Apart from serving as a stark and somewhat worrying reminder about university work that I’ve not yet completed but absolutely should have, August is also the last month of summer blockbuster season. I’ve no idea why that’s relevant. Here are my top 10 films of the calendar year thus far. UK release dates. It’s about a month late.
We all love lists though, so I hope you fine folks’ll forgive me.
Bryan Singer guides the X-Men franchise back to form with a rip-roaring circus act made up of mind bending time travel, slow motion wall-running and Wolverine being Wolverine. Days of Future Past manages its cast supremely well – even the underused Evan Peters is magnetic. Though, not Magneto. He could be. That joke wasn’t even planned.
Brendan Gleeson both runs and steals the show as Father James Lavelle in a film that plays its cards from the get-go, before promoting a townsfolk guessing game as darkly entertaining and intriguing as any before. The screenplay evolves as characters unravel and, through Father James, we become an integral part of it all.
Everything is awesome! And hilarious. And energetic. And utterly batty. A flick that proudly flaunts something for everyone, The Lego Movie is non-stop from start until finish; the incessant stream of laughter that spills from our mouths makes it difficult to regain control of breathing. The film ain’t perfect but when things are this gleefully mental, it doesn’t need to be.
For 85 minutes we sit in a car with Tom Hardy and for 85 minutes Tom Hardy magnificently transforms into an ordinary guy bearing a portfolio of problems, each one weightier than the previous. Locke is a moment in time driven by authentic normality that’s incredibly hard to come by on film.
Doug Liman’s sci-fi extravaganza is even more than that: it’s startlingly funny, unconditionally engaging and the only film I’ve seen twice at the cinema this year. Tom Cruise flips perception on its head, but Emily Blunt is the one who kicks most ass. Edge of Tomorrow is summer popcorn cinema done intelligently. The correct way.
Hailed as more than simply one of Marvel’s superhero jaunts, The Winter Soldier captures a variety of interests. There’s both a political tinge and an espionage strand to go along with the familiar genre narrative, and these additions work. Chris Evans unveils his best performance as the Cap’n in a film that is considered by many to be the best Marvel output to date. Honestly.
Dawn grabs the impressive progress made in Rise and swings to new, greater heights. The tone is more wrought and the outlook is increasingly bleak but, from acting to visuality, the execution is wholly sublime. To simplify Matt Reeves’ flick as the best looking film in a generation would be to do it a disservice. It is, but Dawn also boasts a fulfilling and rewarding foundation.
From smoky bars to icy streets, there’s no escaping the genuine purity of the Coen brothers’ folk piece. Its screenplay is morbidly delightful, and Oscar Isaac is a walking manifestation of just that. Llewyn is a bit of an ass yet we root for him. Peculiarly, and perhaps it’s just me, despite his downtrodden unluckiness we want to be him. Then again, it might simply be the allure of this latest Coen tale.
Formally recognised as 2013’s best film, 12 Years a Slave hit UK cinemas in January of this year. It’s inarguably the toughest piece on this particular list, and is certainly one of the most gruelling watches in recent memory. Not only is Steve McQueen’s retelling of the harrowing slave trade important, but it’s also incredibly well delivered. People should see this because it depicts a vile chapter that ought to be bookmarked as a warning to humanity.
Though it’s not as heavy as 12 Years a Slave, or as furnished as Inside Llewyn Davis, or as visually striking as Dawn of the Planet of the Apes, Blue Ruin comes nail-bitingly close each time. This is simple storytelling relayed with a restrained confidence and wholesome purpose, and there’s even a tremendous lead performance from Macon Blair to cap it all off. It’s just brilliant.
I’m off to read about the geopolitics of Hollywood.
Images credit: Collider
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