Best Movies of 2014: Top 10 Movies

Today, I am very happy to announce my list of the Top 10 Movies of 2014. This has been a stellar year in cinema, and as you can tell by my long list of honorable mentions, narrowing down to just ten films has been a colossal challenge. I have never spent this much time choosing which films will ultimately make the cut, and if that doesn't show the vast amount of great films to come out of this year, I don't know what does. Nevertheless, these ten films have never left my mind, and almost all of them I knew while watching that they would end up on my year-end list. So, without further adieu, I am proud to announce my Top 10 Movies of 2014!

Let's get started.

10. The Grand Budapest Hotel (Wes Anderson)

My first experience with a Wes Anderson film certainly won't be my last. This is a candy-colored treat of cinematic excellence, with the best use of acting cameos all year. A fairly early release in 2014, this drama showcases a surprisingly hilarious and highly effective Ralph Fiennes as M. Gustave, the manager of the Grand Budapest Hotel who likes to woo old ladies. He is a dedicated leader, and takes the young Zero Mustavo (Tony Revolori in his first acting role, though you'd never know it from his seamless job) under his wing. A story told over three time periods, each with their own distinctive aspect ratio and color scheme, this is a great example of how so much can fit into one movie and yet still really work. It's a fantastic, light-hearted comedy that crosses the style of Tim Burton with the deadpan humor of Quentin Tarantino, and as those are my favorite filmmakers, I found my first Wes Anderson experience to be something truly special.  

9. Guardians of the Galaxy (James Gunn)

I think I was the only one on Earth who thought that quirky trailer that showed a talking raccoon, a talking tree, a guy listening to a walkman, a green-skinned woman, and a former wrestler painted purple would translate into a fun movie. Turns out I was right, as Guardians of the Galaxy became the escapist summer adventure that remains this generation's Star Wars or Raiders of the Lost Ark. With an unforgettable soundtrack that re-popularized hits such as "Hooked on a Feeling", "Come and Get Your Love", and "Cherry Bomb", this superhero ensemble represented the best the genre had to offer all year. Chris Pratt could become the new Harrison Ford, and the always incredible Bradley Cooper really does a smashing job at voicing Rocket Raccoon. The James Gunn movie proves that Marvel can make smaller superhero films truly work, and that they don't have to rely on Wolverine, Iron Man, or Spider-Man to tell a great story. It's humorous, it's action-packed, but most of all it's just plain fun. And isn't that what all superhero movies should be?

8. Big Hero 6 (Don Hall and Chris Williams)

With Wreck-It Ralph and Frozen, Walt Disney Animation Studios reinvigorated their brand under the surefire confidence of John Lassiter, who tirelessly promotes the company to tell great stories with outstanding characters. Big Hero 6 is no exception- an emotional roller coaster that harkens back to the deep pathos of Renaissance era Disney. It teaches a great message about self-confidence and the power of friendship, all told with humorous punchlines and exciting spectacle. The production design of San Fransokyo is also gorgeous, and it seamlessly blends the architectural elements of the two cultures together to craft a great set design. Fall Out Boy's "Immortals" is one of the best original songs of the year, and the animation is really effective. Nevertheless, none of this ever distracts from the amazing characters that are featured in this tale. Baymax, Hiro, GoGo, Wasabi, Honey Lemon, and of course Fred are wonderful as the titular Big Hero 6, and it's a true ensemble piece that rarely happens in animated movies. These characters are the biggest reason why Big Hero 6 remains the best animated movie of the year. 

