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Best Movies 2013 50. THE SECRET LIFE OF WALTER MITTY VideoThe Best Movies of 2013 - Chris Stuckmann Peter Travers counts down great films from a provocative year 10 'Inside Llewyn Davis' 9 'Blue Jasmine' 8 'Nebraska' 7 'Captain Phillips' 6 'American Hustle' 5 'Her' 4 'Before Midnight' 3 'The Wolf of Wall Street' 2 'Gravity' 1 '12 Years a Slave'. The 25 Best Movies of December 16, , PM "12 Years a Slave" or "Gravity"? "American Hustle" or "Wolf of Wall Street"?. Top Movies of 1. Man of Steel () PG | min | Action, Adventure, Sci-Fi. 7. Rate. 55 Metascore. An alien child is evacuated from his dying world and sent 2. Captain Phillips () 3. Rush (I) () 4. Her () 5. The Conjuring (). The 50 Best Movies of By Michael Dunaway | December 31, | am. Movies Lists Best Movies. Share Tweet Submit Pin. Unlike the dopey first half of "Thor: The Dark World," "Iron Man 3" tells a story and actually focuses on the characters who we like (Tony Stark, Pepper Potts, Rhodey Rhodes), while also providing one of the best plot twists on screen this year. "Iron Man 3" is your best superhero movie of (with "The Wolverine" coming in a close second). -- MR. Watch Kristin Scott Thomas Eichhörnchenpelz Nicolas Winding Refn discuss the film. It was Tinkerbell Stream Deutsch curiosity is piqued. Watch American Dad Online was petrifying. It's not like I spent four months convinced I was Abraham Lincoln. For more movie lists, check out Ranker's lists of the funniest Greyzone Serie Staffel 2 of and the most overrated films. One caveat, however: the Sugar Rush segments may be leave you Best Movies 2013 a well-nigh unquenchable craving for sweets. And the big challenge during the shoot, because everything was pre-programmed, was the actors were very limited with Vfb Tv übertragung they could do. Wie Lange Bleiben Hotels Geschlossen Paltrow talks Iron Man 3. I was so relieved when we wrapped because I did much more stuff in-camera than I ever imagined we would. But I grew up in places like this. But that, in fact, helped her. Films about magic often flounder on the fact that Best Movies 2013 itself is magic and can cancel out the impact of their Gene Wilder Filme Stream. I just wanted to create a living portrait of a working President and an active husband and father. Stoic and determined, he manages to stay afloat through torrential rain and huge waves — but the film never lets you forget that he's a tiny dot in a vast ocean, and help is far from close. The film's too pacy, funny and science fiction tinged to get the awards praise it might otherwise deserve, but Langella's rarely been better and the whole is a Aldi Talk Guthaben Aufladen Sms judged look at ageing and last hurrahs.
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Jessica Chastain's Mia visibly hardens her skin and stiffens her backbone as the film progresses; surrounded by alpha males, she's soon the most dominant of the lot, driving to launch the final raid on bin Laden's compound on little more than grit and determination.
Listen to Kathryn Bigelow on the Empire podcast. Listen to Mark Strong on the Empire podcast. Read screenwriter Mark Boal's spoiler-filled interview.
Watch Jessica Chastain discuss her starring role. Cast: Steve Coogan, Colm Meaney, Felicity Montagu, Monica Dolan, Sean Pertwee. Best for: giving us a definitive answer on the worst sort of 'monger'.
Adapting a beloved TV character for the big screen is a task fraught with peril, but it's one that Alan Partridge managed with aplomb not a word usually associated with the fictional Norfolk resident.
This is a character who works best in a small, damp and mediocre world, and happily for us the filmmakers scotched all suggestions of taking Alan to America or thrusting him onto a bigger and perhaps actually significant stage, and kept the laughs coming by letting Alan get to his day job.
So the action sticks to Norwich, the script sticks to local concerns and the polyester sticks to everything. Listen to the Empire Podcast.
Bill Oddie talks Alan Partridge. Steve Coogan talks Alan Partridge. Best for: re-imagining Federico Fellini's La Dolce Vita as a 21st century Roman odyssey.
Tony Servillo and Paolo Sorrentino reunited for the fourth time in an Italian language gem that burst out of the festival circuit in an explosion of energy and ideas.
