What happened, my dear Zero, is I beat the living shit out of a sniveling little runt called Pinky Bandinski.
I’ve still not seen a number of my 2013 picks (Inside Lewyn Davis, The Family, The Secret Life
of Walter Mitty, 12 Years a Slave,
a couple of which have been received as clunkers). Some I have seen proved vague disappointments (Elysium, The World’s End, STID, The Lone Ranger) while two here are repeats from 2013 due to shifting
schedules (Calvary, Monuments Men; The Zero Theorem has been shown at festivals, but hasn’t yet gone
on general release).
This year I came up with 10 fairly easily, but more than
that was a bit of a struggle. Hopefully that’s a sign that there will be
pleasant surprises from left of field, rather than sub-par quality all round.
1. The Grand Budapest Hotel
Wes Anderson returns after general acclaim and a Best Original
Screenplay Oscar nomination for Moonrise
Kingdom. Much as I liked that film, and his expanding repertory company
choices (Bruce Willis, Edward Norton), I wasn’t quite as wowed as some. Then again, I didn’t find The Darjeeling Limited a crushing disappointment,
as it seemed did many of his fans. The only Anderson picture that has failed to
connect is The Life Aquatic with Steve
Zissou, but he has yet to equal his masterpiece, The Royal Tennenbaums.
There’s a suggestion of the affected episodic but interweaving narratives found there in the trailer for Hotel, a period piece (set between WWI and WWII) revolving around the titular establishment, it’s guests, and employees. Ralph Fiennes’ concierge is central, and looks to be having a whale of a time, but the cast as a embarrassingly good across the board; Bill Murray (of course) Owen Wilson (of course), Willem Dafoe, Jeff Goldblum, Norton, Tilda Swinton, F Murray Abraham, Bob Balaban, Adrien Brody, Jason Schwartzman, Harvey Keitel, Lea Seydoux, Jude Law, Saoirse Ronan, Tom Wilkinson, Mathieu Alamiric. There’s always the chance that the affected and quirky epithets that follow Anderson around have finally done for him, but I’ll remain optimistic until evidence indicates otherwise.
There’s a suggestion of the affected episodic but interweaving narratives found there in the trailer for Hotel, a period piece (set between WWI and WWII) revolving around the titular establishment, it’s guests, and employees. Ralph Fiennes’ concierge is central, and looks to be having a whale of a time, but the cast as a embarrassingly good across the board; Bill Murray (of course) Owen Wilson (of course), Willem Dafoe, Jeff Goldblum, Norton, Tilda Swinton, F Murray Abraham, Bob Balaban, Adrien Brody, Jason Schwartzman, Harvey Keitel, Lea Seydoux, Jude Law, Saoirse Ronan, Tom Wilkinson, Mathieu Alamiric. There’s always the chance that the affected and quirky epithets that follow Anderson around have finally done for him, but I’ll remain optimistic until evidence indicates otherwise.
Christopher Nolan retools a script by brother Jonathan,
originally intended for Spielberg. The teaser trailer puts the emphasis on the
awe and wonder of new frontiers and exploration, which is very much the ‘berg.
I’d be surprised if Nolan can keep from allowing a darker vibration to intrude.
This is his first picture since Following
not to be lensed by Wally Pfister (Tomas Aldredson’s DP Hoyt Van Hoytema
replaces him, as he is off directing his debut; see below).
I’ll readily admit that the cast doesn’t scream, “Watch me!” the way Inception’s did. Michael Caine’s a given, John Lithgow can do no wrong. McConaughey’s been doing great work lately, but he really does need the role to be there; is this more than a standard issue hero? Anne Hathaway sucked up that Oscar for cutting her hair, but she didn’t really make her Catwoman terribly memorable (an undernourished role). Jessica Chastain is great. But… Casey Affleck, Wes Bentley, Topher Grace? It’s a list of actors I’d never go out of my way to see perform. Even if he took a dent with The Dark Knight Rises, Nolan gets the benefit of the doubt; since taking on Bat duties his non-Bat movies have been masterpieces. I’m not so confident that this tale of wormholes and time travel can exceed Inception or The Prestige, but I do expect its director to be aiming laudably high.