7. Gone Girl (David Fincher)

"This man of mine... this man of my dreams... is going to kill me." Gone Girl is David Fincher's crack at replicating Alfred Hitchcock, and the Master of Suspense would not be disappointed. This is a twisty (and twisted) allegory of the state of marriage in today's society, and a gripping morality tale that depicts the most toxic relationship I may have ever seen. Ben Affleck has never (and I mean never) acted this well, and leads a great ensemble that includes Neil Patrick Harris, Tyler Perry, Kim Dickens, and the underrated Carrie Coons as Affleck's sister. But the real standout performer is Rosamund Pike, who plays Affleck's missing wife; she is a Hitchcock Blonde, a character we never really understand who always exists in the narrative of the story. She gives the best lead female performance of the year, and I'm glad the woman who once played Miranda Frost in Die Another Day has found a role that is finally getting her critical acclaim. Fincher's mystery is powerfully crafted, well shot, and a hugely entertaining adaptation of the original novel. 

6. Into the Woods (Rob Marshall) 

Rob Marshall returns to his Chicago glory (but thankfully avoids his Nine catastrophe) and directs a wonderful adaptation of Stephen Sondheim's popular show. This is my favorite movie musical since Sweeney Todd, as it makes the wonderful songs (which I'm listening to right now!) fit into the frame of the story, and even progresses the narrative forward in time. There are also some great performances in this piece, including Meryl Streep, James Corden, and Anna Kendrick. The two biggest shocks of the film were Chris Pine, who perfectly embodies Prince Charming; and, Emily Blunt, who's singing blew me away more than everyone else in the film. Into the Woods is also fascinating in the way it subverts the cliches of Grimm Fairy Tales, taking unexpected turns with each new song. Though rated PG, parents should be warned that there is still some very dark material in this musical; but, for everyone else, this is a magnificent work of art. 

5. Snowpiercer (Bong Joon-ho)

This movie is what film academics dream of as the perfect action flick. It's superbly entertaining, incredibly intelligent, and a wild ride. Though never really released well theatrically, Snowpiercer nevertheless represents a thought-provoking spectacle. The basic premise of Bong Joon-ho's film is that the Earth has frozen completely, and the rest of humanity is forced to live on a train that circles the globe; however, massive class differences threaten the stability of the train society. Chris Evans actually acts as the leader of the rebellion, and leads a stellar ensemble that stars John Hurt, Ed Harris, Octavia Spencer, Jamie Bell, and Song Kang-ho. There's also major Oscar talk for villainess Tilda Swinton, who steals the show as the gender-ambigous Mason. The action scenes are miraculously executed- a gory, realistic design that shows off great cinematography. Part social commentary and part visual masterpiece, Snowpiercer needs to be seen by more people. Believe me, you won't be disappointed. 

4. Begin Again (John Carney)

I saw this film as a whim over the summer, but I haven't been able to stop listening to its soundtrack ever since. Keira Knightley is mesmerizing as a singer-songwriter who works with Mark Ruffalo's character to create an album using real locations in New York City. The two stars have wonderful chemistry, and John Carney's work in general just makes me so happy. The songs are amazing and highly original, poking fun at the shallowness of "popular music" today. "Lost Stars", "Tell Me If You Wanna Go Home", "Like a Fool", "Everything's Coming Up Roses", and "A Step You Can't Take Back" can all make up the Best Original Song category at the Oscars this year and I'm sure no one would complain. Each bring something new to the genre of film music, and I can't emphasize enough how blissful this album makes me feel. A fun screenplay that deals with heavy topics and ends in an unexpected way, this is my idea of the perfect romantic comedy.

3. Birdman or (The Unexpected Virtue of Ignorance) (Alejandro Gonzalez Inarritu)

How director Alejandro Gonzalez Inarritu, along with the cinematographer and editor, managed to shoot a film that looks like one continuous shot I'll never understand. That being said, this is one powerful commentary on the state of superhero films, the relationship between actors and critics, and the need to feel important in such a crowded world. Michael Keaton delivers the performance of his career as a former superhero star now trying to make an artistic run on Broadway. The supporting cast, Emma Stone in particular, all complement his performance as a presumably crazy actor who just wants to be relevant again. Now I love superhero movies, but I found myself convinced with many of Inarritu's arguments about the way they drown out artistic works in favor of what's popular. With great meta casting (Keaton, Stone, and Edward Norton all starred in their own respective superhero franchises), an unbelievably brilliant and seamless one-shot look, the unexpected virtue of ignorance is seeing this movie for the first time with no expectations, and becoming completely blown away by its scope and creation. 