Like their last two collaborations, Il Divo and The Consequences Of Love, it had the wonderfully wry Servillo at his best. This ongoing collaboration by writer-director Richard Linklater and his co-writers and stars Julie Delpy and Ethan Hawke is one of cinema's most successful experiments.
Over 20 years now, we've had the chance to peek into three key moments in the lives of Jesse and Celine as they debate life, love, sex and their own shared future.
Their discussions feel so natural albeit hyper-articulate and well-expressed that viewers are left secretly hoping that "Julie Delpy" and "Ethan Hawke" are the characters, and Celine and Jesse are still out there somewhere, walk-and-talking in a way that puts even Aaron Sorkin to shame.
Cast: Robert Downey Jr. Newspaper critics love to talk about superhero fatigue, but as long as the films stay as inventive and surprising as this summer's Iron three-quel, it isn't going to hit any time soon.
The first post-Avengers outing for Marvel's finest saw Tony Stark with his back against the wall and deprived of his usual home comforts, but all the better for it.
Incoming director Shane Black inevitably set the story at Christmas, but delivered surprises both small a cute kid who isn't annoying! More fun than a barrel of monkeys.
Listen to the Empire Podcast spoiler special. Listen to the spoiler-free Don Cheadle podcast interview. Read Robert Downey Jr.
Kevin Feige and Shane Black: edit bay interview. Don Cheadle talks Iron Patriot. Gwyneth Paltrow talks Iron Man 3. A slow-burning coming-of-age story that defies easy categorisation, this gets under your skin and stays there.
Matthew Goode plays the mysterious Uncle Charlie who turns up at his brother's funeral to comfort grieving widow Evie Kidman and her daughter India Wasikowska — but while it's immediately clear that he is hiding something and that all is not quite right in the state of India, it still comes as a shock when you realise what you've been watching all along.
Cast: Daniel Day-Lewis, David Strathairn, Sally Field, Bruce McGill, Tommy Lee Jones, James Spader. Best for: summing up a great man's character in one short span of weeks.
Steven Spielberg. Daniel Day-Lewis. The greatest US president in history discuss; 10 marks. It's a dream team even before you get to the supporting cast Strathairn, Spader, Field and it only gets dreamier from there.
By focusing on the struggle to pass the 13th Amendment to the US Constitution, Spielberg sidesteps the brutality of the US Civil War somewhat, at least to focus on the high ideals for which Lincoln, at least, fought.
So inspiring that you may find yourself singing the Star-Spangled Banner by the end. A history primer for Lincoln.
Empire has started to relay the oscarpredictions following the screening, but Spielberg - notoriously circumspect around awards time - has stopped us in our tracks.
Although the film is just a few weeks from its November 9 US opening, he is still making editing, colour and end-credit tweaks "It's the only time I've ever thought that digital was a good thing" , but his Lincoln adventure - when he started, Bill Clinton was in the White House - is coming to an end.
It took a long time to find my Lincoln. I'm in a moment right now where I am proud of the work and relieved that we got this thing off the ground.
There were many times I thought this would never get done. STEVEN SPIELBERG [object Object]PREPPING THE PROJECT in the early Noughties, Spielberg's research took him to the Lincoln archive in Springfield no, not that one , Illinois.
As the director perused the panoply of Presidential possessions, he came across the holy grail of Lincoln ephemera - the stovepipe hat. Donning white gloves, he took the iconic headwear in his hands.
Was there even a little part of him tempted to try it on for size? I would never put on the hat. My goodness.
It would be like lighting a cigarette in the Sistine Chapel. And I don't smoke and I'm not Catholic. Spielberg's bristling is indicative of the aura that still surrounds Abraham Lincoln, the 16th President of the United States who saved the Union, ended the Civil War and practically wiped slavery from the face of the Earth.
For Americans Lincoln is a figure deified in Washington memorials, cinema John Ford's Young Mr.
As the overly reverent and ridiculously irreverent have hijacked Lincoln in equal measure, now Spielberg is stealing him back.
I wanted to look closer at what it was like to be him, to hold the balance of this nation on his shoulders. And I'm glad I didn't take three-and-a-half hours to do that!
