This year, like any other, was packed with quality films. Strong characters and outstanding performances could be found in abundance at any movie theater, but more than in any year we can remember, this year also saw a large number of outstanding independent films. Here are our 10 favorites this year, in no particular order.
"Nightcrawler"
In his writing and directorial debut, Dan Gilroy (brother of “Michael Clayton” screenwriter and director Tony Gilroy) managed to balance a flashy style and a dark, disturbing story about a freelance videographer (played by an absolutely haunting Jake Gyllenhaal) who hunts the streets of Los Angeles at night, hoping to get footage of some of the city's most violent crimes to sell to news stations. Gyllenhaal’s performance is absolutely spectacular as the sleazy Louis Bloom, absolutely nailing the distant, outsider vibe required to play the character. Gilroy’s film boasts one of the year's best screenplays, showing how cut-throat and moral-lacking the journalism world can be.
Read a review of "Nightcrawler" from The State Press here.
"The Guest"
Writer Simon Barrett and director Adam Wingard manage to top their previous hit “You’re Next” with a genre-melding film that acts as a throwback to the action/thrilers of the 1980s. Dan Stevens' “Downton Abbey” is as fantastic as a recently discharged soldier who visits the home of a soldier he served with. However, all is not as it seems. He quickly turns the quiet lives of the family upside down. The film wears its heart on its sleeves and is one of the most absurd and enjoyable films I had the pleasure of seeing in theaters all year.
Read a review of "The Guest" from The State Press here.
"The Sacrament"
It takes a lot to genuinely disturb me, but writer/director Ti West’s film genuinely did. The film is based on the Jonestown Massacre, in which every member of a large cult drank poisonous Kool-Aid and killed themselves. The film’s slow, deliberate pacing and visceral, unapologetic images do not shy away from the horrific acts, making it that much more of an intense experience. I saw the film in theaters in May but watched it a few weeks ago with some friends, thinking it would be less scarring the second time around. I was wrong. “The Sacrament” proved to hold up as one of the year’s best horror films.
"Whiplash"
I’ve always been a fan of J.K Simmons’ (his portrayal of J. Jonah Jameson in Sam Raimi’s "Spiderman" films was absolutely perfect). This film proved how versatile he is, seeing him play a verbally and mentally abusive drum professor opposite Miles Teller’s music student at a Juilliard-esque music academy. The tension Simmons brings to his role paired with Teller's actual ability to drum makes the film one of the most intense, enjoyable pictures of the year. An incredibly solid drama that could quite possibly garner Oscar nominations for both of its leading men.
"Birdman"
Alejandro González Iñárritu’s commentary on what being relevant means is quite possibly my absolute favorite movie of the year. Casting Michael Keaton as the protagonist, a man who formerly played a superhero and is trying to get back in the mainstream, was an absolutely genius choice. The film is beautifully shot and is a feat of editing, shot to look like the entire film is a single take. While the film may be a bit too bizarre for everyone, I loved every minute of it. I am looking forward to seeing what kind of buzz the film garners heading into awards season.
“The Grand Budapest Hotel”
Wes Anderson is one of my favorite directors of all time, and his new film did not disappoint. By far the busiest of all his movies, “The Grand Budapest Hotel” tells the magnificent story of head concierge, M. Gustave (Ralph Fiennes), and has some of the best cinematography, dialogue and art direction seen this year. The acting of all Anderson’s favorites were top notch, as always, while some actors new to his roster gave wonderful performances as well. A true enjoyment to watch!
Read a review of “The Grand Budapest Hotel” from The State Press here.
“Frank”
One of the odder, quieter movies of the year, this indie film about an aspiring musician (Domhnall Gleeson) who joins the quirky avant-garde band The Soronprfbs, led by frontman Frank (Michael Fassbender), who constantly wears a papier-mâché head. The film was surprisingly dark, with characters who are being torn apart by the world around them. Both Fassbender and Scoot McNairy, who plays the band’s manager, were the stand-out actors, but unfortunately, they probably won’t be recognized come award season. I did not expect to get much out of this film, but it quickly became one of my favorites of the year.
Read a Review of "Frank" from The State Press here.
"Maleficent"
This movie was a total surprise. I didn't expect much before I went to go see "Maleficent," but it was an incredible re-do of the original "Sleeping Beauty" tale. Both Angelina Jolie and Elle Fanning did a wonderful job playing the leads. While the film is part of a larger Disney revival, it seemed to turn out much better than, say, the 2012 "Snow White" remake.
“Interstellar”
This movie blew my mind. The whole “Earth is in terrible shape; we need to find a new home for humans” plot line is terrifying because it honestly seems like something we could be headed toward in the near future. This drives the film forward through its nearly three-hour runtime and kept me on the edge of my seat. Matthew McConaughey is still at the top of his game, and the great acting continues with Anne Hathaway and Jessica Chastain. This movie is extremely enjoyable, even if you only wish to stare at all the pretty space sequences.
Read a review of "Interstellar" from The State Press here.
“Wish I Was Here”
While director and lead actor Zach Braff does not stray far from his role in 2004’s “Garden State,” he still delivers a wonderful dramedy liable to make anyone laugh and bawl their eyes out at the same time. Aidan Bloom (Braff) is an aspiring actor who takes his children on a journey of self-realization when he is forced to pull them out of school due to a lack of funding. Braff’s choice in music also helps solidify the film. Great numbers from The Shins, Bon Iver and Paul Simon made the movie an absolute delight.
Reach the reporters at seweinst@asu.edu and wruof@asu.edu or follow them on Twitter @willruof and @S_weinstein95
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