15. The History of Future Folk
I didn’t even know this movie existed until I found it four days ago while sifting through Netflix’s streaming library. At first it looked like some cheap DTV comedy, but then I read the info blurb, which actually had an interesting ring to it. To be sure, I checked out it’s rotten tomatoes page. 96%, based on 24 reviews, which may not be much but 24:1 is still an admirable ratio, so I gave it a shot. This movie is charming as hell. The movie follows General Trius, an alien from the planet Hondo sent to save his race by annihilating Earth’s population to make room for Hondo’s, but upon his landing one thing stops him from pulling the trigger on his doomsday device: music. Apparently, Earth is the only planet known to Hondo to have conceived music, and the discovery elicits a spiritual awakening in General Trius, who abandons his war campaign, becomes a folk musician in NYC and starts a family under the name Bill. The plot is silly and certainly not without it’s lapses in logic, while the sparse science fiction motifs definitely show the low budget of the film. However, the acting and dialogue is so natural that you just want to follow these characters through whatever shenanigans the comedy has in store for them. The jokes are funny and the drama comes off as natural as it can in a movie where music literally saves the world. Even the directing is noticeably competent, on several occasions creating some interesting sequences through parallel editing resulting in one such scene where a tango is juxtaposed with a pretty well choreographed fight scene. However, what really makes this movie is the great folksy soundtrack. The two male leads are fantastic vocalists/ musicians who ignite the stage throughout the movie. All in all, once you get past the hokey premise and the cheap effects, you’ll find that this movie has more than enough charm to carry itself while providing some great background music for the ride. And did I mention that Dee Snider has a bit part? Need I say more?
14 A. Star Trek into Darkness/ 14 B. Pacific Rim
I know, I cheated and listed two movies under the number fourteen slot, but I enjoyed both blockbusters for different reasons and couldn’t decide between them, plus it’s my list and I do what I want. Now I’ll be honest, this summer disappointed me somewhat. Last summer had such great blockbusters with The Avengers, Dredd, the new Spider-Man movie and even The Dark knight Rises, setting aside my issues with that movie. By comparison this summer didn’t come close to touching the level of “pop cultural event” status of 2012, though it tried its hardest. Iron Man 3, while cleverly written with some interesting subtext about the media sensationalization of the war on terror, failed to bring the dramatic weight it promised by constantly subverting it’s plot points into one off jokes. Man of Steel, while certainly delivering the action scenes Superman fans have been waiting decades to see, could have used about 2 or 3 more drafts in the writing room. Even The Wolverine, which was my personal Favorite out of this year’s superhero movies, suffered from devastatingly weak villains that felt like they belonged in Kick Ass 2. This year, the two summer blockbusters that really caught my attention didn’t come from Marvel or DC. Star Trek into Darkness offered thrilling action set pieces with fun characters, a great adventurous tone that wasn’t afraid to get serious when it needed too and a great villain in the form of Benedict Cumberbatch as the classic Star Trek bad guy Kahn. It even offered some surprisingly compelling subtext about a post 9/11 U.S. I don’t think it’s an accident that events of the movie detail a terrorist attack on a Federation Facility, prompting a bloodlust fueled incursion into enemy territory (the Klingon Planet), while a war-mongering politician seeks to use the attack as a catalyst for an unrelated war. These themes of revenge versus justice and moral grey-ness make for compelling drama as a backdrop to the dizzying spectacle.
Pacific Rim is simple in story: Giant Monsters attack the world so the World unites and builds giant robots to fight them. The characters all toe the line between archetype and cliche, but they are memorable and energetic enough to carry the film when the action isn’t happening. The director Guillermo Del Toro brings a great visual flare to every frame of the film and does a great job of immersing the audience in the world of the characters. I loved the global feel to the movie. Yes, the lead is a muscular white guy, but his female co-lead is a Japanese woman actually played by a Japanese Actress making her Hollywood debut. Idris Elba plays their superior officer. There are Chinese Jaeger Pilots as well as Australian and Russian, making for a refreshingly multi-cultural blockbuster. In the end it’s not another nauseatingly jingoistic “America saves the world” movie like Independence Day, but a movie about unity and team work on a global scale, something Hollywood should defiantly consider making more of. Also, while watching it I couldn’t help but be reminded of the first Star Wars movie (the actual first one, A new Hope). Like A New Hope, this movie built it’s world around homages to previous works and aesthetics. While Star Wars was a call back to Samurai movies and pulp science fiction serials like Buck Rogers and Flash Gordon, Pacific Rim is one giant homage to Japanese Monster Flicks like the numerous Godzilla movies and mech-centric animes like Evangellion and Gundum Wing. Both establish a colorful ensemble of characters who represent the varying walks of their respective universes and both simultaneously tell a stand alone story while setting up an rich history of further stories to tell. One thing was certain when I left the theater: I really want a Pacific Rim 2.