If it took Spielberg over a decade to bring Lincoln to the screen, it took him an instant to commit to making it. In , the director invited historian Doris Kearns Goodwin to join his brain trust on The Unfinished Journey, a short film Spielberg directed for CBS to mark the turn of the millennium.
Learning that Kearns Goodwin was writing Team Of Rivals, a history of the Lincoln administration, Spielberg made a snap decision to acquire the film rights.
For years, he worked through writer after writer John Logan, Paul Wright , draft after draft, until he landed on a "real D.
Griffith epic" examining the President through the prism of nine different Civil War battles. Then he had a change of heart.
I didn't want to do another movie about combat, this time between the blue and the grey. I just wanted to create a living portrait of a working President and an active husband and father.
And I couldn't do that with the war upstaging Lincoln. To service his new vision, Spielberg hired playwright Tony Kushner Munich.
The resulting script took five years to crack, the first draft coming in at a whopping pages, covering his entire administration from to Yet within the breeze block of a script, Spielberg zeroed in on a page section that focussed on Lincoln's attempts to pass The 13th Amendment and finally abolish slavery.
DANIEL DAY-LEWIS [object Object]As much as Kushner's poetic, literate script highlights the political chicanery involved in passing the amendment - Lincoln finagling his advisors, tempering radical abolitionist Thaddeus Stevens Tommy Lee Jones and hiring three political bovver boys John Hawkes, James Spader, Tim Blake Nelson to drum up the 20 votes the amendment needs to get through congress - it is also about how the Presidency affects his relationship with possibly bipolar wife Mary Todd Sally Field and distant son Robert Joseph Gordon-Levitt.
It has big laughs - only Spielberg can mine comic relief from the ratification of a legislative amendment - but doesn't obfuscate the central dilemma: to push the 13th Amendment through, Lincoln chose to prolong the Civil War, a conflict that ultimately cost the lives of , Americans.
He was tortured throughout the making of this decision but I think he made the right decision. I think he made the only decision.
We appreciate it is helpful to the film and I think you feel encouraged on a personal level if people recognise your work, but some of them go on for hours.
It just never ends. If you're lucky you get to sit with some good mates and have a good laugh and try not to get too stewed in the process.
Day-Lewis would be a front runner in any Best Actor race, but it has been a protracted journey to the start line. If you know one thing about Spielberg's Lincoln, you'll know that Liam Neeson was Spielberg's first choice to the play the title role.
Only he wasn't. When the screenplay was in its "D. Griffith" incarnation, the director sent it to Daniel Day-Lewis and heard a word he mustn't have heard very often in the last 40 years of his career: no.
I did not think I was ready or able to do that. Spielberg then went to his Schindler's List cohort Neeson, who deeply researched the role, but the pair amicably parted ways, according to Spielberg "when the film moved to a more singular focus".
The project was at its lowest ebb until it found an unlikely saviour in Leonardo DiCaprio. Listening to Spielberg's Lincoln woes over dinner, DiCaprio put in a good word with his Gangs Of New York co-star, and following an intensive two-day brainstorm with Spielberg and Kushner in Dublin, Day-Lewis was in.
It's not like I spent four months convinced I was Abraham Lincoln. DANIEL DAY-LEWIS [object Object]"I've always felt Meryl Streep is our greatest actress and I think Daniel and Tom Hanks are our greatest actors," says Spielberg.
I had resolved not to make the picture if Daniel didn't make it with me. I do feel there have to be some good manners in the business.
It's hard enough for actors without other actors fucking them over. Look at the box office of our last four films.
If he had not backed out, I would not have stood a chance. The mythos surrounding Day-Lewis' approach to acting is legendary.
Depending on who you read, he has insisted on being pushed around in a wheelchair My Left Foot , spent three nights being hosed down in a prison cell In The Name Of The Father , learnt to skin animals The Last Of The Mohicans and sported a top hat, cape and cane for two months prior to shooting The Age Of Innocence.
It's behaviour that suggests some kind of an intense lunatic or worse an insufferable luvvie, but in person he is neither: thoughtful, certainly, but also lucid, funny and charming.
Rumours of his Lincoln methodology run from demanding to be called "Mr. President" on set, to entering a fugue state, to completely rejecting the trappings of the 21st century.
So are the stories of his character immersion just bollocks? I am aware of the cables on the ground, the walkie-talkies, the orange anoraks.