I’ll readily admit that the cast doesn’t scream, “Watch me!” the way Inception’s did. Michael Caine’s a given, John Lithgow can do no wrong. McConaughey’s been doing great work lately, but he really does need the role to be there; is this more than a standard issue hero? Anne Hathaway sucked up that Oscar for cutting her hair, but she didn’t really make her Catwoman terribly memorable (an undernourished role). Jessica Chastain is great. But… Casey Affleck, Wes Bentley, Topher Grace? It’s a list of actors I’d never go out of my way to see perform. Even if he took a dent with The Dark Knight Rises, Nolan gets the benefit of the doubt; since taking on Bat duties his non-Bat movies have been masterpieces. I’m not so confident that this tale of wormholes and time travel can exceed Inception or The Prestige, but I do expect its director to be aiming laudably high.
As per 2013: Jon Michael McDonagh’s debut feature The Guard was shot through with the same
streak of black comedy as his brother Martin’s In Bruges. Ultimately, it was lighter and more optimistic. Whether
that can be said of Calvary remains
to be seen. McDonagh has commented that, while humorous, it is much more
serious in tone and dramatic in narrative than The Guard. Brendan Gleeson returns as the director-writer’s lead of
choice, a Catholic priest who finds himself on dangerous ground after one of
his parishioners threatens his life. The eclectic cast includes Chris O’Dowd,
Kelly Reilly and Dylan Moran.
Darren Aronofsky went from difficult director of challenging
material to critics’ darling and box office sensation with Black Swan. He also earned a Best Director Oscar nomination.
Suddenly he was being asked what he’d like to do next, which turned out to be
$100m+ passion project based on the story of the Biblical flood. But this isn’t
your standard Cecile B De Mille Hollywood epic, even if Russell Crowe (in the
title role) has become as identified with historical juggernauts as De Mille’s
go-to-guy Chuck Heston. It’s also got Ray Winstone in it, which will bring a
story down to Earth with a bump as surely as casting John Wayne as a Roman
centurion.
Aronofsky has included all sorts of oft-ignored strangeness, not least oldest man Methuselah (Anthony Hopkins) and offspring of fallen angels the Nephilim. Noah isn’t set to be a cheery Dr Doolittle-esque animal lover, and the togs worn by all and sundry appear on the designer-primitive side. Reportedly test screenings have been mixed, and the director is under pressure to neuter the more outlandish elements. As things stand, there are doubts that the Christian crowd will show up (The Passion of the Christ ticket, vast and out there, but almost impossible to tap unless you’re very canny; hence not a great idea to spend enormous sums while holding out that vague hope). Worse, the early trailer has been distinctly underwhelming, most likely because it is underplaying the off-the-wall aspects. Still, if there’s a Director’s Cut of a Biblical monster awaiting discovery after a mangled cinema release, this is probably it.
Aronofsky has included all sorts of oft-ignored strangeness, not least oldest man Methuselah (Anthony Hopkins) and offspring of fallen angels the Nephilim. Noah isn’t set to be a cheery Dr Doolittle-esque animal lover, and the togs worn by all and sundry appear on the designer-primitive side. Reportedly test screenings have been mixed, and the director is under pressure to neuter the more outlandish elements. As things stand, there are doubts that the Christian crowd will show up (The Passion of the Christ ticket, vast and out there, but almost impossible to tap unless you’re very canny; hence not a great idea to spend enormous sums while holding out that vague hope). Worse, the early trailer has been distinctly underwhelming, most likely because it is underplaying the off-the-wall aspects. Still, if there’s a Director’s Cut of a Biblical monster awaiting discovery after a mangled cinema release, this is probably it.
Anton Corbijn’s transition from photographer and music video
director to filmmaker has been seamless and universally acclaimed. He follows
sophomore existential assassin pic The
American with another journey into shadowy worlds in this film of John Le
Carré’s
2008 novel. Le Carré expectedly weaves his tale around the world of espionage, but
his targets are highly topical; the US’s rendition policy leads the way, with money
laundering bringing up the rear. The cast includes Philip Seymour Hoffman,
Daniel Bruhl, Rachel McAdams, Robin Wright and Willem Dafoe. Le Carré
adaptations are rightly back in vogue, although the War on Terror has rarely
made good box office. Still, the last contemporary (ish) novel of his The Constant Gardener was both a
critical and commercial success.
