Best of 2014 (so far)

Time and Change

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Efficiently fleeting, to suggest the relentlessly transient nature of even the most profound memories. I would say the latter majority of the movie felt more polished to me, where the beginning felt more like a Jarmusch-ian experiment. But I love how those typical Linklater themes resurface (rather explicitly) in conversation -- information vs experience, the irrelevance of words. And Hawke is the archetypal... whatever the hell it is he's patented. Free spirited dad? The last hour or so is truly something to behold. Its near universal relatability is a testament to its authenticity and earnestness - two things Linklater strives for in every one of his works. As time goes on, this will be the quintessential film from one of the independent film era's quintessential directors. God bless Richard Linklater.

Sex and Loneliness

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This is to Scarlett Johansson what Drive was for Ryan Gosling. Proof that their very presence is an enigmatic force. This gal is something special. The whole atmosphere in this, like a dense fog from somewhere else. Chilly, contemplative, quiet, tender, sincere. Seeks to confront the sources of the simplest connection, of attraction, of loneliness. Seeks to find an antidote for alienation. Seeks to make you completely anonymous and scan the evening for new strangers.

The Ultimate Fun

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In some movies, everything just goes wrong. Every creative decision is a misstep. You watch and you wonder, how does such an unlucky streak of ineffective choices manifest itself in a wide release of theaters? The only thing more unlikely than that is when the exact opposite occurs. Top notch characterization and casting. Visuals, sound design, score - all perfect. Mindblowing, heartfelt, creative sci fi. Anything feels possible. Themes centered on where they should be - the middle finger spirit of the outcast. Soul, companionship. In a completely moral universe, this is the new Star Wars, and studios try to replicate whatever formula Gunn and Marvel discovered in this hit.

Nowhere to Go But Forward

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Directorial vision can immediately elevate material, make you take it seriously. The atmosphere in this, the created universe. The action set pieces so creative, fresh. Some of the most visceral, gripping action moments since Kill Bill. The characters, simple, are the vehicles to explore this universe. There's no beating around the bush with motivations, or with where the story is going. This simplicity gives it an appropriate forward (in a literal sense) momentum. The casting, spot on. A spectacular post-apocalyptic adventure.

History as a Bedtime Story

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I have had the luxury of rewatching this and fine tuning my score for it. After first viewing, I put it on par with TRT and FMF as Wes Anderson's best. Though, on second rewatch, there are just too many details that don't necessarily beg to be in this particular movie. In particular, structurally, I was a little befuddled (the prison escape sequence taking place where it was, it changes the genre of the story). What works best is the humor, the universe (once again painted in a sophisticated storybook aesthetic), and whatever it is Anderson conjures emotionally in those last few tender moments, where the themes finally reveal themselves. It was as if a movie's cut to black had never left me so breath-taken. I wanted more.

Wishing We Could Be

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Borrows a lot narratively, but from the best of sources. You can't be too upset when something is Brazil meets Youth in Revolt, with shades of The Apartment, film noir, and Wes Anderson. The visuals and production design are all top notch. Darker and more authentic than something like Grand Budapest Hotel, but just as boldly stylistic. Like 60% of these shots would be the best shot in any other movie this year. So there's that. And the humor is sharp, and the satire is just over the top enough.

A couple cool visuals and Joaquin moments. Nothing else, really. Mostly just a pointless homage to an era portrayed more fascinatingly in other things.