But anyone who is focussed on their work closes off their peripheral vision. If you go to inordinate lengths to create that illusion for yourself, to arrive at some cohesive sense of a life, why keep jumping in and out of it?
Day-Lewis is fully aware of the rep his process provokes - "In England, they think I'm unhinged" - so takes steps to let his fellow crew know "that I'm not going to start speaking in tongues or something".
I thought, 'Let's have a laugh. Tell him I absolutely insist! It goes without saying that Day-Lewis disappears into Lincoln, but he replaces interest in an actor's trick with absorption in a man's life.
His Lincoln is a quiet, dignified, brooding presence, a raconteur ad nauseam "I know one or two people like that, where you're thinking, 'I've got stuff to do here'" and a measured thinker "He had an internal rhythm which seemed like his spirit had left the building" who unusually combined this almost scientific capacity for thought with a deep well of compassion.
He was born to do the thing he did. TO GET INTO character, Steven Spielberg directed Lincoln in a suit - he is wearing one today - so not to be the "schlubby, baseball-cap-wearing 21st century guy".
It's not just his dress code that's changed, however; it's his entire filmmaking approach. For Spielberg, Lincoln is "as close as I've ever gotten to directing for the stage".
It's his most talk-filled, performance-driven piece to date. He also has only odd minutes of John Williams' score - "John and I decided not to underscore dialogue scenes" - shredding the sentiment his detractors often lambast him for.
Tintin saw him abandon live action altogether. But Lincoln's stately, stagey approach might be his most radical departure to date.
I had a great script, and I didn't want to get in the way by trying to make it greater. Let's be clear. This isn't a permanent change of direction for Spielberg.
Although Lincoln may feel unfamiliar, Spielberg is essentially doing what he has done his entire career: serving the material the best way he knows how.
I'm not a barker. I can't sit outside the tent with a bullhorn. They either will or they won't. Cast: Matthew McConaughey, Tye Sheridan, Jacob Lofland, Reese Witherspoon, Sam Shepard, Michael Shannon.
Mark Twain and Matthew McConaughey collide at last in the latest film from Jeff Nichols, the man who previously brought us the excellent Take Shelter and Shotgun Stories.
McConaughey plays the titular man-on-the-lam who holes up on an island in the middle of the Mississippi River in wait for his lover Witherspoon. There, inquisitive teens Ellis Sheridan and Neckbone Lofland stumble on him and unwittingly find themselves a tattooed, superstitious father figure who speaks in riddles and represents a serious aiding-and-abetting rap.
Nichols, who goes from strength to strength, got the best out of his terrific cast that included muse Michael Shannon, on a short break from filming Man Of Steel, McConaughey and eye-catching newcomers Sheridan and Loveland.
And, yes, McConaughey took his shirt off. Listen to Jeff Nichols on the Empire Podcast. THE JOKE ON THE SET of Jeff Nichols' new film Mud is that whenever you pull off the asphalt onto a gravel road, you're "only" half an hour from the location.
And that amuses me But then you get there, to this outcropping of giant cypress trees by the side of some lake, and it's insanely beautiful.
It's a good minute drive from the town of Stuttgart, Arkansas, where duck-hunting season is about to start daily bag limit: six.
Indeed, as we turned off the highway, down a gravel path towards the river where Nichols was waiting for us on a dilapidated houseboat, we encountered several men in camouflage with shotguns, and suddenly the dangers of a faint, free-floating Wi-Fi signal began to sink in.
It's Saturday, and we are in the heart of the South, not far from Nichols' family home in state capital Little Rock. From his two previous films - revenge drama Shotgun Stories and mental illness fable Take Shelter , both serious stories showcasing the rough-hewn, soulful star quality of Michael Shannon - you might expect Nichols to be quite a doleful fellow.
Happily, Nichols, in his mid-thirties, fresh-faced, good-looking and, unexpectedly, very funny, in no way resembles his movies. He shows us around the houseboat, smiling broadly at the fishing lines, hooks, knives and dirty worktops, all degraded by years of service and neglect.
Empire's curiosity is piqued. This is more like it: there's a whiff of danger here, a sense of lurking violence.
Maddeningly, the moment is interrupted by a practical question from one of the crew. When his attention returns, we ask him what he was about to say.