2. Whiplash (Damien Chazelle) 

I had two distinctly different interpretations of the film each time I saw it. The first time, I saw Miles Teller's jazz drummer as a defiant rise to overcome the odds and become one of the greats. The second time, however, I placed much more emphasis on J.K. Simmons' Terrence Fletcher- my vote for the best villain of the year- and the way he systemically abuses and tears down the very fabric of Teller's character until he's nothing more than a hollow shell of what Simmons wants. This makes the film either a heroic triumphant or a tragic destruction of the self; however, regardless of the interpretation, it's hard to deny the power of this thriller. Yes, director Damien Chazelle actually makes a movie about jazz drummers immensely scary and thrilling, a suspenseful work that keeps you hooked and terrified at the same time. Simmons is a character actor who's finally getting awards recognition for his villainous character, and he nails it with each detail. As a former jazz band student myself, I could taste and smell every instrument featured in the story, and can understand where Teller was coming from. He pours blood, sweat, and tears into his music, and its a dedication that's immensely effective for a lead character. I wouldn't dare say "good job" out of fear to what Fletcher would do to me, but I can honestly describe Teller and Simmon's chemistry as electric. From the first creepy shot, to the powerful and grin-worthy finale, Whiplash is one of 2014's most unique and immensely awesome films.

1. Boyhood (Richard Linklater)

Probably no surprise to anyone who knows me, Boyhood holds a very special place in my heart that was never replaced throughout the year. I just keep coming back to this simple, yet emotionally resonant, motion picture event. Shot over 12 years, we literally watch Ellar Coltrane grow up on screen, along with mother Patricia Arquette, father Ethan Hawke, and sister Lorelai Linklater. This is a landmark piece of cinematic art that has never, and will never, find it's equal. It's a love letter to growing up in the 2000's, but it's so much more than that: everyone can find something relatable in this story about the trials and tribulations about aging, about the moments in life that define who we are as individuals. I cried more than once during this film, which is so rare for me. I had an emotional revelation watching this film, and found so much of myself in each of the characters. Boyhood is an epic unlike anything we've ever experienced, or better put, the best movie of 2014. 

Here are my accolades for the year:

Best Director: Richard Linklater, Boyhood (Runner Up: Alejandro Gonzalez Inarritu, Birdman)

Best Actor in a Leading Role: Michael Keaton, Birdman (Runner Up TIE: Ralph Fiennes, The Grand Budapest Hotel and Bradley Cooper, American Sniper)

Best Actress in a Leading Role: Rosamund Pike, Gone Girl (Runner Up: Scarlett Johannson, Under the Skin)

Best Actor in a Supporting Role: J.K. Simmons, Whiplash (Runner Up: Ethan Hawke, Boyhood)

Best Actress in a Supporting Role: Tilda Swinton, Snowpiercer (Runner Up TIE: Patricia Arquette, Boyhood and Emma Stone, Birdman)

Best Original Screenplay: The Grand Budapest Hotel (Runner Up: Birdman)

Best Adapted Screenplay: Gone Girl (Runner Up: The Imitation Game)

Best Use of Original Music: Begin Again (Runner Up: Big Hero 6)

Best Use of Adapted Music: Guardians of the Galaxy (Runner Up: Boyhood)

Best Sound: Fury (Runner Up: American Sniper)

Best Production Design: The Grand Budapest Hotel (Runner Up: Into the Woods)

Best Cinematography: Birdman (Runner Up: Ida)

Best Makeup and Hairstyling: Guardians of the Galaxy (Runner Up: The Theory of Everything)

Best Costume Design: Big Eyes (Runner Up: Into the Woods)

Best Editing: Birdman (Runner Up: Boyhood)

Best Visual Effects: Dawn of the Planet of the Apes (Runner Up: Interstellar)

Well, there you have it! Catch you all next year- and try to check out some of these wonderful motion pictures. See you at the movies!!!!! 

