Best Films of 2014: 20-16
This is a continuation of my series on the Best Films of 2014. It began yesterday here and will continue with a post on 15-11.
Making its North American debut at the New York Film Festival Misunderstood is an independent seriocomic coming of age story that should hopefully land US distribution but so far as I know has yet to. Here were my closing thoughts on the film upon having first viewed it:
Misunderstood is refreshing inasmuch as its a coming-of-age tale that does not focus solely on one rite. It’s a slice of life for Aria’s character with many of the usual concerns: schools, friends, first crushes and the like, as well as some other concerns conveyed in somewhat more unorthodox circumstances such as her relationship with her siblings with the spiritual world and more. It’s a film that wants you to laugh along with it as it’s trying to strike that universal chord that rings true to all regardless of circumstances. Misunderstood is aptly named very ably portraying not only its protagonist’s being misunderstood but also understanding her at a deep, fundamental level and conveying her story clearly.
19. The Boxtrolls
For those who enjoy animation for all audiences and a bit of diversification in technique and producers for the animated medium there is not a better place to turn at current than Laika. Their latest stop-motion venture is idiosyncratic, and is a marvelous example of world-building as well as the ever-increasing virtuosity of their departmental prowess. As the BAM Awards exemplify The Boxtrolls is a film that excels in various facets of production and tells an entertaining and charming story. It’s proof that animation is not just for kids stories and that there are many great players in the animation game at the moment.
18. 20 Lies, 4 Parents and a Little Egg
A film that handles some complicated ground with excellent acting, heart and humor it made an impression early in the year that stuck through the year as a whole:
20 Lies, 4 Parents and One Little Egg doesn’t tread easy ground. When you’re dealing with a family-based comedy-drama that concerns two sets of same-sex couples the dangers become either insensitivity or faux-edginess. What this film opts for instead is heart and humanity and a brief toe-dip into the complexity of human emotions, and that’s the right path and it’s well-navigated here.
As was touched upon in an earlier op-ed, and will be again with the BAM Award prizes, dealing with religious matters in film can be a complicated matter when the virtues of entertainment and faith aren’t always synchronized. The biggest hurdle to overcome is perhaps creating effective drama and not giving in to the lowest common denominator:
To preserve the surprise of it, I will avoid describing the detail the peace that Jean-Marie comes to and the conclusion he reaches regarding his identity at is really only discussed at the most pivotal points of the film. However, it is an intriguing way to look at it.
Clearly, as described above, this is a film that’s not afraid to discuss matter of faith, but also take those discussions into some difficult, challenging places. It’s a story wherein it could be tempting dumb it down and mollycoddle but it does not, quite the opposite it respectfully challenges those watching it to think – proving that faith-based films needn’t be neither propaganda or mindless.
16. Edge of Tomorrow
Typically some semblance of intelligence is not necessary to make an effective action film. However, when a bit of thought is there and exhibits itself it can elevate simple action or sci-fi conceptions to bigger heights. This is a film that revels in the cleverness of its narrative constructs and edits, but has more to offer than just meta intrigue. While the ending does not serve it as well as it could it is still one of the most complete viewing experiences of the past year that is another testament to Tom Cruise’s stardom and testament to multi-talented Emily Blunt.