13. The Conjuring
I wouldn’t consider myself a horror movie buff, I’ve liked a number of horror movies like Halloween, Carrie, The Exorcist and the Evil Dead movies, but on the flip side I really don’t see the appeal to movie series like nightmare on Elm Street or Friday the Thirteenth. For me it has to work as an actual film, meaning that it must have a story with 3-dimensional character who aren’t just slasher fodder. For me the minute I stop caring whether any of the characters live or die is the minute the movie has failed. This is why I loved Cabin in the Woods back in 2012, because it pointed out all the things I disliked about the bulk of the horror genre. James Wan’s The Conjuring takes a different approach then Cabin in the Woods, playing it straight rather than satiring the genre through meta-fiction jokes and archetypes. The story itself isn’t particularly innovative, opting for your standard haunting-possession-exorcism story, but where it excels is in the strength of its plotting and characters as well as in the competence of it’s director James Wan. He doesn’t rely on jump scares and gore. The real terror of The Conjuring is derived from the slow-burn suspense achieved by slow, continuous shots and the use of darkness and shadow, thus praying on the audience’s imagination to scare them. It’s also enhanced by the fact that there really aren’t any outright unlikable characters in the movie, aside from the ghost of course. They’re all fleshed out with likable personalities and well acted by the cast, resulting in a rare case where you actually don’t WANT to see these people get hurt. That’s where the true horror comes from, seeing these good, likable people under increasingly dire and terrifying circumstances, thus making The Conjuring one of the most well made and effective straight horror movies I’ve seen in years. Plus it’s set in the seventies, which means it has an awesome soundtrack.
The director of Old Boy (the original) has made his American film debut, and it’s a masturbatory love letter to Alfred Hitchock. I’m not gonna lie, I loved this movie upon first hearing about it. Mia Waskikowska stars as a young sociopathic girl nearing sexual maturity with Nicole Kidman playing her distant mother with whom she has a tense, quasi-elektra comple. After the death of her father she meets her charismatic uncle played maliciously by Mathew Goode who is very much channeling Anthony Perkins’ Norman Bates in his performance. This movie has it all in regards to Hitchcock homages: stuffed birds, warm-faced serial killers, pent up sexual frustration and conversations on staircases. The performances coupled with the dark, moody atmosphere and the Hitchcockian cinematography make for a fun and compelling psychological thriller that basically boils down to the coming of age tale of a young girl realizing she’s destined to become a serial killer. So if that’s your thing you’ll have a blast.
11. The Hobbit: Desolation of Smaug
I don’t mind long movies. People complained about the length of the previous Hobbit Movie and I’ll agree, there were parts that could have been trimmed. But I love the world of middle Earth, and while Peter Jackson does tend to be self indulgent with these over long CG laden Mythopean epics, at least they use their excessive length to flesh out their characters while expanding and exploring their world and the wealth of stories therein. Desolation of Smaug is pure, unapologetic fantasy with dwarves and dragons and elves decapitating orcs. Martin Freeman is relatable and funny as Bilbo Baggins, who suitably develops a bit of an edge as he is left fending for himself for long stretches of the movie while slowly feeling the addictive draw of the ring he stole from Gollum. Ian McKellan is warm and captivating as Gandalf as usual and the cast of dwarves become a bit more fleshed out as they finally reach their stolen home beneath the lonely mountain. Benedict Cumberbatch doubles as the Necomancer, the disembodied spirit of Sauron slowly regaining power, and as the primary antagonist in the form of Smaug, a vainglorious and greedy dragon who has stolen the dwarven kingdom of Erabor for its riches. The movie is unquestionably a Peter Jackson movie, and not only in it’s length. Despite having not made an original movie in nearly two decade, Peter Jackson still manages to maintain his own artistic trademarks: Grisly violence being interplayed with goofy slapstick and horrifying imagery (the spiders of mirkwood and the Necromancer in Dol Guldor) are definite reminders of Peter Jackson’s roots in slapstick horror movies like Dead Alive and The Frighteners. The camera weaves in and around the action, placing the audience right there in the thick of it rather simply being spectators, and there are several moments of sheer picturesque beauty throughout. All in all, Desolation of Smaug more than makes up for it’s excessive length with the monolithic levels of movie magic on display.
