THE SCREEN-SPACE TEN: OUR FAVOURITE FILMS OF 2014

At time of writing, several of the big Oscar contenders (Birdman, Foxcatcher, CitizenFour) had yet to roll-out internationally, so watch for those twelve months from now. Which is not to suggest there wasn't plenty of prime movie meat to chew on in 2014. SCREEN-SPACE swam against the current on some of the award season contenders (when will the rest of the world twig to the meandering mediocrity of Boyhood?) and got a glimpse of some of 2015's cinematic surprises (watch for Jason Trost's chilling How to Save Us). Settling on a subjective, occasionally indulgent, Top 10 of 2014 (in no particular order) was not easy, given the wealth of wonderful work world cinema had to offer...

NIGHTCRAWLER
Writer/director Dan Gilroy’s glistening, ghoulish vision of Los Angeles’ and the immoral hunger for fame and fortune it inspires proves every bit as potent and disturbing as past LA-noir classics Chinatown and The Player. As the skeletal sociopath Lou Bloom, whose predatory instincts and myopic ambition know no boundaries, Jake Gylenhaal (pictured, above) embodied dark dreaming and feverish insanity to create the perfect American psycho.

FROM WHAT IS BEFORE (Mula sa kung ano ang noon)
The societal structure of a small coastal barrio unravels to chilling, heartbreaking effect in Lav Diaz’s dreamlike political allegory, From What is Before. Non-festival crowds will find the film (if they find the film) particularly challenging – a monochromatic masterpiece, the narrative (set on the eve of Ferdinand Marcos’ imposition of martial law in 1972) unfolds over five-and-a-half-hours in regional Filipino dialect, albeit with mesmerising artistry.

HONEYMOON
Newlyweds Harry Treadaway and the wonderful Rose Leslie find their idyllic post-ceremony holiday devolving into a tortuous psychological fight against unknown forces, both external (what is that beam of light in the darkness?) and from within (“You taste the same, but you’re different.”) The leads bring a crucial humanity to this classic ‘cabin-in-the-woods’ horror premise, just one of many tropes deconstructed in Leigh Janiak’s paranoid, nerve-shredding, slow-burn directorial debut.

THE BABADOOK
As the increasingly fragile single mum desperately clinging to her sanity while her son conjures to life his own dark fantasies, Essie Davis delivers one of the great pieces of horror film acting in Australian auteur Jennifer Kent’s instant boogeyman classic. Steadily building a word-of-mouth reputation that strengthens with every viewing; Noah Wiseman's terrified, disturbed, courageous Samuel deserves a place alongside The Shining's Danny and Poltergeist's Carol-Anne as one of the great horror genre child characters.

TRACKS
The unforgiving landscape of Australia’s outback, captured with an artist’s eye by DOP Mandy Walker, is no match for the unyielding strength of spirit that drove lone explorer Robyn Davidson in her cross-continental journey. John Curran explores the pain and perseverance of one of Australia’s unsung heroines; Mia Wasikowska (pictured, right) embodies it in an unforgettable portrayal as the driven heroine (a coveted part that, at various stages of this daunting shoot’s long development, was attached to Julia Roberts, Meg Ryan and Cate Blanchett).

THE GRAND BUDAPEST HOTEL
Wes Anderson finally silenced his detractors with The Grand Budapest Hotel, a frantic, fabulous farce that danced between light and dark amidst the most beautiful set design of the year. Heading an all-star cast of perfectly employed blink-and-miss-them cameos is Ralph Fiennes (pictured, left; with co-star Tony Revolori) as the wonderfully immoral concierge M. Gustave, Anderson’s most idiosyncratic and lovable ne’er-do-well lead character to date, in the comedic performance of the year (yes, that Ralph Fiennes).

THE DARK HORSE
The great New Zealand actor Cliff Curtis (pictured, right) gives a masterclass in character acting in The Dark Horse, James Napier Robinson's account of troubled chess-champion Genesis ‘Gen’ Potini. From Gisborne’s mean streets and its unforgiving maori gang culture springs a story of family values, achieving goals and shaping destinies. A tough, strikingly-shot film that earned Curtis the Asia Pacific Screen Award trophy for Best Actor, his leading man looks shed for full immersion as the chipped-tooth, overweight, bald bipolar sufferer.

