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My 12 for ’13: Gravity & Good Old-Fashioned Simplicity

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 4…

One of the more interesting aspects of blockbuster cinema over the past decade or so has been the way that bigger movies tend to have become more complicated and ambitious in their storytelling. This isn’t a bad thing, by any measure. The Dark Knight is a plot-driven blockbuster with no shortage of plot complications, reversals and reveals. However, not every blockbuster is as deftly constructed.

There’s been a surge in overly complicated and excessively convoluted blockbusters over the past few years. It’s not enough to have good guys and bad guys and spectacle. There’s a sense that there needs to be more crammed on in there. Double-crosses and triple-crosses, betrayal and redemption, shock reveals and game-changing twists. Bad guys no longer plan to simply destroy the world or kill the good guy, everybody has competing agendas, and big epic blockbusters often struggle to smooth those into a cohesive narrative.

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From this year, for example, Star Trek Into Darkness – while still an exceptionally enjoyable film – suffered from an over-complicated plot and a surplus of villainous motivation. The Wolverine featured a fiercely convoluted middle act where it seemed like half-a-dozen bad guys were all trying to kill our hero for different reasons. G.I. Joe: Retaliation featured an evil plot that was not only brilliantly stupid, it was also unnecessarily convoluted.

Gravity serves to buck the trend, offering something of a sharp contrast to this convoluted storytelling. Gravity is a celebration of old-school visual spectacle, guided through a decidedly old-fashioned plot.

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My 12 for ’13: Stoker & A Vampire Story Without Vampire

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 5…

Stoker is one of the most underrated gems of the year. Released early on, Chan-wook Park’s psychological horror easily gets lost in the shuffle. Which is a shame, because it’s a wonderfully disturbing little thriller, one crafted with an incredible eye for beauty. Even the name is somewhat appropriate, evoking the creator of the modern vampire story. Stoker is in essence a vampire movie made without a vampire, although Matthew Goode’s Uncle Charlie is a convenient stand-in.

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My 12 for ’13: Star Trek Into Darkness & Fighting for the Future…

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 6…

Star Trek Into Darkness won’t win any awards for scripting or plotting. It’s very hard to succinctly explain the various overlapping evil plans directed by the movie’s two competing villains – who knows what at which point, and how that makes sense in the context of their objectives. Star Trek Into Darkness is a bit of a hot mess when it comes to storytelling – an overly convoluted plot that spends far too much time homaging what come before, when it should be boldly going somewhere new.

And yet, despite that, there is an ambition to Star Trek Into Darkness, a willingness to embrace big ideas and questions about cynicism and optimism, about hope and fear, about the attitude that people adopt towards the future. At the most basic level, that’s what Star Trek is. Into Darkness doesn’t have the same space as a television show to delve into those questions, nor to offer the same degree of nuance.

However, it’s a willingness to ask them that is quite endearing.

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My 12 for ’13: Only God Forgives & Neon Nightmares…

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 7…

Few films this year have stayed with me as vividly as the rich and disturbing visual and aural landscape of Nicolas Winding Refn’s Only God Forgives. It’s a decent into a neon hell, a world half-inhabited by the damned and stalked by demons. With Cliff Martinez’s pounding score still echoing through my head long after my last viewing, Only God Forgives is a haunting piece of cinema, a nightmare captured on digital.

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My 12 for ’13: Philomena & Harsh Truths

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 8…

Every country has its own shameful secrets, the parts of its history that it would gladly lock away in a box far from prying eyes, and would be happy to never speak of them again. Slavery has been pushed to the forefront of American popular consciousness over the past year or so. Spielberg’s Lincoln dealt with the topic in a very philosophical manner, while 12 Years a Slave offered a more visceral exploration and Django Unchained sought to shock and discomfort its audience with its exploration of past atrocities.

In Ireland, we have an entire lost generation. In a society where the Catholic Church held an inequitable amount of authority, and prevailing moral values led to condemnation of single mothers, countless young women effectively signed their lives away to indentured servitude, parting with their children and devoting years of their lives to financing the church by providing free labour. It’s something that we’ve only recently begun to come to terms with, with Taoiseach Enda Kenny apologising publicly for their treatment in February of this year.

Philomena bristles with a righteous sort of anger, offering the remarkable story of one woman who lived through that.

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My 12 for ’13: Iron Man 3 & Shane Black’s Christmas in April

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 9…

While Tim Burton’s underrated Batman Returns remains the definitive superhero Christmas movie, Iron Man 3 comes pretty darn close. Which is very strange, for a movie released in towards the end of April in Europe and in the United States in early May. This paradoxical festivity is just one of the many ways that Iron Man 3 feels more like a Shane Black film than a piece of the expansive and ever-growing Marvel Cinematic Universe.

And that’s a good thing.

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My 12 for ’13: Much Ado About Nothing & The Joy of a Shakespearean Sex Comedy…

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 10…

I feel a little sorry for Shakespeare. The guy wrote some of the most influential and iconic plays ever composed; invented countless turns of phrase and even words; became inexorable associated with theatre and stage work… and yet he’s still hated by just about every student forced to sift through Romeo & Juliet or Hamlet or Macbeth as part of their education. While Shakespeare is easy enough to read once you get a grip of it, or once you have enough experience, forcing kids to read those plays at school is one of the most effective ways to kill enthusiasm for the Bard.

The beauty of Shakespeare is that he isn’t just an “important” writer, that he isn’t just a key part of the evolution of world literature, a formative figure in the history of narrative. Not that any of those are minor accomplishments, mind you. The real beauty of Shakespeare is that he’s actually very good. Not with qualifications like “… for his time” or “… in context.” Shakespeare remains a great writer in the most fundamental “this is actually a pretty good story well told” sort of way.

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The best directors to adapt Shakespeare’s work to film realise this, and accept that Shakespeare is still a great storyteller; you just need to figure out how to translate his works properly to the screen, in the same way you’d translate a modern best-seller or a beloved cult comic book. Kenneth Branagh figured out how to do this, with his adaptations almost popping off the screen.

Much Ado About Nothing demonstrates that Joss Whedon has it pretty figured out as well.

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My 12 for ’13: Lincoln & Lawyering

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 11…

At its best, Lincoln manages to capture that beautiful conflict at the heart of democracy – the question of the difference that exists between democracy as a form of government and simple majoritarianism. Is it possible to preserve these fine and noble institutions and structures while constantly working around them?

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Non-Review Review: Anchorman 2 – The Legend Continues

Anchorman 2: The Legend Continues is perhaps twenty minutes too long, and indulges in a little bit too much of the nostalgia common in comedy sequels during its final act, but it’s a movie with its heart in the right place. More message-driven than its direct predecessor, and much more of an ensemble piece, Anchorman 2: The Legend Continues is an enjoyable example of the sorts of cringe comedy that made the original such a cult classic. While it might not measure up perfectly, it ranks quite highly among the annals of comedy sequels.

Jumping for joy?

Jumping for joy?

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My 12 for ’13: Blue Jasmine & The Power of a Lead Performance

This is my annual countdown of the 12 movies that really stuck with me this year. It only counts the movies released in Ireland in 2013, so quite a few of this year’s Oscar contenders aren’t eligible, though some of last year’s are.

This is number 12…

There are a lot of reasons to like Blue Jasmine. Woody Allen adapting Tennessee Williams for the Great Recession was always going to be worth a look. The film’s elegant jazz-style narrative style, one that’s free-form but still hits the key notes. The brilliant supporting cast that even hints at a possible rehabilitation for Andrew Dice Clay.

However, there’s one reason above all others to love Blue Jasmine: Cate Blanchett.

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