  

Best Movies of 2014: Honorable Mentions

Welcome to the first part of my two-day annual special: The Best Movies of 2014. I have seen 61 movies this year, which is a LOT to sift through and figure out which films I enjoyed the best. Obviously, a lot of those movies were garbage, but there were still so many movies I really loved. Therefore, today I'm dedicating this blog to movies I enjoyed that just missed my Top 10. That list will be unveiled tomorrow, but for now, take a moment to honor these other standout hits of the year. I would go to the ends of the Earth for these cinematic masterpieces, and I could make a Top 10 list just as easily using only these movies. But, rules must be obeyed, so to give you a hint at what movies I considered the most exceptional of an otherwise stellar year, here are my Honorable Mentions for the Best Movies of 2014 (in alphabetical order):

(NOTE: Due to my limited time and theater availability, I was unable to screen the following films, and therefore they are ineligible for either my Honorable Mentions or Top 10: Unbroken, The Gambler, How to Train Your Dragon 2, The Fault in Our Stars, Cake, Mommy, Mr. Peabody and Sherman, Muppets Most Wanted, The Babadook, Two Days, One Night, Mr. Turner, The Hobbit: The Battle of the Five Armies- I'm sure there are more, so feel free to ask if you don't see one on either list the next two days!)

American Sniper (Eastwood): Bradley Cooper has become one of my favorite actors working in Hollywood today; he has shown his wide range of talents again and again, and his take on Chris Kyle, the deadliest sniper in U.S. Military history, is no exception. This film, while an intense war drama that has the same adrenaline-charged energy as The Hurt Locker, actually improves upon its predecessors by equally balancing the rough brutality of military service in wartime with the emotional effect of loved ones at home. This is Clint Eastwood's best film since 2004's Million Dollar Baby, and it could have the same last-minute effect of taking home multiple awards. The film does the legendary Chris Kyle justice, and Cooper completely sinks into this role. 

Big Eyes (Burton): In one of his most subtle works, Tim Burton's work on Big Eyes still features his unique visual style, with an overdramatic color palette and striking costuming. Amy Adams plays shy characters consistently well, and Christoph Waltz is charmingly terrifying as her husband who takes all the credit for her paintings. A biopic more akin to Ed Wood (though not as good) than Beetlejuice, even those who don't particularly like Burton will find something intimately relatable and marvelous about this charming little movie. And Burton fans, don't worry- as it is an intimate character study about bizarre people in a nightmarish situation, it remains another towering achievement from one of my personal favorite directors of all time.

The Disappearance of Eleanor Rigby: Them (Benson): For years, I've really wanted a good romance that offers equal screen time to each of the individual lovers. Finally, first-time director Ned Benson has delivered on that dream, showcasing passionate work by James McAvoy and Jessica Chastain. It's a shame the film isn't getting the Oscar buzz it deserves, because each of the leads alone are worth the price of admission. In fact, Them is actually a mash-up of two longer, more intimate films- Him and Her, about each of the characters, respectively. Benson has done what I hoped a filmmaker would do for a long time, and for that, I would be satisfied; that the film was so darn good is just a plus. 

The Imitation Game (Tyldum): In a movie that's clearly Oscar-bait, The Imitation Game also really works as a solid movie. Benedict Cumberbatch gives his most nuanced performance as Alan Turning, an anti-social mathematical genius that created the first computer during World War II. Keira Knightley, Mathew Goode, and Mark Strong are also great in it, and the sharp editing works hand-in-hand with the performances to tell a time-lapsing story with great ease. Plus, the movie offered an allegory to the gay rights issue plaguing the world today, as Turing himself was tragically punished for "illegal acts of homosexuality" during his time. The gay issue is subtle, but still the most important issue that this movie presents. 

