The Top 100 Films of the Decade So Far

The Tree of Life

As anyone who reads this site (or follows my Letterboxd account) knows, I love making film lists. While I recognize that it’s not very useful as an act of film criticism, there’s something about the exercise that I find satisfying and fun. Instead of reducing these films to an arbitrary ranking, I find that compiling lists gives me a chance to reevaluate and revisit my initial encounters. Am I still thinking about a film after a few years? Are there open questions, mysteries or contradictions to explore? Considering questions like these as I create a list proves that films aren’t finite objects, but experiences that grow and change over time. The best films don’t ever really end, but remain vibrant and alive in my mind long after I see them.

It’s with these thoughts in mind that I endeavored to create a list of my 100 favorite films at the halfway point of this decade. Of course, my list is entirely subjective, and my rankings probably wouldn’t hold up to much scrutiny, but these are some of the films of the last five years that I’m still thinking about today. Read more…

The Best Performances and Scenes of 2014

I recently shared my Top 20 films of the year, but while 2015 is still young and its great films are months away, there’s still time to look back at 2014. In this post I’ll name my favorite lead and supporting performances and count down some of the most memorable scenes. Recognizing some under-appreciated actors and small moments, even in films I may have disliked overall, gives me the chance to mention other titles that landed just outside my Top 20 of the year and attempt to rectify the year’s biggest Oscar snub: Ralph Fiennes.

Read more…

The Top 20 Films of 2014


More than most years, 2014 seemed to boast a wide range of titles on critics’ Top 10 lists. With a few notable exceptions (Boyhood, of course), there weren’t many films you’d be to sure to see among any critic’s favorites. I’m not sure whether this lack of consensus speaks to the diversity and high number of quality films released, or instead indicates a lack of truly exceptional films. Looking back over my own year of film watching, I can see both arguments. Only a few movies stood out as instant classics, indelible statements that will grow richer over time. While those occupy the top of my list, there were plenty more stand-out films, maybe not masterpieces, but examples of the cinematic diversity 2014 had to offer and worthy entires on my list of the Top 20 films of the year.

Honorable Mentions: Snowpiercer, Life Itself, The LEGO Movie, Blue Ruin, Hide Your Smiling Faces
Regrets: Selma, Two Days One Night, Mr. Turner, Winter Sleep, Jauja, Force Majeure, Tale of the Princess Kaguya

Read more…

Goodbye to Language (2014)

Goodbye to Language / Jean-Luc Godard / 2014 / fivestar

Active Ingredients: 3D; Thrilling blend of visual and thematic modes
Side Effects: Strange comedy; Lack of conclusive ending


[Part of VARIABLES, a series of essays on the art and politics of Jean-Luc Godard]

Somewhat surprisingly, both terms in the title of Jean-Luc Godard’s newest film are equally important. Goodbye to Language 3D is as much about “goodbyes” as it is about “language.” Though, of course, it’s a third element of the title which describes the dominant experience of seeing the film: 3D.

Like other examples of late-period Godard (For Ever Mozart, Film socialisme), his newest film is a demanding, confounding and occasionally assaultive rumination. Determining the topic of this rumination, however, can be difficult. But there’s good news for daunted viewers: surrender to the unique logic of the film—infinitely more tactile than intellectual—and Godard dazzles with a flood of remarkable imagery, an articulation of a purely visual language that cannot and should not be reduced to a single meaning. Read more…

Video Essay: The Art & Politics of Jean-Luc Godard

[Part of VARIABLES, a series of essays on the art and politics of Jean-Luc Godard]

To conclude my series of essays on Jean-Luc Godard, I’m posting a short video essay entitled VARIABLES, on the intersection between Godard’s style and his politics. Far more than allusions to literature or overt philosophizing, Godard’s art revolves around these two poles, the extent to which his experimentation with the language of film generates new ways of seeing the world. The video, using many of Godard’s own techniques of montage, explores how the connections, or variables, between his images constitutes the political dimension of this unique artist.

After watching the video, continue below to read more on these variables, rendered even more apparent in the wake of the revolutionary use of 3D in Godard’s new film, Goodbye to Language.

Read more…

Exploding Form: Late Godard and James Joyce


[Part of VARIABLES, a series of essays on the art and politics of Jean-Luc Godard]

The films of Jean-Luc Godard abound with literary quotations. From a government document on prostitution to Les Fleurs du mal, nothing is off limits to Godard, from high culture or low. While his many literary reference points help expand and trouble his thematic palate, the work and career of one author makes a compelling analogue to the drastic formal innovations of late-period Godard: James Joyce. Read more…

National Gallery (2014)

National Gallery / Frederick Wiseman / 2014 / fourstar

Active Ingredients: Opening montage; Nuanced insight about art
Side Effects: Abrupt transitions; Prevalence of long setpieces

[National Gallery plays at Boston’s MFA on December 14th and 28th.]

Frederick Wiseman’s career-long project as a verite documentarian—and one of the truly indispensable filmmakers—has been chronicling the inner-workings of various institutions. I wrote about the fantastic insights this search for the humanity within a complex organization yielded in Wiseman’s great 2013 film, At Berkeley. In that film, Wiseman’s combines scenes of classroom lectures with boardroom strategy planning, and gracefully highlights themes that echo across all facets of life at Berkeley University.

On its surface, Wiseman’s newest film does the same thing with London’s prestigious National Gallery art museum. With the filmmaker’s characteristically infallible precision, patience and eye for details, National Gallery makes time for drowsy museum visitors, nude models in art classes, janitors, framers and more. Yet, somewhat surprisingly, National Gallery seems just as fascinated by the subject of its titular institution—art—as it is by the interconnected agents that make it function. Read more…


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