Wally Pfister graduates to first-time director and hooks his
wagon to an original science fiction tale, the same year as the
man-he-was-cinematographer-for Nolan wins out for the number of syllables in
his one word title. This sounds like it could
carry a hefty dollop of cheese with it, as Johnny Depp’s dying scientist
downloads his mind into a computer and then runs amok. Somewhere between Colossus: The Forbin Project, The Lawnmower Man and Demon Seed? It sounds like the kind of
thing that should have been made in the ‘70s, which means that even if it’s a
failure it probably has cult movie written all over it. Writer Jack Paglen has
already moved on to Prometheus 2,
which is either a vote of confidence or a prison sentence. A much better
supporting cast than Nolan’s effort, at very least; Morgan Freeman, Rebecca
Hall, Cillian Murphy, Paul Bettany.
7. Maps to the Stars
Cosmopolis was
either pretentious twaddle or a dazzling, surreal satire of the financial
system that has brought us near to ruin, depending on your side of the fence. I
loved it, and I’ve generally found David Cronenberg more interesting since he
has moved beyond the confines of body horror. He may have no idea why The Shining is a great horror movie, but
his work has never been more unexpected. Reteaming with Robert Pattison, who
moves from being driven in a limo to driving one, the director continues his
overview of the madness of the Western World with a “very acerbic and satirical” evisceration of Hollywood. The fine
cast includes Julianne Moore, John Cusack, Mia Wasikowska, Carrie Fisher as
herself (who always has much to say Tinseltown excess and the addictions of
child actors, both of which this deals with).
Paul Thomas Anderson adapts Thomas Pynchon’s ‘70s-set 2009
novel, in which pothead detective Doc Sportello (Joaquin Phoenix, reteaming
with Anderson following The Master)
looks into the disappearance of a former girlfriend. The veneration of Anderson
in some quarters can be off-putting, but he’s an always-distinctive filmmaker
(even if the end result is the unholy mess that is Magnolia). Could this evoke the memory of other retro-noirs like Chinatown and L.A. Confidential by way of Altman’s The Long Goodbye and the Coens' The Big Lebowski? I don’t know, I haven’t read the book. But with a
cast including Josh Brolin, Owen Wilson, Benicio Del Toro, Jena Malone and
Martin Short there should be plenty of pleasant distractions.
I doubt anyone, particularly terminally average production
line studio Fox, expected Rise of the
Planet of the Apes would seize the public imagination. I mean to say, James
Franco was cast in the lead. A sure sign of movie blight and box office
blunder. Against the odds (and reported editing suite interference) Rupert
Wyatt’s semi-retelling of Conquest of the
Planet of the Apes was really rather good. It featured superbly rendered
CGI chimps, a compelling motion capture performance from Andy Serkis, and managed
to innovate within the trappings of a traditional science fiction thriller.
Matt Reeves (Cloverfield) takes over
for this sequel, picking up after a plague has decimated humanity. The apes are
rightly front-and-centre on the posters but there are some jolly good human
types too, including Gary Oldman, Keri Russell, and Jason Clarke.
10. Gone Girl
I suspect most David Fincher fans wanted to see him tackle
the non-not-very-likely and not-very-like-him 20,000 Leagues Under the Sea reboot. Just because it would be
something different from slightly redundant, well made but treading water,
crime fare to which he returns to when he needs to beef up his bankability.
This one is based on Gillian Flynn’s bestseller (and self-adapted), about the
disappearance of a woman on the day of her wedding anniversary and the doubts
over whether hubby has anything to do with it.
As with any much-liked book,
there has been inevitable naysaying over the casting choices. Most especially
the really rather dull as an actor but not a bad as a director Ben Affleck in
the husband role. Rosmaund Pike’s career gets a boost in the wife role and I
have no arguments there, but the some of the casting is curious to say the
least. Tyler Perry? I’ll see any Fincher feature, even when it is completely
uncalled for (The Girl with the Dragon
Tattoo) or an exercise in style over substance (Panic Room), but this does smack of picking a project for reasons
of profile rather than passion.
11. Captain America: The Winter Soldier
I was completely underwhelmed by The First Avenger, a listless affair that unhelpfully hid Chris
Evans’ light under a bushel. The Winter
Soldier, taking its cues from ‘70s conspiracy thrillers, promises to
redress matters. The first trailer also suggests that TV comedy writes/directors/producers
Anthony and Joe Russo have more than risen to the challenge of mega-budget
action (they aren’t credited on the script). I’m not wholly convinced by Guardians of the Galaxy (I’d like to be
wrong) but this one could achieve the difficult Iron Man Three trick of being a good superhero movie, a good
sequel, and a good movie in its own right.