Interstellar (Nolan): There are days when I loved this film, and days when I hated it; today happens to be the former, as I have read a lot of strong critical opinion of the film that swayed me right this particular minute. It's hard to deny the visual majesty of Christopher Nolan's epic space opera, and the acting, though outweighed by the special effects, is solid throughout. It's also worth adding to this list because of the fact that the IMAX 70 MM release promoted the use of actual film in theaters, and showed how epic films can still be made in an era of CGI and digital camerawork. Seeing it on IMAX screen was unforgettable, and an event that I will always remember. 

The LEGO Movie (Lord and Miller): As I said earlier this year, everything is awesome about this family-friendly flick. Easily the year's biggest surprise, the film is hilarious, fun, giddy entertainment that will appeal to people of all ages. It's also packed with numerous pop culture references and Warner Brothers characters that only add to it's pulpy appeal. What could have come across as so kitschy and just plain ridiculous actually works as a thoughtful allegory on the power of imagination, and thinking outside of the box's rules. Everything really is awesome about The LEGO Movie.

Locke (Knight): Another big idea I hoped someone would make one day is shooting an entire movie as a one-man show, in a confined area for a limited time. The story of one man's drive that forever changes his life, Locke is the answer to my wishes, and a firm direction by Steven Knight is only overshadowed by Tom Hardy's ridiculously amazing performance. He acted the heck out of this movie, and how could he not? The entire premise only works with a strong enough actor to carry the picture, and because of Hardy's terrific facial work (as seen even in The Dark Knight Rises), we sense every one of his emotions in multiple ways. 

The One I Love (McDowell): Wow, what an inventive movie that likely no one reading this has seen. I don't want to give too much away (and no reading any synopses- just go straight to Netflix Instant and watch it!), but basically this is a romance starring Mark Duplass and Elizabeth Moss as a married couple facing problems. They go to a weekend retreat, and then... well, just see it. It's brisk, brilliant- just bravo to the filmmakers, and boo to the studios and critics not pushing it heavily enough. 

Only Lovers Left Alive (Jarmusch): In it's own hipster sort of way, this is one cool flick. Tom Hiddleston and Tilda Swinton (who's just had a terrific year in cinema) play ageless vampires still in love with each other even after all these years. They live in two distinct environments- the barren wasteland of Detroit, and the busy streets of Morocco, and the production design could not be darker or gothically accessible. Jarmusch adds his singular weediness to the story, but still manages to craft a tale that's interesting and different from all other vampire film before it. A lot of the small details (how do the vampires get their blood without killing anyone?) are addressed, and they're pretty smart in hindsight. The soundtrack is also terrific, and the costumes show the strangeness of its main characters and those around them (Mia Wasikowska included, whose performance grows on me each day). Only Lovers Left Alive is a weird, bizarre, and wonderful movie.

Selma (DuVernay): About a quarter of the way through this movie, I realized that we've never had a movie centered on Martin Luther King, Jr.; he's always sort of this supporting character that never really gets the attention he deserves. David Oyelowo makes it worth the wait, however, and he gives a passionate performance as the prolific historical figure. Ava DuVernay, a relatively new filmmaker who used to work in public relations, powerfully directs this true story about the voting campaigns in Selma; as an African-American female behind the camera, there remains no one more equipped to handle this story of oppression and gaining a voice in the world. It's also a tragic reminder of contemporary issues, as evidenced in the events of Ferguson. As a bonus, Oprah Winfrey acts more in her 15-minute role in Selma than she did in The Butler and The Color Purple combined.

X-Men: Days of Future Past (Singer): The X-Men are my favorite superheroes of all time, and I saw Days of Future Past three times in theaters. How cool is it to see the best qualities of both series come together in an original and inventive way? In addition to some pretty sweet new superheroes, including the ever-popular Quicksilver and his "Time in a Bottle" sequence, we also see a story that continues the parable of fear of minorities take a dystopian turn with the decimation of mutant life. The time travel elements are carefully planned, and the art direction of the 1970's are marvelous. It was also pretty special to have Brian Singer return to the franchise, and to hear John Ottman's beautiful score once again. I missed X-Men movies being equal parts serious and fun, and this is arguably the best film in the franchise. 