MUD, NICHOLS' THIRD and most ambitious film, is perhaps the truest representation of the man. He settles into an easy chair that has seen better days and recalls how a stay on a houseboat like this - hopefully not too much like this - in was the catalyst for a story that melds local history with the boyhood reveries of Missouri writer Mark Twain.
By it was finished, but, surprisingly, he put it away. I had to. I had to advance my career and everything else.
But I knew with Mud that I didn't wanna make it until I had the resources to make it. There are a lot of moving parts that I didn't want to have to compromise on.
So that's why it's taken me a little while to build up to. You might think from that statement that this is some kind of blockbuster, but, at its heart, Mud may be Nichols' simplest story to date.
So they form a pact and decide to help him out. And when I write, I try and write some kind of universal idea, or emotion, or theme.
My first film was about revenge, my last film was about anxiety, and this film, well, it's an old one but a good one. I mean, this is just about love.
It's about a boy's search for an example of love that works - and he's looking in all the wrong places. I guess it is. I guess it's an appropriate term.
The two main characters and this man they find, they end up mirroring each other in a lot of ways. Both of them, in a way, are in this state of adolescence and are passing from one stage in their life to another.
And this movie happens to be a snapshot during that kind of passage. At this point it should become clear that Mud is more than part of the landscape.
Mudd And Mr. Gold, and I thought that would be a good name. So that's his character's name. And, y'know, it makes sense, because Mississippi mud is kinda famous - or infamous - and I wanted to carry it a bit further.
Not to get too frou-frou with it, but adolescence is a pretty muddy time. So it seemed to fit. It made sense. It may not seem a logical progression - revenge, depression then love - but for Nichols it is part of an almost divine plan.
I wanted to do Shotgun Stories first, I wanted to do Take Shelter second and I wanted to do Mud third. And I wanted to do them at the level that I ended up doing each of them.
Of the previous two, Take Shelter is the best-known and the most divisive, mostly due to its ambiguous ending.
Some people like it, some people don't, but I don't think anybody can fault me for at least trying.
It's the kind of ending that tells you more about yourself than the movie, I guess. How does it make you feel? That movie was an experiment in form: let's see if we can place that decision in the audience's head, rather than just givin' it to 'em.
Mud is different. THE NEXT DAY, Empire finds McConaughey on set in a small-town hospital, slathered in make-up that looks more like wood stain than greasepaint.
Tattoos of snakes and amulets traverse his arms, he's wearing Mud's "lucky shirt" his main item of wardrobe , and his hair is an unruly, greasy mop, as is suitable for a lovelorn con hiding out in the Southern Wild.
He's a poet that way. He's sort of not of this Earth, and if he got grounded on this Earth enough he'd wise up and see that he needs to go ahead and move on.
But he doesn't want to come down. So he's always on the chase, always on the approach, going after his girl.
But I just couldn't shake that I'd written it for Matthew. JEFF NICHOLS [object Object]The girl in this case is Juniper, played by Reese Witherspoon, the fickle love of Mud's life and the kind of girl once memorably described by REM as "50 miles of bad road".
Witherspoon has wrapped when we arrive, but McConaughey is definitely present. No-one here knows it yet, but the tide is starting to turn for the Texan actor after a slump of mediocre rom-coms, and when we speak he is at an interesting point: The Lincoln Lawyer, Bernie and Killer Joe have wrapped and screened, with Magic Mike and The Paperboy to follow, and bigger things on the horizon.
On set, McConaughey is a live wire. He refuses to go to his trailer, if he even has one. One is time: it's more precious, so you gotta shoot, because we're using natural light.
So what's great about it, for an actor like me, is that you come to set in the morning and shoot. You don't go back to your trailer and wait for the shot.
You're on the set, you go to work. Which is much more fun. There's a real freedom to that, and a flow.
He seems very much at home here, and the pockets of locals who turn up to wave and shout his name seem to suggest that the feeling is mutual.
I've done a saltwater before this, and now I've just done three swamp movies in a row! But I grew up in places like this.
We always lived on the outskirts of small towns, so we were always outdoors, or swimming in the lakes or the creeks or the rivers.
It's something I'm very comfortable with. Nichols, watching from the monitors, is visibly thrilled with McConaughey's performance.