12. Edge of Tomorrow
Doug Liman’s latest is getting understandable attention due
to what it reminds people of, so it’s going to have to prove it isn’t just a gritty mech-suited impressively
budget riff on Groundhog Day/Source Code. Tom Cruise (his second
science fiction film in as many years) is an inexperienced officer who finds
himself relieving a fatal battle again and again (co-starring is Emily Blunt). I’ve
enough confidence in the credentials of those involved to have some enthusiasm.
Liman, a director geared to reshoots that hone his material, scored in the
early part of the century with The Bourne
Identity and then Mr. and Mrs. Smith
(which took a mauling from some, but I liked). He then mis-stepped somewhat
with Jumper before rallying with the under
seen and underappreciated account of the rough ride CIA intelligence officer
Valerie Plame got from the Bush administration (Fair Game).
Adapted from Hiroshi Sakurazaka’s novel All You Need Is Kill (a much more
arresting title), a host of writers have taken a crack at Dante Harper’s script
including Christopher McQuarrie, Jez Butterworth, John Henry Butterworth (who
worked on Fair Game), Steve Kloves (Harry Potter), Tim Kring (alarming; the
guy who ran out of ideas on Heroes),
and Alex Kurtzman and Roberto Orci (most alarming of all, since they’re
responsible for plot hole-laden Star Trek
Into Darkness). Nevertheless, Liman has salvaged pictures before that were believed
to be turkeys (Bourne) and this might
be a pleasant surprise.
13. The Raid 2: Berandal
The Internet hyperbole that greeted Gareth Evans’ non-stop
2011 Indonesian action movie was perhaps slightly
over the top. It certainly shows off the director’s skills as a director, less
so as a writer. Here he brings back Iko Uwais’ good cop for more martial arts
mayhem; he must go undercover and infiltrate a crime syndicate (which involves
going to prison). Sure to feature jaw-dropping fight choreography and brutal
violence, it may also warn of a lack of restraint; at two and a half hours,
this may prove an exhausting experience. You need to keep your audience wanting
more, not wear them out.
14. Jupiter Ascending
Having elicited wildly divergent responses to Cloud Atlas, the Wachowskis appear set
to go at it again in what looks to be an intentionally pulpy science fiction
fairy tale. Think The Fifth Element
but without Luc Besson’s very French sense of humour. Or Flash Gordon without the tongue-in-cheek. Who knows, perhaps Lana
and Andy have been keeping their funny bones hidden all this time, but the
attempts at humour in Speed Racer
were mostly atrocious.
Not helping matters are Channing Tatum (with pointy
ears) and Mila Kunis (as a toilet cleaner destined to be Queen of the Galaxy),
both of whom need careful casting to make an impression; they’re likely to
disappear in standard hero/heroine roles. On the upside, Terry Gilliam appears,
and Sean Bean will no doubt die before the final credits. There’s also the
promise of visual trickery to compete with bullet-time and a score from Michael
Giacchino. This might be a train wreck, but if so it will be one you can’t take
your eyes off.
15. The Voices
Ryan Reynolds attempts to prove he may be unbankable but he
isn’t completely bereft of talent as he takes the lead in this very peculiar
indie from Persepolis director
Marjane Satrapi. Michael R Perry’s script finds Reynolds’ factory worker
involved in murder and receiving advice from his pet cat and dog. Perry has
worked on some of television’s most interesting shows (Eerie, Indiana, American
Gothic, Millennium) as well as
contributing to Paranormal Activity 2.
Also featuring are Gemma Arterton, Anna Kendrick and Jacki Weaver.
16. Big Eyes
Tim Burton works from a Scott Alexander and Larry
Karaszewski screenplay (Ed Wood)
based on the life of painter Margaret Keane (she of the creepy 1950s paintings
of large eyed kids). Amy Adams takes the lead, Christoph Waltz is the husband
who takes credit for her work and Terence Stamp and Danny Huston provide support.
This one might upset the line of those who claim the director has forever lost
it.