THE IMMIGRANT
If film award ceremonies actually reflected critical opinion, Marion Cotillard would be short-odds favourite for most Best Actress trophies in the weeks ahead (at time of writing, she had just one, from the New York Film Critics Circle). Some would be for the Dardennes Brothers stirring Two Days, One Night; most would be for James Gray’s sweeping, personal and criminally underseen epic, The Immigrant, in which she plays a new American swept up into a life of exploitation and heartbreak the minute she steps off the boat. A majestic work that soars as both an emotional journey and a grand production, it is the director’s masterpiece, a darkly-hued homage to ‘Old Hollywood’s vision of the American dream, as well as his leading lady’s shining silver-screen moment.

PADDINGTON
Writer/director Paul King’s adaptation of Michael Bond’s children’s books takes all that was endearing about the adventures of the little bear ‘from darkest Peru’ and crafts a giddy gem of heightened whimsy and magical movie moments. Great comic turns by Hugh Bonneville and the wonderful Nicole Kidman as the treacherous taxidermist out to stuff our hero are second only to Paddington himself, a CGI-creation (voiced by Ben Whishaw) with more heart and personality than just about every actor working today.

MELBOURNE
Eliciting that ‘What would you do?’ response from audiences with gripping potency, Iranian Nami Javidi announces himself as heir apparent to countryman Asghar Farhadi with his stomach-tightening debut. A young couple (Peyman Moaadi, Negar Javaherian) are packing for their life-changing relocation to the titular Australian city when tragedy strikes. How they react – the decisions they rationalize, the secrets they are willing to keep – makes for gripping drama, the kind of cinema that has you uttering “Oh my God…” to yourself.

HONOURABLE MENTIONS: John Wick, Under the Skin, Guardians of the Galaxy, Life Itself, The Fault in Our Stars, The Theory of Everything, Whiplash, Ida, Calvary, Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr Moreau, Blue Ruin, Manakamana, The Raid 2, Stranger by the Lake, Goodbye to Language 3D, Edge of Tomorrow, Winter Sleep.

WILL THE BABADOOK HAUNT ALL COMERS AT THE AUSSIE OSCARS?

Only a few short hours before the red carpet turns a muddy purple under the heels of Sydney’s sodden socialites (it has really rained this week), SCREEN-SPACE takes a last minute stab at who will take home an AACTA Award at tonight’s Oz industry gala event, to be hosted by AACTA ambassador Cate Blanchett (pictured, below; at the 2014 event) and actress Deborah Mailman… 

BEST SUPPORTING ACTRESS
Nowhere is the paucity of well written female characters in modern cinema more evident than in this years’ Supporting Actress category. This in no way reflects on the nominees, who all gave fine performances, but closer inspection indicates that the material was pretty thin. Jacqueline McKenzie emoted her heart out in what amounted to about 40 seconds of screen time in The Water Diviner. Ditto the wonderful Susan Prior in The Rover; why she is not an awards-laden international star is incomprehensible given her talent and resume. It looks like two solid if slight comedy turns from Josh Lawson’s The Little Death will fight over this one. In a coin toss, Kate Mulvany over Erin James.
Who should win – Angourie Rice who, as the innocent swept up in society’s destruction, was the heart and soul of Zak Hilditch’s otherwise grim These Final Hours. 

BEST SUPPORTING ACTOR
No such luck for The Little Death here – ensemble players TJ Power and Patrick Brammall will cancel themselves out. Kudos to Robert Pattinson for his bizarre, brazen psycho in David Michod’s The Rover, but it was a performance that earned just as many brickbats as bouquets. Veteran Turkish character actor Yilmaz Erdogan (pictured, right) thouroughly deserves the trophy for his stoic, honourable defeated warrior opposite Russell Crowe in The Water Diviner. One side note – why isn’t The Mule’s Hugo Weaving in this race?
Who should win – Noah Wiseman, whose troubled, enigmatic, horrified character Samuel will rank alongside the kid stars of The Shining and Poltergeist as one of the horror genre’s MVPs.