10. Prince Avalanche
I have a few bones to pick with this director. A few years back David Gordon Green made some disparaging comments about the works of Kevin Smith and David Mamet, two directors I have tremendous respect for. If I remember correctly, he said that Kevin Smith had turned independent film making into a special Olympics. All I’ll say is this: don’t insult the work of another director then turn around and make Pineapple Express…and then Your Highness…AND THEN THE SITTER. But thankfully it seems he’s decided to make good movies again, because I enjoyed Prince Avalanche tremendously. The movie has beautifully naturalistic cinematography and fantastic performances by Paul Rudd and Emile Hirsch. I found Paul Rudd’s performance to particularly impressive. He plays his character with such a lack of inhibition, without any thought of sophistication or dignity to his appearance. There’s one scene in particular where he’s essentially playing house by myself in the charred remains of house destroyed in a forest fire. He walks around, pretends to call to his pretend wife and hold causal conversation, the typical 50’s sitcom American dream. But it never comes off as hokey or creepy or sad because of how natural and real Paul Rudd’s performance is. There is a difference between watching an actor pretend that they’re alone, and watching an actor truly act as if they are alone, with absolutely no thought given to how they would appear to an outside observer, simply behaving as their truest selves no matter how silly or sad they would appear to an onlooker. Paul Rudd delivers this performance brilliantly. This was one of two scenes that really stood out to me, the second being a phone call made by Paul Rudd to his now ex-girlfriend as the two argue. The audio of the phone call is played over a montage of the passing road (the entire movie takes place on this road as Rudd and Hirsch paint traffic lines down the middle of it). The road rushes passed the camera at various angles and distances, turning something as visually mundane as a phone call into something beautiful and vibrant to behold. What I loved about this movie is embodied in these two crucial scenes. Whatever issues I may have with this director, I have to respect the good work he’s done here and I look forward to what he has in store, unless of course it’s sequel to Your Highness.
9. Don Jon
Don Jon marks Joseph Gordon-Levitt’s first foray into directing for a feature film, and if this film is any indication, Levitt has a promising career as director ahead of him. The editing alone injects this infectious energy to a film about routine and repetition and JGL delivers a likable and layered performance as a character who I would probably think is a douchebag if I were to meet him in real life. This comedy is both hilarious and potent in it’s messages about how American media sensationalizes love and relationships, whether it’s romantic comedies or pornography. There’s even a bit of analysis of the “pornification” of American Media, or the overtly sexualized material that is available for public consumption in the form of commercials and magazine ads. For example, the film opens with a montage of porn clips interspersed with various commercials and news footage featuring sexually objectified women. Later there is a scene of Jon and his Dad both leering at the television as a commercial plays featuring a bikini clad model seductively eating a hamburger. Basically the film is saying “No wonder this guy has such a fucked up view of women and relationships, look at what he’s got as a frame of reference.” The difference between fantasy and reality is a prominent theme throughout the film, drawing a pretty strong thematic parallel with another of JGl’s movie, (500) Days of Summer, which also featured the process of emotional maturation within a young man with a very fantasy driven paradigm of what constitutes love. The film does tend to drag in parts, and it can be predictable, but it’s immensely charming and insightful, making for one of the most relevant romantic comedy’s made in years…along with (500) Days of Summer, go see that as well.
8. The Grandmaster
I’m not a massive aficionado of martial arts films, so all I knew going into this movie was that it was about the guy who trained Bruce Lee. To be honest what really attracted me was the director, Wong Kar wai, who I’ve mostly seen associated with gorgeously shot cerebral dramas. The idea of this guy making a Kung fu movie was fascinating to me, and I wasn’t disappointed, in fact I was the farthest from disappointed as I could have possibly been. To put it lightly, with the exception of maybe one other movie (which will be listed later) The Grandmaster is the most visually beautiful movie I’ve seen this year. From the intimate close up framing to low key lighting, this movie is a visual orgy of poetry made tangible. Even when there isn’t any fighting going. The performances are all great, and Zhang Ziyi’s character is very compelling, but the visuals were the true star of this movie. Normally I would describe specific scenes but I feel my words can only disservice the artist here so here’s an actual clip:
And another because my words cannot adequately describe why I love this:
Couple this with the beautiful musical score and my own personal love for Chinese cinema, there was pretty much no way I was not going to love this movie. I will say, however, that some of the facial close-ups do tend to linger on subjects of questionable importance in the overall scheme of certain scene, leading to one or two moments of head scratching, again it’s something you would have to actually watch the movie to understand. With that as the closest thing I have to a criticism for this movie, I will let the numerical standing of this movie on my list speak for itself. While nothing revolutionary from narrative standpoint, the level of cinematic artistry in this movie cannot be ignored.
