for want of a better word) and odd/repulsive/offensive/downright weird humour of the original. A lot of this humour is hit-and-miss for some, particular with the more risqué material. However, I challenge anyone with just a smidge of pop culture knowledge to not have a little giggle during the absurd scuffle in the park near the end of the film. The glut of celebrity cameos is mind-blowing, easily beating Danny Trejo, Jack Black and Ben Stiller's appearances in the original. There's actors, musicians and even a ghost. I won't spoil it, but it was my favourite part of both films.

There's a lot of talent in the main cast too, with Will Ferrell remaining to be both repellent and vaguely likeable. Steve Carrell is the comedic star of the leading four-some, mainly thanks to the ample opportunities a crazy character like Brick gives him. He's also joined in this film by Kristen Wiig, whose limited screen time becomes some of the best parts of the movie.

Sadly, not all of the humour works. There's a lot of controversial material in here, with "hard drug use" (as it says in the BBFC rating), racial jokes and maybe even perceived animal cruelty (this is simply Ron Burgundy wrestling a rubber shark - but the woman a few rows behind me gasped in horror as this happened). Ron's reaction when he meets his new boss (who is black) is particularly disappointing; humour like that has no place in mainstream comedy and whilst Ferrell does his best, it's really unnecessary. 

If you enjoyed the first instalment I'm sure you'll love this sequel, a funny and bizarre adventure into the life of Ron Burgundy. Whilst not all of the humour works, the Channel 4 news team did what they had to do: stayed classy.