BEST ACTRESS
What’s with all these acting noms for the raunchy sitcom vibe of The Little Death? Kate Box is making up numbers here. But a winner is much harder to pick from the remaining three nominees. If the night becomes a ‘Babadook Sweep’, Essie Davis will win and deservedly so. But Predestination has three tech awards already, so there’s a lot of love for Predestination, thanks in no small part the wonderful Sarah Snook. And there was a lot of early Oscar buzz for Mia Wasikowska’s transformative journey in John Curran’s Tracks…
Who should win – A tie is not out of the question; Davis and Wasikowska might split it. We’ll lean towards Davis (pictured, left). 

BEST ACTOR
The great skill of Russell Crowe’s performance in The Water Diviner is that he was able to rein in his movie-star grandness and play an everyman so convincingly. Did he make it look too easy, though? Damon Herriman is an industry favourite, but The Little Death won’t contest in this category (he should’ve been awarded for 100 Bloody Acres). The Rover’s Guy Pearce did his best Clint Eastwood and was very good at it. But with a Cannes gong and an APSA honour already to his name for Charlie’s Country, this is David Gulpilil’s night.
Who should win – David Gulpilil. 

BEST DIRECTOR
Rolf de Heer’s sublimely understated direction of his lead actor and friend in Charlie’s Country is superb, but the Best Original Screenplay award may be where his contribution is honoured. David Michod (The Rover) and brothers Michael and Ian Spierig (Predestination) have long, worthwhile careers ahead of them, but will take a back seat Jennifer Kent tonight. Horror is not always favoured by the high-minded who hand out industry kudos, but The Babadook is a superbly crafted, emotionally resonant work from an exciting new auteur.
Who should win – Kent (pictured, right), but Zak Hilditch for the end-of-days thriller These Final Hours can feel unloved given the category had time travel, dystopian future and fairy tale horror contenders front and centre.

BEST PICTURE
The lack of Best Director consideration will nix the night for The Water Diviner and The Railway Man; so too Tracks, though John Curran’s brilliant work was wrongfully snubbed. Charlie’s Country is a serious ‘actors’ piece, and will earn its trophy in that category. A week ago, The Babadook was a lock, it must be said, but Predestination’s slew of craft trophies may have tipped the scales back in in its favour.
Who should win – The Babadook.

The 4^th annual AACTA Awards will be held at The Star Event Centre in Sydney’s Darling Harbour precinct tonight.

THE SUNDANCE BUMP: WHICH FILM WILL BE THE 2015 BREAKOUT HIT?

In hindsight, the Sundance Film Festival timed its run very nicely. As a new wave of American independent cinema was emerging, so to was the festival that would become synonymous with the freshest film voices. From its roots in the late 1970s as the Utah US Film Festival to its rebranding in 1985 under the guidance of Sundance Institute head Sterling Van Wagenen and chairman Robert Redford, The Sundance Film Festival has solidified its status as American industry’s premiere film event.

Few labels in the film industry carry as much importance as ‘Sundance’s breakout hit’. Best exemplified by the Sundance-inspired success of Steven Soderbergh’s Sex, Lies and Videotape (1989), each year a parade of indies vie to be the festival’s most buzzed-about new film. Directors who owe their careers to Sundance include Joel and Ethan Coen (Blood Simple, 1985), Quentin Tarantino (Reservoir Dogs, 1992), Kevin Smith (Clerks, 1994), Christopher Nolan (Memento, 2000; pictured, above), Behn Zeitlin (Beasts of the Southern Wild, 2012), Robert Rodriguez (El Mariachi, 1992) and Steve James (Hoop Dreams, 1994).

Last year, the title went to Damien Chazelle’s Whiplash, currently a frontrunner for several Oscar nominations. So which of the 2015 Sundance slate will be this years ‘Breakout’ film? MEET THE FILMMAKERS looks at five who might have the goods…

Slow West
Cast: Michael Fassbender, Kodi Smit-McPhee, Rory McCann, Ben Mendelsohn, Brooke Williams, Caren Pistorius.
Director: John Maclean, Screenwriters: John Maclean, Michael Lesslie. (New Zealand).
A hardened teenager journeys across the 19^th-century American frontier on a romantic odyssey, with a mysterious traveller by his side and an outlaw in pursuit. Fassbender has both indie cred (Frank) and Oscar heat (12 Years a Slave), but needs to drive a hit film; Aussie acting might in the form of next-big-thing Kodi Smit McPhee (The Road; The Young Ones) and Ben Mendehlsohn (Animal Kingdom; Killing Me Softly). World Premiere

Call Me Lucky
Director: Bobcat Goldthwait (USA)Goldthwait is one of the most enigmatic directors working the US indie scene. With hard-bitten satire (Shakes the Clown; God Bless America) and found-footage horror (Willow Creek) already stamped with his imprimatur, he turns to politico-showbiz documentary with Call Me Lucky, an account of the life of fearless stand-up Barry Crimmins. The comic/peace activist/political satirist is seen through the eyes of those whose intellect and talent were affected deeply by Crimmins.