In fact, before I wrote the part, I wrote it for Matthew McConaughey. I remember back in college, I was home visiting, and I was trying to impress my friends.
It's gonna have Matthew McConaughey in it. And no-one really believed me. So did Nichols pluck his name out of the air just to impress his friends?
He was just so right for this part. I was thinking about this man Mud, what he looked like and what he sounded like, and what he talked like And of course, when it came to me to make the film, lots of names got thrown in the hat, and I met a lot of guys, a lot of really good people.
And fortunately it worked out. And he's making some really awesome choices. Really awesome choices. AS FOR NICHOLS, he, too, is making some pretty awesome choices.
At a time when many of his peers are either stumbling over themselves to bag a studio job or making self-conscious art movies in the European style, Nichols is something of a pioneer, a true American voice trying to fashion something from his roots.
His producer on Mud, Sarah Green, recently produced Terrence Malick's The Tree Of Life, and, with his talk of Twain and love for the golden hour, Nichols resembles a more accessible, less preachy and arcane incarnation of the reticent auteur.
Nevertheless, he remains modest. And I still won't. I don't know what I woulda done. I come from a family of entrepreneurs.
My dad owns a small business, my middle brother's a criminal defence attorney who owns his own practice, my oldest brother's a musician who started a band.
So I can't help but think I woulda done something where I tried to make my own way. I don't think I'm much of a cubicle kind of guy. Instead, he is perhaps the quintessential American director of his day, telling stories that are sympathetic to the unfashionable, sparse landscapes of the South, with its wooden churches, ploughshares and Piggly Wiggly stores, setting them in places where mobile phones aren't used for plot points because nobody is growing up with them glued to their ears.
Does he see that himself? Nichols ponders for a minute. If you look at The Hustler, Hud, Cool Hand Luke, Butch Cassidy And The Sundance Kid Each one has its own purpose in the world.
And I want this film to be an adventure. Which isn't to say I want it to be fun all the time. But I do want it to be an adventure. I don't know whether that's peculiarly American or not, because I also like Lawrence Of Arabia, by David Lean.
It might just be because they're big. I like films with scope, whether that's emotional scope or visual scope. I mean, we're out here on the Mississippi River, where it just gets Cast: Chris Hemsworth, Daniel Brühl, Olivia Wilde, Alexandra Maria Lara, Pierfrancesco Favino.
Whether you are a Formula 1 aficionado or the furthest thing from a petrol head, this story of clashing egos and contrasting styles in the quest for the driver's championship is a compelling portrayal of ambition, determination and going really fast in circles.
A more detailed explanation about the greatness of "The Wolf of Wall Street" will post here when the cone of silence lifts. All Noah Baumbach needed to make his best film was a lack of color and Greta Gerwig.
Baumbach co-wrote "Frances Ha" with his muse and current off-screen partner, and the black-and-white coming-of-age comedy about a New York woman in the throes of arrested development is a fizzy delight.
It's a film that captures the moment of pre-adulthood uncertainty with grace, class and David Bowie's "Modern Love.
Despite being filmed in black and white, "Nebraska" is not a bleak movie. In truth, anything with the title "Nebraska" -- whether it's a movie or a Springsteen album cover -- should be in black and white.
The film, the story of an old man trying to get from Montana to Nebraska to pick up prize money that doesn't exist, could have been a non-stop jab at its confused protagonist, while also critiquing naive Midwesterners in general.
Instead, through the loving touch of Omaha native Alexander Payne and his two leads -- Bruce Dern as Woody, the old man, and Will Forte as David, his son -- we instead get a portrait of a son trying to reconnect with his father one last time.
And, through that context, we get an actor, Dern, trying to reconnect with audiences, while Forte, in the midst of his own mid-career revaluation, attempts to redefine himself as a serious actor.
Both of them succeed. The year's little movie that did, "Short Term 12" proves that honest emotions can find an audience amid all the noise produced by both summer blockbusters and awards bait.
Written and directed by Destin Cretton, "Short Term 12" stars Brie Larson as Grace, a foster care facility worker who deals with the issues of her teenage charges Keith Stanfield, Kaitlyn Dever among them at the expense of her own issues.
Well, until she doesn't. Larson is revelatory in the lead role, giving a performance that stands with the year's best -- no small feat, considering this year also included top work from Meryl Streep, Sandra Bullock, Judi Dench, Amy Adams and Emma Thompson.