7. The Hunger Games: Catching Fire
For me Hunger Games: Catching Fire was the best blockbuster of the year on every conceivable level. Before this movie all the other blockbusters I have seen, while enjoyable, have failed in various respects. I really enjoyed Pacific Rim and Star Trek Into Darkness but I have no illusions that those movies work as anything other than fun actions movies (though they both do broach some interesting and relevant themes). Iron Man Three failed to engage me on dramatic and emotional level while Man of Steel failed to engage me on a cerebral or intellectual level. The Wolverine, like I said earlier, had a great first two acts but was hampered by it’s bargain bin bad guys while Thor: The Dark World provided some good escapist fun but offered very little in the ways of a compelling story. The story of The Hunger Games: Catching fire had dramatic resonance and a clear purpose on a subtextual level. The writing was conservative and concise for purposes of the story, and it featured a fleshed out cast of characters, each with a distinct personality and motivation. The directing is clean and smooth and really works wonders in immersing the audience in this world in a way that the first movie (and I really liked the directing of the first movie) failed to to do. The scope of this movie is quadrupled from that of the first with sweeping wide shots of the dystopian districts of Panem, designed with obvious inspiration from Ancient Rome and Nazi Germany. The acting ranged from good to fantastic across the board. Even Josh Hutchinson (who I really didn’t care for in the first one…or any other movie before this for that matter) was not only tolerable, but likable and compelling. Jennifer Lawrence as usual proves to be one of the best young actresses working today in a character that belongs in a pantheon of strong female characters for young girls to look up to (with an entire generation of young girls being subjected to Bella god damn Swann, thank God for these books/ movies). Donald Sutherland makes for a great villain in the sinister but reserved President Snow, never going for the hammy, over the top route with his performance. Philip Seymour Hoffman is new to the franchise as Plutarch Heavensby, a secondary character who spends much of the film behind the scenes but wound up being my favorite character in the movie (as somebody who has not read the books). In summation, of all the various Young Adult sci fi/ fantasy franchises having millions of dollars being thrown at them, The Hunger Games is by far the most deserving and I looks forward to its continued success.
Danny Boyle’s most recent picture represents a deviation from his stint of making uplifting Oscar flicks in the form of a slick, edgy noir crime film. Starring James MacAvoy, Vincent Cassel and Rosario Dawson as art thieves and a hypnotherapist, respectively, the film does a remarkable job of recontextualizing the tropes and aesthetics of the classic noir into a modern mold without turning into a work of meta fiction, homage or pastiche like Brick or Sin City. Instead it takes the recurring themes of the noir and simply adapts them to a modern setting. You have the Unreliable narrator in the form of an art thief (MacAvoy) who has repressed the memory of where he stashed the painting, as well as being a morally ambiguous character rather than the straight hero of the story. Vincent Cassel initially comes off as a villainous gangster, but gradually becomes more of a heroic figure as the MacAvoy’s true self is peeled back layer by layer through hypnotherapy (the role reversal being a brilliant showcase of the moral complexities of the classic noir stories). Roasario Dawson initially comes off as the femme fatale figure, but eventually is revealed as a victim, and eventually revealed further to be the mastermind. Visually, instead of the standard noir contrast of black and white, Boyle brings Noir into the world of technicolor film making with stunning compositions of color and lighting (I absolutely love the cinematography in this movie, as I often do with most of Danny Boyle’s movies). The way the film visually represents the workings of the human psyche is gripping and stunning to behold. All in all, while this movie may not have been a big pop cultural event, it’s still enormously entertaining and thrilling and is truly one of the most underrated gems of the year.