Racing Extinction
Director: Louie Psihoyos (USA)
Academy Award-winner Louie Psihoyos is not one to sugar-coat the environmental agenda of his films; anyone who has The Cove will attest to that. In Racing Extinction, the filmmaker/activist assembles a crack unit of investigators and infiltrators in an effort to take down black market operators, poachers and white-collar criminals exploiting the animal world. Docos don’t usually hit big at the box office, but The Cove became a cult hit in ancillary; the charismatic Psihoyos can put a sellable spin on even the most challenging subject matter.

Partisan
Cast: Vincent Cassel, Jeremy Chabriel, Florence Mezzara.
Director: Ariel Kleiman, Screenwriters: Ariel Kleiman, Sarah Cyngler. (Australia)
In what reads like a ‘Doomsday Hoarder’ spin on Joe Wright’s teen-assassin thriller Hanna, Jeremy Chabriel plays Alexander, a prized member of the young army being trained by Vincent Cassel’s Gregori. Having been raised to view the world through Gregori’s bitter vengeful eyes, Alexander hits puberty and begins to form his own views about the worth of civilization.  Cassel replaced Oscar Isaac (who bailed to star in Star Wars The Force Awakens); the Frenchman spent several weeks in Australia’s southern mountain regions for the tough shoot. A very high-profile slot for writer/director’s Kleiman’s debut feature. World Premiere

Last Days in the Desert
Cast: Ewan McGregor, Ciaran Hinds, Susan Gray.
Director/screenwriter: Rodrigo Garcia.
The resurgence of faith-based films (Noah; Exodus Gods and Kings; Son of God) may bolster Last days in the Desert. Auteur Rodrigo Garcia (Things You Can Tell Just By Looking at Her; Mother and Child) imagines a struggle between Jesus Christ and the Devil over the fate of a family in a remote desert settlement. After a few too many paycheque performances, McGregor is seeking out edgy, interesting projects of late; he double-duties here in both key roles, offering a version of Christ as an existential everyman discovering the strength of his own soulful resilience. Lots of press coverage everytime cinema reworks biblical lore; could click with upscale, nonsecular audiences. Garcia has been a critical darling on the edge of the director's A-list for a while and is due a hit. 

Z for Zachariah
Cast: Chiwetel Ejiofor, Margot Robbie, Chris Pine.
Director: Craig Zobel, Screenwriter: Nissar Modi (USA)
Zobel garnered lots of polarising opinion for his last effort, Compliance; both Robbie (The Wolf of Wall Street) and Ejiofor (12 Years a Slave) are as hot as they will ever be. Throw in Captain Kirk and the promise of smart sci-fi and Z for Zachariah - a post-apocalyptic vision about a lone young woman and the sexual politics that emerge when two male survivors stumble upon her – is rightfully one of Sundance’s hottest tickets.

THE 10 MOST ANTICIPATED FILMS OF 2015

Just how crowded is the film marketplace in 2015? In compiling this feature, Meet the Filmmakers had to cull the latest from James Bond; new films from Michael Mann, Guillermo del Toro, Robert Zemeckis and Quentin Tarantino; Pixar’s first theatrical title in two years; the final instalment of The Hunger Games franchise; and, Ah-nold’s return as The Terminator. As 2014 winds up, here are the 2015 films (with US release dates included) that are piquing our interest…

10. ANT-MAN (July 17)
News of Marvel’s latest was all the Internet could handle when director Edgar Wright (Hot Fuzz; Shaun of the Dead) announced his new film would be the comic giant’s niche cult-hero, Ant-Man (pictured, above). But when ‘creative differences’ led to his departure well into pre-production, fans braced themselves. The replacement – Hollywood journeyman Peyton Reed, best known for the cheerleader romp Bring It On; the star – Paul Rudd, a solid if safe choice who’ll be playing darker than his on-screen persona has ever allowed; ace in the hole – Michael Douglas, who stuck with the project despite the departure of Wright.
HIT/MISS – Guardians of the Galaxy gave Marvel Films the creative shot-in-the-arm it needed and if Ant-Man finds its own, fresh voice, expect big things. If it proves to be a ‘boardroom’ film, pandering to shareholders needs and playing safe, fans may revolt given the missed opportunity Edgar Wright’s departure represents.