And finally, a special mention of my #11 pick that just barely missed the cut of my Top 10:

Under the Skin (Glazer): Under the Skin means a lot to me because it symbolizes how I have matured as a film goer; two years ago, I would have hated this avant garde sci-fi horror about an alien seductress who lures and kills men. But now, I understand that the images are more than just striking; they're a testament to how one should interpret the film. Scarlett Johansson's cold demeanor works wonders here, and she makes an alien temptress immanently tragic and sympathetic. She gives it all she's got into this performance, and her talents do not go unnoticed. The music takes the film to a whole new level of creepy, working with silence to craft an intricate look into the horrors of being a woman on this planet. The use of the "hunt" song, while it plays exactly the same, changes its meaning as the film continues as Johansson stays longer and longer on Earth. I would love to talk to anyone about their interpretations of the film, as it is something that needs to be discussed to be appreciated. This film was so close to making my Top 10, but ultimately I decided on another film. Under the Skin is NOT for everyone (you've been warned!), but for those patient enough, it can be one of the most rewarding and haunting cinematic experiences of 2014. 

I really hope you take the chance to see these fantastic movies; once again, I loved all of these films so much this year, and it's a shame they all couldn't fit into the Top 10. That being said, the creme de la creme of 2014 cinema will be announced tomorrow. Be rooting for your favorite films, and come back in just one day to see Movie Critic's Club Top 10 Movies of 2014!!!!!

Birdman or (The Unexpected Virtue of Ignorance) (Inarritu, 2014)

I love superhero movies. I grew up on Tim Burton's Batman and watching X-Men: The Animated Series. I get really excited in the weeks leading up to the latest Marvel release, and I firmly believe that Nolan's The Dark Knight Trilogy remains one of the best series in cinematic history. 

As such, I found Alejandro Gonzalez Inarritu's concept for Birdman quite intriguing: what would happen (or, he argues, what is happening) when an actor famous for playing a superhero tries to break into the real world of acting? Can he simply drop the cape in favor for a spot in the latest art film? Or will his following demand nothing less than a gagillion sequels to his most famous role? 

If that wasn't enough, in the most brilliant bit of meta-casting possibly ever, he hired Michael Keaton to play the titular star. Keaton, who became a household name playing the Dark Knight in 1989's Batman and its 1992 sequel Batman Returns, has never regained his footing after playing arguably the world's most popular superhero. He had Beetlejuice and Mr. Mom before, and he had Jackie Brown shortly after leaving Gotham City for good. But there was nothing really meaty for Keaton to chew on after Batman, nothing to challenge him as an actor. 

Ironically, the greatest performance the actor has ever given wouldn't have worked nearly as well without Batman. 

Birdman or (The Unexpected Virtue of Ignorance) is one of the standout movies of 2014, with tremendous acting from its pitch-perfect stars and some of the most gorgeous cinematography ever shot. It looks at the very relevant issues of our cultural obsession with superheroes, and makes us question our own importance in the universe.

It's a striking critique about superhero culture and fandom, but it's more than just that. It would have been very interesting to stop there, and just look at the Golden Age of the Superhero Movie. The film takes the argument one step further, however, by also assessing the state of prestige work, and at the stuffiness around what we called "art". The film did extraordinarily well in not only Los Angeles, but in New York City as well, where the film takes place. It makes fun of Broadway actors and critics, and their irrational fear of Hollywood invading their turf. It's a satire of both the movies and the stage, and you need to understand this in order to get the full grasp of the film.

