(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!!!!!
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