9. PEANUTS (November 6)
The estate of the late Charles Shultz must be licking their lips now that the cartoonist’s iconic group of friends is getting the Hollywood 3D animation makeover. Charged with making 1950’s suburban kids relevant today is Steve Martino (the colourful, if a bit one-note, Horton Hears a Hoo!; the uninspiring Ice Age: Continental Drift). The comic strip ended a 50-year run in 2000, so the key under-10 demo will have to rely on Mum and Dad to upsell the backstory. The animation (as seen in the teaser trailer) finds an intriguing balance between old and new, but is it too cutesy in the Pixar era?
HIT/MISS – The potential for merchandising profits is too huge for 20^th Century Fox to drop the ball here. They will make sure it connects.

8. TOMORROWLAND (May 22)
In the can for over a year (it was originally slated as a summer 2014 release), Tomorrowland is Brad Bird’s latest, a filmmaker who has yet to put a directorial foot wrong (The Iron Giant; The Incredibles; Ratatouille; Mission: Impossible – Ghost Protocol). Despite its extended post-production period and high-profile leading man, George Clooney, the fact is very little is known about its plot; two teens create a device that can propel them through time and space in an instant, bringing them to the Utopian society of the title. Or something like that.
HIT/MISS – It’s Bird’s long-in-gestation passion project, and his instincts have been spot-on so far. Despite the difficulty Hollywood execs have selling a fresh idea and with the charming Clooney to woo the talk show circuit, it’s a hit.

7. MAD MAX: FURY ROAD (May 15)
Dr George Miller’s reboot of his own iconic creation, the ‘Road Warrior’ lone cop Max Rockatansky, has travelled its own long, bumpy highway to its May 2015 release. Originally aiming for a 2014 slot, industry buzz suggested that the post-production period was going to be immense. Seems Miller (pictured, right; on location with star Tom Hardy) shot logistically daunting and wildly spectacular stunt sequences yet neglected that other crucial element – a plot. Allegedly, the mantra during the shoot was “We’ll fix it in post.” On-set tension was also cited; reports hinted at bitterness between stars Tom Hardy and Charlize Theron.
HIT/MISS - Which will all mean nothing when Mad Max Fury Road opens to huge figures. It is yet another reboot, sure, but Max is an iconic film figure that crosses generational demographics. He will rule the early US summer landscape.

6. UNTITLED STEVEN SPIELBERG PROJECT (October 16)
Never underestimate Spielberg, the most commercially successful filmmaker of all time. His most recent film was 2011 Lincoln, a 2½ hour historical drama that would take an extraordinary US$182million domestically. Prior to that, he broke new technological ground with The Adventures of Tintin and survived the worst reviews of his career to turn Indiana Jones and The Kingdom of The Crystal Skull into a blockbuster; even the noble failure War Horse took US$180million globally. In 2015, he reteams with Tom Hanks, with whom he has crafted some of his best late-career work (Saving Private Ryan, Catch Me If You Can and, yes, even the unfairly-derided The Terminal) for a Cold War thriller that recalls arguably his best film of the last decade, Munich (pictured, left; the star and director on-set).
HIT/MISS – Hit, of course, but skewing older and dependent upon critical raves to breakout. With Joel and Ethan Coen supplying the screenplay and Hanks’ resurgence in full swing after Captain Phillips and Saving Mr Banks, the October release date pins it as an Oscar contender. 