Stanfield and Dever stand out, too, as does John Gallagher Jr. Too bad, because there's something special about this movie, and it's a shame that "The Spectacular Now" didn't make quite the splash it should have.
There's a maturity in the writing by Scott Neustadter and Michael Weber that shows a strong step forward from their previous film, the more popular but less interesting " Days of Summer.
Everyone ups their game here: actors who I've liked but never felt too strongly about -- Miles Teller and Shailene Woodley -- leave real impressions.
Steve McQueen has made a remarkable leap with his third feature film, "12 Years A Slave. What McQueen has done here is take his specific directing style -- and his propensity for long shots, even though McQueen doesn't like to admit that he enjoys the long shot -- and unleash it on a grand scale.
It's remarkable to watch a filmmaker as talented as McQueen take that next step. Boy, it's an odd thing writing about Tom Hanks' "comeback.
It sure doesn't feel like he went anywhere, but looking over Hanks' filmography, he hasn't starred in an even moderate critical success not counting ensemble or animated features since 's "Charlie Wilson's War.
Perhaps there is a little bit of, "Oh, yeah, that's why we all hold Hanks in such high regard as an actor. And the last 45 minutes of Paul Greengrass' "Captain Phillips," a great movie in its own right, are the best we've seen out of Hanks in the last 10 years.
If Richard Linklater, Ethan Hawke and Julie Delpy want to get together every eight years and make more movies about Jesse and Celine and their arguments, their problems, their worldview, their peculiarities and their sex life, is anyone going to stop them?
The best film trilogy, maybe ever, concluded "concluded"? This stuff is as harrowing as any of the year's many great survivalist movies.
If nothing else and there is plenty else , Joel and Ethan Coen's "Inside Llewyn Davis" owns the closest thing this year to pure cinematic joy, with the mid-movie performance of "Please Mr.
Kennedy" by Justin Timberlake, Adam Driver and Oscar Isaac, who plays the title character of Llewyn Davis. The most surprising thing about "Inside Llewyn Davis," however, is just how modern the film feels, considering it's set during the New York City folk scene of Llewyn Davis isn't, for lack of a better word, "folksy" -- he's kind of a miserable prick who would fit in quite well in the more cynical world of In other words: I would probably be friends with Llewyn Davis.
It's tempting to call "Inside Llewyn Davis" the Coen brothers' best film, but, you know, hyperbole and all: Good grief, this might just be the Coen brothers' best movie.
Oh, also, all of the music in the film is quite wonderful, too. Writing for ScreenCrush, Jordan Hoffman called Alfonso Cuaron's "Gravity" an "exercise in pure cinema.
Every year, around the holiday season, film critics and fans alike gather together to proclaim that a select few movies were the best the film world had to offer during the year.
For some, the best movies are those that evoke an emotional response and memorable acting performances.
Whatever the personal preferences of the movie viewer, people have strong feelings about what they believe is the best movie of the year.
The films on this list are among the best movies made in These films gathered strong reviews from the most respected film critics in the country, entertained audiences across the globe, and stayed in their thoughts long after the credits rolled.
This list includes movies of many different genres, as well as both indie and major studio releases. What are the best movies of ? While much of the debate rests on personal taste, the movies on this list received great reviews, captured the attention of the audience, and earned a place in cinema history.
For more movie lists, check out Ranker's lists of the funniest movies of and the most overrated films. Why Do People Stop Watching 'The Conjuring' At The Moment Lorraine Falls Through The Floor?
The Wolf of Wall Street Leonardo DiCaprio, Matthew McConaughey. The Wolf of Wall Street is a American biographical black comedy film directed by Martin Prisoners Hugh Jackman, Jake Gyllenhaal.
Prisoners is a American drama thriller film directed by Denis Villeneuve. Two young girls Frozen Kristen Bell, Idina Menzel.
Frozen is a American 3D computer-animated musical fantasy—comedy film produced by Walt The Hunger Games: Catching Fire Jennifer Lawrence, Elizabeth Banks.
This film is a American science fiction action film based on Suzanne Collins' dystopian Gravity Sandra Bullock, George Clooney.
Gravity is a science fiction thriller film directed, co-written, and produced by Alfonso