Michael Keaton plays Riggan Thompson, an actor most famous for playing a superhero and now trying to make a comeback by directing, writing, and starring in a Broadway play. He's haunted by the voice of Birdman, who both encourages and degrades him, and has to deal with a neurotic producer (Zach Galifinakis), his psycho mistress (Andrea Riseborough), and the self-conscious actress Lesley Shiner (Naomi Watts). Lesley's husband, the critically acclaimed stage actor Mike Shiner, (Edward Norton), also joins the cast, but proves to be an egotistical nightmare who's high-brow thinking causes tension with the other cast and crew. And, on top of all that, Riggan's family life is in shambles: his ex-wife (Amy Ryan) keeps trying to enter the picture, and his daughter Sam (Emma Stone) is fresh out of rehab and forced to work with him on the production, much to her disdain. 

Riggan begins to have a psychotic break after his play earns poor initial reception and the actors cannot seem to get along. Meanwhile, Mike and Lesley are having marital problems, and as a result Mike grows fond of the spunky Sam. Riggan tries to hold his life together, but everything with the play seems to be going horribly, making him question the point of what he's trying prove. 

The acting ensemble is absolutely phenomenal, led by Keaton's sure-fire-Oscar-winning performance. He's angry, depressed, hilarious, optimistic, and unsure all at the same time, and the result is volcanic. Edward Norton is also a lock for an Oscar nod, though I was less fond of his performance than Emma Stone. She brings a vibrancy to the picture, and adds an element of fun amidst the darkness surrounding the protagonist. Stone steals every scene she's in, and her abrasive dialogue and strong personality works incredibly well. The other actors do some great work as well, though its the three former superheroes that have the best parts. 

I've heard the film was created to look like one long shot, with the cuts hidden in the editing. I was pretty skeptical about this, until I learned who the director of photography was: Emanuel Lubezki. That's right, the creative genius behind Gravity is back in Birdman, and his work in the Cuaron movie seems like target practice when compared to the elegance of this Inarritu film. Believe it or not, this movie actually looks like one long, continuous shot. I counted only a handful of incidents where the film cuts, and I'm curious to hear how many there actually were. Regardless, this filmmaking is insane when you think about it. How they pulled this off is a minor miracle, and it's only with divine magic that I can attribute such astoundingly gorgeous work. 

The film uses the film-length long shot to its advantage, making the story seem claustrophobic and significantly uncomfortable. The sets are tight and narrow, and the dressing room is shot so that it always feels like its getting bigger and bigger. We desperately want the cameraman to cut away, to move far from where we are, but we're stuck in that room until another character opens a door or moves into another area. Kudos to the actors once again for being able to work under such strict conditions as a continuous long shots, having to traverse the immense, tight set and get to their next spot before the camera gets there. In any situation, this is some of the most brilliant filmmaking I've ever encountered, and I'm still wondering how they ever possibly pulled it off. 

The editing ensures that we think the film is indeed in one long shot, cutting together clips, visual effects, and scenic transitions to make the final product seamless. It moves at a sort of dream-like time, highlighting the movie's grand imagery and intriguing uses of light. There's an existential dread in the editing, forcing us to keep moving through these characters days with no breaks. That's not to say that the film is boring; rather, it's a fascinating new way of making movies that will hopefully inspire filmmakers to try and replicate the marriage of cinematography and editing featured in Inarritu's film. 

Drums seem to be playing a big part in film scores this year, and like Whiplash, the percussion adds a heavy intensity to the narrative. In Birdman, it's erratic, hectic, and seemingly random beats that adds a layer of confusion to Riggan's ever-degrading psyche. There's also hints of orchestra in some of the more emotional scenes, which compliment the action but overall are not as effective as the drum sets. 

Like the meteor that you see crashing down in the first frame of the picture, Birdman is an out-of-this-world dramedy with some of the best filmmaking in recent memory. Keaton is awe-inspiring, and it's equal parts fun and horrifying to think that Riggan's life is how Keaton probably feels trying to escape the shadow of the bat. 

Sometimes, the unexpected virtue of ignorance is going to see something you expect to be horrible, but end up loving. Other times, it's seeing something you think you'll love, and end up having a revelation about your own passions and place in the universe. Birdman is a film for film lovers, a mind-blogging movie about moviemaking, and cinema in its most original form.   