5. JURASSIC WORLD (June 12)
Spielberg again, but wearing his producer’s hat for this fourth trip to an island of the coast of Costa Rica. Is it a sequel? Is it a reboot? Whatever; that kind pre-release analysis will count for nought when this drops June 12 and becomes one of the biggest films of the year. The unknown factor is director Colin Trevorrow, who showed great skill with character chemistry and gentle fantasy in Safety Not Guaranteed, but has no runs on the board in the blockbuster, effects-heavy, summer tentpole stakes. Trump card – Chris Pratt, in his first action hero role since Guardians of the Galaxy. And new-look dinosaurs. And Spielberg.
HIT/MISS – Come on, really?

4. FIFTY SHADES OF GREY (February 13)
EL James’ literary phenomenon made the complexities of a BDSM relationship palatable and smoothly stylish to the masses. Converting that to the bigscreen will be a tricky task; no one is pretending these airport novels were Pulitzer-worthy, but they envisioned a world of intricate intimacies that built a big, passionate following. That could easily unravel when translated to a commercial film template (pictured, right; stars Jamie Dornan and Dakota Johnson). Perhaps fittingly, everything we’ve seen about the film to date – the young, pretty stars; the trailer; Beyonce’s contribution to the soundtrack – reeks of style over substance. Slotting the World Premiere for the prestige Berlinale suggests a high level of confidence in critic’s reaction, but that could backfire if the knives come out.
HIT/MISS – Will open huge, but word-of-mouth will be crucial. At best, it will set pulses racing and upscale audiences talking, ala 9½ Weeks or Fatal Attraction; at worst, it is this years Showgirls. Reports that multiplex audiences were giggling at the trailer is not a good sign; European filmgoers will probably wonder what all the fuss is about. Bret Easton Ellis (American Psycho; The Canyons) pitched hard for the gig, but studio types found his take too raw (read; commercially risky).

3. THE MARTIAN (November 25)
His output has grown erratic, but news of a ‘Ridley Scott sci-fi adventure’ still quickens the pulse (pictured, left). This adaptation of Andy Weir’s cult novel posits Matt Damon alone and trying to survive all Mars can throw at him until his rescue craft arrive. Big plusses are co-stars Jessica Chastain and Kate Mara (in for quite a year, with her Fantastic Four reboot also pending). Next up for Scott will be the Blade Runner sequel, so here’s hoping The Martian will be a return to form.
HIT/MISS – Dunno. Scott is having a rough trot, with Prometheus, The Councillor and Exodus Gods and Kings all earning blah notices and mid-range box office; the last movie that took us to the red planet was the infamous John Carter; big, ambitious sci-fi films like Interstellar and Gravity divide opinion (though, admittedly, rake in the bucks).

2. AVENGERS: AGE OF ULTRON (May 21)
All the gang are back, this time to take on James Spader’s bad guy Ultron in writer/director Joss Whedon’s follow-up to his own 2012 box-office behemoth. Expect more of the same city-wrecking, hulk-smashing entertainment, as only Marvel can deliver (over and over again, it would seem). New cast members Elizabeth Olsen (as Scarlet Witch) and Aaron Taylor-Johnson (as Quicksilver) were hot when cast, but their blah chemistry as husband-and-wife in Godzilla may see them pushed into the background in all key art (Johnson is nowhere to be found in the latest trailer).
HIT/MISS – Early footage feels a little too much like those clunky, grinding Transformer films and the wheels will fall off this whole Marvel superhero tentpole trend eventually. But not in 2015 - this is a certifiable blockbuster.

1. STAR WARS: EPISODE VII - THE FORCE AWAKENS (December 18)
The teaser trailer broke the web, with 20million YouTube views on its day of release. Director JJ Abrams, a Star Wars devotee, further appeased fans by bringing in veteran scriptwriter Lawrence Kasdan, the man who penned The Empire Strikes Back. Casting news, whether new players (Daisy Ridley, Oscar nominee Oscar Isaacs, Adam Driver) or the return of old friends (Harrison Ford, Carrie Fisher, Mark Hamill), ran across all media, fan-based or not. Word is that the plot takes place 30 years after the events of Return of the Jedi, but no details have been forthcoming.
HIT/MISS – Invincible against any and all outside influences. Critical reaction, box office competition, the unpredictability of the weather – The Force Awakens is the four-quadrant event film of 2015.  

