2013 is coming to a close, and therefore the end of year lists start. It is almost unfair for me to do so, as I don’t have the luck of being able to see many films that have yet to be released in the UK, or any screener copies. So this list will be updating and changing throughout the next few years. However, I will be uploading my current 2013 top ten, alongside a few comments about why the film is among the best of the year. There are also some films that cropped up on end of year lists for others, due to them getting wide releases in 2013, despite premiers in 2012. For ease, I will just be sticking to films that have been released in 2013 according to IMDB (meaning the exclusion of some fantastic films, such as Wadjda and Shady)
However, for now, I will mention a few films that have surprised, and disappointed me over the last year for varying reasons.
SURPRISES
The Purge
Perhaps the biggest surprise for me this year was The Purge directed by James DeMonaco. DeMonaco uses a simple plot device, what if we were allowed to do anything for 24 hours once a year without any repercussions, and uses it as an examination of the privileged. DeMonaco attacks white middle-class culture and its demonisation of the poor. The Purge that comes into place once a year is inevitably used to kill those who ‘suck off the rich’, who have ‘no re-deeming value’ to society. However, when the rich neighbours start to mistrust and attack each other, do they begin to see the absurd nature of this attitude. By the end, I was left wondering how this film had received such a negative response by nearly all film critics. Too close to the bone? While watching I was reminded of Funny Games by Haneke. I wonder if Haneke had made the exact same film, would this be higher up on end of year lists?
White House Down
White House Down is cheesy, silly and thoughtless at times, but it never forgives to be aware of these faults without becoming too tacky. White House Down is most importantly funny, without ever trying too hard. Channing Tatum takes on the lead role with a mixture of seriousness and playfulness. Others may have leant too hard on one side of these, but Tatum straddles both fantastically well. Not many films have made me laugh out loud as much as White House Down this year.
World War Z
I loved the detail, and attention to detail that the book had. I was weary of the problems the film had in production, and weary of director Marc Forster, who although talented, sometimes becomes an overbearing figure on his films (see Stranger Than Fiction). World War Z is far from perfect, but despite going into the film worried it would be a total mess, I came out slightly relieved. The film almost ignores the book, however does this not mean it doesn't make for an interesting addition to the zombie cannon. I think this is where the problem laid for many fans, that the film wasn’t the book. But when taking on a book that goes into such detail, spanning many years, a two hour film will never do it justice. World War Z understood this. The directors of the French New Wave wanted its own cinema language, rather than just adaptations of literature, and in World War Z, we have a slightly warped version of how a book can be translated into cinema.
Pain and Gain
As is the case with many of these surprises for me, Pain and Gain was a victim of pre-judgement, this time due to its director Michael Bay. His films are easy to criticise as disposable and thoughtless, but with Pain and Gain, Bay remains at full-force, however perfectly matches the tone of this pumped-up and intense story. Bay still falls into many of his own traps, such as it being far too long than needed, but Pain and Gain is funny, as well as an interesting examination of the American Dream gone wrong.
DISAPPOINTMENTS
The Grandmaster
Wong kar-wai is fantastic, but The Grandmaster is a mess that could compare to his 2046 in terms of it being poorly pieced together. It is interesting, and it is beautifully pictured, but it is so hard to follow at times, that it’s easy to lose track of what has happened. This may be purely through the differences in culture, where in China the story is well known. However, for me (and seemingly for other non-Chinese audience goers), there needed to be more explaining. There are three versions of this film floating around, and the European cut has more explanation of the story to go with it, so he was clearly aware this may be a problem, but there just wasn’t enough.
Only God Forgives
The film was hammered when released at Cannes this year, perhaps a victim of expectations being too high after Drive (which I did really like). It has recently however been making something of a come-back, and has appeared in the Guardian top ten of the year (as well as plenty of worst films of 2013). However I found it to be soulless and void of anything. Despite the film only being around 85 minutes (and it did feel a lot longer), it felt stretched to breaking point, trying to extend the running time. For all of its beautiful shots, Refn seemed to have forgotten a story.
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