17. Knight of Cups
Given how unimpressed I was with Terrence Malick’s To the Wonder, it might be a bit early
to look forward to his upcoming picture. However, he seems to have seized on a
more solid theme this time, which can only be a good thing. Christian Bale
experiences a journey of the soul connected to a tarot reading. Perhaps… Some
of the cast include (but maybe not in the final cut) Natalie Portman, Cate
Blanchett, Jason Clarke, Imogen Poots and Joel Kinnaman.
18. Burying the Ex
It doesn’t sound that promising on paper (Anton Yelchin’s
girlfriend Ashley Greene comes back as a zombie) but the key factor here is
director Joe Dante (it’s four years since he last movie, The Hole). If he’s able to go to town with the meta-referencing
funny (as only he can), this could be a minor gem.
19. Monuments Men
From 2013: The “based on a true story” strongly suggests the
formula of historical curiosity turned into prestige project that did so well
for Argo. Which makes George
Clooney’s involvement in both none-too surprising. Clooney directs, stars and
co-authors the screenplay (the same as The
Ides of March, then), although for my money his best film as director
remains his first. The rest of the cast are a dream; Cate Blanchett, Bill
Murray, John Goodman, Jean Dujardin, Bob Balaban, Matt Damon (perhaps), Daniel
Craig. The plot concerns attempts to recover works of art stolen by the Nazis
before Hitler destroys them. The release date was moved back amidst rumours of
a Leatherheads mess, but we live in
hope.
20. A New York Winter’s Tale
I’m highly sceptical about this, but also intrigued.
Akiva Goldsman is responsible for some terrible crimes of unmitigated shite
including not only the screenplay for Batman
and Robin but also one that bagged him an Oscar (A Beautiful Mind). Yet he’s spent the last few years partially
redeeming himself on the small screen, contributing to a very under-recognised
show called Fringe (now finished). He
also directed four episodes, competently if unspectacularly.
And A New York Winter’s Tale based on Mark
Helprin’s novel, is something of a passion project for him. We’ve heard that
before, and it’s done nothing to avert celluloid disasters. Also, the novel
appears to be a confection of reincarnation, magical horses and love that knows
no limits; so it may end up feeling a little to familiar or just too damn sugary.
Or one that, like The Time Traveller’s
Wife, doesn’t rub its legion of followers’ noses in it, but can’t quite
make it special. Goldsman has called in favours with his cast; Russell Crowe,
Will Smith, Jennifer Connelly and William Hurt appear, but lead duties are from
Colin Farrell (never a big draw, despite being a decent actor) and Jessica
Brown Findlay. The one here that might be the biggest stinker, but also one that
might be the most pleasant surprise.
And five maybes:
Mortdecai
David Koepp is an effective writer/director when unencumbered
with Ricky Gervais. It’s unclear if this reteaming with Johnny Depp (Secret Window) will see the light of day
this year or in 2015, but this tale of dodgy art deal Charlie Mortdecai’s
attempt to get his hands on Nazi gold could be a lot of fun. The remainder of
the cast (McGregor, Paul Bettany, Gwyneth Paltrow) is promising too.
Blackbird
David Mamet writes and directs, in which the granddaughter
of a recently deceased Hollywood effects artist uncovers deadly secrets about
his past. Cate Blanchett stars in the director’s first big screen effort since
2008’s Redbelt (may be 2015).
Untitled Terrence Malick Project
This is the other 2014 Malick movie, also starring Bale (and
most of the Cups cast but with the
addition of Ryan Gosling) reportedly revolving around two love triangles set
against the Texas music scene.
Our Kind of Traitor
Another Le Carré, this time from his 2010 novel
concerning the defection of a Russian oligarch and a couple caught up in his
scheme. The pedigree of this one isn’t quite so auspicious, but nothing to
sneeze at either; Ewan McGregor is pegged as the lead, while Susanna White
lifts the megaphone (Parade’s End, Nanny McPhee and the Big Bang. This has
been in development for a while, and White’s the latest director attached.
Whether it actually gets off the ground is questionable.
This is Where I Leave You
I’m not sure that any Shawn Levy movie (The Pink Panther remake, Night
at the Museums) could be a must-see, but this comedy at least sounds very
promising. Jonathan Tropper adapts his novel about four siblings who return
home to observe the Jewish mourning period when their father dies. The cast
includes Tina Fey, Jason Bateman, Corey Stoll and Adam Driver as the brood,
Jane Fonda as the matriarch and is rounded out by the other halves including Rose Byrne and
Timothy Olyphant.