5. American Hustle
This critically lauded comedy has been making its rounds at the award shows and unfortunately I simply do not have the energy to be Contrarian Jones and hate on it for being “Oscar bait.” To be perfectly honest I loved this movie. Yes, it’s very obvious in the fact that it’s trying to emulate 80’s Scorsese movies like Goodfellas. For example many are citing it’s use of a pop soundtrack, as well as it’s unconventional take on the crime film genre. What I liked about this movie was that it WAS very much like Goodfellas, albeit from a different perspective. Whereas Goodfellas was an unconventional look at gangster culture and the corrupting force of the power it yields, American Hustle approaches it from an opposite position. The criminals, the grifters and the corrupt politicians (played by Christian Bale, Amy Adams, and Jeremy Renner), are essentially the good guys of the story, to put it in simplistic terms. Yes, they do questionable things, but they’re portrayed as inherently good people. This is NOT a violent movie. None of these people are ever seen killing anybody or arranging for somebody to get wacked. In fact, the only violent one is the cop. The FBI agent, played by Bradley Cooper, is the one who becomes corrupted by the power in his position as a figure of law-enforcement. He becomes increasingly ambitious in nailing corrupt politicians by exploiting con artists, but not for any love of justice but rather for the purpose of making a name for himself. Throughout the film he unravels and becomes violent not only toward the grifters but even towards his own boss, played hilariously deadpan and restrained by Louis C.K. Cooper’s character becomes so arrogant and addicted to glory that you want nothing more than to see the con artists pull a fast one and turn the tables on him. Aside from the fun twist on crime film conventions, the true strong point of the film is it’s stellar cast. Everybody is giving it their all and are absolutely electric to watch. Christian Bale is refreshingly emasculated throughout the movie as a frumpy but charming con man. Jennifer Lawrence is lively and a blast to watch as his possibly unstable wife. As I already mentioned, Bradley Cooper turns in a fantastic performance as the FBI agent corrupted by ambition and hubris while Renner is infinitely likable as a Machiavellian but well meaning New Jersey Mayor. In terms of sheer dramatic acting, however, I think Amy Adams steals the show with her reserved subtlety in contrast with that of her female co star Jennifer Lawrence’s more attention grabbing performance. While it may seem like an obvious Oscar grabber prestige movie, I had a blast watching it. A fun, well acted and scripted comedy has been long due for a few Oscar, in my opinion…plus it’s got a great fucking soundtrack.
Aside from being the best animated movie I’ve seen this year (I haven’t seen Monsters University or Turbo, the latter of which I’ve made a conscious effort to NOT see), Frozen may very be the best Disney movie I’ve seen in years. Princess and the Frog was fun with New Orleans setting and a cool villain but I found the music underwhelming, while Tangled was certainly a nice step towards breaking Disney conventions with it’s “prince” character, while for whatever reason never truly grabbing me. But Frozen is the Disney movie I’ve been waiting for, and I almost didn’t go see it. Can I just say that the trailers did a DREADFUL job of selling this movie? Because this movie is charming, subversive, and progressive in so many ways that are not indicated in any way by it’s advertising. The sister princesses are strong, independent characters with personalities who save themselves and are ultimately not driven by their love of a man but their love for each other, one becoming Queen, and the other learns that marrying a guy you just met is an insane idea (HOW IS IT THAT IT’S TAKEN THIS LONG FOR DISNEY TO REALIZE THIS?). The Prince winds up being the villain in a rather well executed twist while the goofy ice salesman in the woods winds up being the main love interest. This movie is so clever and charming in it’s writing that even the talking snowman voiced by Josh Gad does NOT come off as gratingly annoying, but likable and sweet. One thing I noticed about this movie after watching it is that EVERY character has a clearly defined motivation. Granted this also reminded me how rare of an occurrence that is which was saddening, but it’s still a great feat of the writers. The music is great, particularly when Indina Menzel gets to do what she does best (Let It Go is sure to become a classic, as is this whole movie), and The animation is absolutely stunning. To be honest I don’t think I can praise this movie enough. Aside from an arguably extraneous musical number by some Rock Trolls (which didn’t even bother me that much), I don’t think I have a single criticism for this movie. I’ll leave the review at this: between Frozen and The Hunger Games: Catching Fire, things are looking very hopeful in regards to Hollywood presenting young girls with strong female role models. I severely hope we’re on the cusp of a new age.