Annabelle (Leonetti, 2014)

I've only recently gotten into horror movies, but have immersed myself in the greats. Films like Nightmare on Elm Street, Halloween, Child's Play, The Omen, and Paranormal Activity all bring something unique to the genre; but, they all suffer from the problem of too many sequels. 

Last summer's scarefest breakout, The Conjuring, barely missed the cut of my top 10 movies of 2013.  It's a thrilling movie that's terrifying to behold and fun to witness. It pays homage to classic horror movies, while also crafting new ways to scare you. It's actually a good film- a rare feat in the usually shlocky horror genre. 

One of the most disturbing elements of The Conjuring was the Annabelle doll, which appeared in the first 10 minutes before disappearing until the film's final act (and even then only showed up for a few moments). The focus wasn't on her, but she was hardly forgettable; in fact, many people cite Annabelle as the scariest part of the movie. Warner Brothers felt strongly enough about her apparently though, because shortly after the critical and commercial success of The Conjuring they announced a spin-off starring the doll. Suffice it to say, fans of the original film like me were curious and excited for the prospect of having an entire film dedicated to the smiling toy. 

Unfortunately, Annabelle is about as wooden as it's titular doll.

The acting is second rate, the story is uninteresting, and the visual effects are sloppy. But worst of all, the filmmakers completely did away with all the components that made The Conjuring so terrifying. Much like Psycho and The Exorcist, director John R. Leonetti take a fantastic concept and turn it into a disaster. 

Set a few years before the Ed and Lorraine Warren get their hands on the doll, Annabelle tells the story of a young California couple dealing with freaky occurrences. It serves as a sort of origin story for Annabelle, as we learn that she originally was a rare doll that the pregnant Mia (Annabelle Wallis) has been seeking for her collection. The doll gets imbued with supernatural abilities when a group of satanic cultists invade the home of Mia and John. The devil (not just the more believable evil spirit in The Conjuring) himself takes over Annabelle, and as its powers grow, so too does the level of terror inflicted on Mia, John, and their baby. 

The Conjuring mastered the art of keeping things hidden, letting the audience imagine their own nightmares taking place in that particular household. It never shows actual demons like Annabelle does, nor does it give into tired plot devices to progress its story. 

Not to mention The Conjuring had great performances from Vera Farmiga and Patrick Wilson, while Annabelle features C-level talent from people who I'm pretty sure failed out of acting school. Alfre Woodard and Tony Amendola do their best, but they're not working with much help from either the cast or the crew. 

Granted, nobody goes to a horror movie expecting a work of art. They go to get the living daylights scared out them, right? Well, that's another strikeout on Annabelle's part. Other than really two moments, the movie is just not scary. The doll seems silly by the end, and a lot of that has to do with how poorly the director uses her. A lot of times, she's just sitting there staring, and does nothing to elicit a reaction from anyone other than the wimpiest of viewers. 

The Conjuring certainly merits a sequel. And perhaps Annabelle is just a fluke, meant to tide us over until The Conjuring 2 comes out next October. But I wish they would have just waited to actually create a good movie. Annabelle's character works really well in the original because she's in it so infrequently, and isn't the driving force of the film. She's there just to freak you out, and reference other horror creations like Chucky in the picture. 

The Conjuring had such great potential as a franchise starting point, with James Wan at the helm and Farmiga and Wilson returning film after film as the Warrens- real life paranormal investigators that have inspired generations. Annabelle is their most infamous discovery, and her inclusion in The Conjuring worked as a minor role. As evidenced in Annabelle, however, we learn that she cannot hold her own as a major star. 

If you want a good horror movie for this Halloween, go check out The Conjuring (or see it again, because as I learned this past week, it's still great fun and scary as all get out). Otherwise, ignore the box office receipts and pretend Annabelle doesn't exist as anything more than a placefiller for AMC's FearFest from 2:00-4:00 on a Tuesday afternoon.