3. Much Ado About Nothing
So while making Marvel’s The Avengers, one of the most successful movies of all time, Joss Whedon got a few weeks off. During his time off he got a wild hair up his ass and decided to make ANOTHER movie. Much Ado About Nothing is that movie. Shot at Joss Whedon’s house with a cast featuring various Whedonverse alumni like Amy Acker, Alexis Dennisoff, Francis Kranz and Nathan Fillion, the movie takes William Shakespeare’s comedy about matchmaking shenanigans, manipulation and slander and places it in a modern setting while maintaining the Shakespearian dialogue. Yes, this has been done, but there is a key difference between the way it’s done here and the way it’s done in Romeo + Juliet. Never once does it feel like the actors in Much Ado are reciting Shakespeare. Every actor in this movie clearly knows the play front to back, and not only the words, but what they mean and how the language and arrangement works. They speak the words as if they’re actually holding conversation instead reciting lines at each other. The acting in this movie is not only fantastic, both comedically and dramatically. Amy Acker and Alexis Denisoff are terrific as the leads, Beatrice and Lord Benedick. Francis Kranz delivers naïveté and intensity in the role of Claudio while Clark Gregg oozes charisma and gravitas as Leonato. Nathan Fillion steals the show as lawman Dogberry, who takes being called an Ass by Riki Lindhome’s Conrad very personally and make sure everybody knows it. The score, composed by Joss Whedon, is sparsely used, allowing for the actors to emote in silence, but when it comes it is a joy to listen to, ranging from sweeping whimsy to smooth jazz. The cinematography makes great use of the environment, both in doors and outdoors, never falling into the trap feeling like a stage show on film. The actors and actresses interact with their environment, again making their dialogue and actions seem natural. Joss Whedon, largely lauded for his strengths in writing, has finally crafted a film huh at firmly establishes him as director of skill and vision. Whedon’s fun little detour from superheroes and alien invasions is a joy to watch on nearly every front and I cannot recommend it enough.
2. The World’s End
There are very few movies that I think are “perfect.” Jaws in the only one I can think of off the top of my head at the moment. Jaws…and The World’s End. That does not mean that I think it is the greatest movie of all time. It simply means that this movie, above all the other movies I’ve seen this year (save for one) managed to entertain me on both an intellectual level and a thrill seeking movie-going level. It was funny, brilliantly acted with great, well defined characters and possibly Simon Pegg’s best performance in an already impressive filmography. The script is witty and layered with detail as well as endlessly quotable dialogue. It has the same manic, rapid fire editing and kinetic cinematography that made Hot Fuzz one of the greatest actions movies I’ve ever seen resulting in hit he best choreographed and shot fight scenes of the entire year. The soundtrack, as with all of Edgar Wright movies, is fantastic and actually conveys the meaning and tone of the scenes over which it plays (a seemingly novel concept these says). Hilarious, thrilling, creative and emotional, Invasion of the Body Snatcher’s send up caps off Edgar Wright’s Blood & Cornetto trilogy in the most satisfying way possible.
And now, my number one movie of the year
To speak boldly, Alfonso Cuarón’s space faring survival thriller Gravity is a monumental achievement in film making. The special effects put to work here perfectly simulate the weightlessness and isolation of being in space in a way no other film has ever done before. Sandra Bullock delivers a palpable performance as a woman set adrift and alone after a storm of orbiting space shrapnel tears apart her ship and kills her crew, leaving her to find peace and the will to survive in only herself. The story and characters are simple, secondary to the spectacle, resulting in a rare occasion where the spectacle is all you truly need. It’s a story about survival in a hostile environment, and this movie creates an environment so tense and horrifying it may kill the ambition of an entire generation of future astronauts. Imagine the shark from jaws, and now imagine if said shark encompassed every thing around you. That is what Gravity does to outer space. The vacuum of space is now a classic movie monster, with Sandra Bullock in the role Laurie Strode. If you pay close enough attention you’ll find that it’s also a movie about Buddhism, specifically about looking inward for salvation instead of praying to some god, which is refreshing to see in a Hollywood picture, making Gravity a powerful work of humanist fiction, rather than science fiction as the setting would ordinarily indicate. This is also the first movie I’ve ever seen where the 3D not only enhanced the viewing, but was a necessity. This may wind up being a detracting factor, but this is truly a movie that deserves to be viewed on a big screen in 3 mind fucking dimensions upon a every viewing, but is still a wonder to behold on the small screen. Either way, go see it. Then tell your friends to go see it, and so on and so forth.
Thank you bearing with me and I hope you enjoyed the countdown! Any thoughts on my choices, or thoughts in you’re own choices please don’t be afraid to utilize the comment function. Thank you for your time!