IN HINDSIGHT...: MY YEAR IN FILM

Reflecting upon the cinematic year, I recalled not so much the movies I saw (681 in total, with thanks to the awesome Letterboxd site) but the lively discussions, heated debates and vast opinions I enjoyed with those I am fortunate to call colleagues and friends. So below you won't find my Best/Worst of the Year opinions (if you're inclined, you can find that here), but more a revisiting of the issues and events that left an impression upon me...

“Another round, bartender…”
In 2014, ‘Hollywood Blockbusters’ mostly resembled drunks in a seedy bar early on a Wednesday afternoon. There was the refined gentleman acting above his fellow patrons yet, deep down, fully aware he was the just like them (Captain America: The Winter Soldier); the increasingly haggard old broad (The Hunger Games: Mockinjay Part 1) who dragged along her innocent daughter (Divergent) for her first sip; the hulking, brooding boozer who threatens to erupt but mostly just mumbles to himself (Godzilla); the fading 40-somethings who loudly reminisce about the good old days when they were relevant (X-Men Days of Future Past; The Amazing Spiderman 2; Teenage Mutant Ninja Turtles, top); the violent, obnoxious jerk who everyone hates (Transformers: Age of Extinction); the douche-bag hipster, covered in brand names, who gets less funny the longer he drinks (The LEGO Movie); and, the sad little nobody that no one talks to and most forget is even there (Jack Ryan: Shadow Recruit). But then there were the films who peeked into the bar, saw the worst that they could be and said “no”; blockbusters that instead developed vibrant, funny personalities (Guardians of the Galaxy; 22 Jump Street; Neighbors), serious smarts (Dawn of the Planet of the Apes; Edge of Tomorrow, above) and human, empathetic souls (The Fault in Our Stars).

Film Critics Can Make of Break Your Movie. Except if you’re The Babadook. Or These Final Hours. Or Tracks. Or Predestination.
Respected Australian critic Margaret Pomeranz had a lot to say in the wake of director/star Josh Lawson’s A Little Death (pictured, below) tanking domestically. Pomeranz, who called time in December on a 28 year career as the yin to David Stratton’s yang on the iconic At The Movies show (the pair; pictured right), penned an op-ed piece in which she took her peers to task for bagging the sex-themed rom-com (on which her son, Josh, was an EP). Toronto critics liked it (it had its US premiere there, so the festival mood was...festive), while Australian journos largely derided it. “(When) effort is made and talent is discernible, I think it ought to be acknowledged rather than have its undeniable flaws recklessly highlighted,” Pomeranz opined. It was an embarrassing outburst of self-serving personal opinion by Pomeranz; she has bagged innumerable films with one or two star reviews, most of them made with good intentions and plenty of talent attached, though few of them Australian (“I have become well-known for supporting Australian films, I've been accused of being too generous, of awarding half a star too many, whatever,” she deflects in her rant). It was one of the many bewildering contradictions in the piece. “What is it with Australian critics of Australian films? Are we setting the bar so high that no one can possibly jump over it?” she bleats. Well, Australian critics loved The Babadook, These Final Hours, Felony, Galore, Charlie’s Country, Tracks and Predestination; they mostly liked Healing, The Rover, The Infinite Man and The Turning. But shitty marketing and outmoded distribution strategies hurt them all. Pomeranz should have used her profile to force answers from decision-makers in the sector and worried less about the general opinion of a minor work in which she has personal investment.

No, television is not ‘The New Cinema’…
Television continued its highly touted ‘renaissance’ in 2014, which led many to declare that film would soon be dead in the water. Which is, of course, nonsense. Television is offering up some terrific entertainment, such as 2014 newbies Gracepoint, Broad City, Peaky Blinders and Olive Kettridge and holdovers The Walking Dead, Masters of Sex, The Americans and Orange is the New Black. But television, by its very nature, is bound by convention, from the 43 or 22 minute commercial framing to the very platform on which it is seen (no matter how big TVs get, they will always be ‘the small screen’). What has improved is the boldness of the writing; not the quality per se, just the themes and narratives being tackled by some of Hollywood’s best wordsmiths. But television can never mimic the scale and scope of cinema, the fully immersive sensorial experience, the all-consuming atmospherics. In his popular podcast, Bret Easton Ellis chatted with director James Gray (on-set of his 2014 film, The Immigrant; pictured, right) on the essential value of seeing films on the biggest screen possible. “The specialness of the event, of going to the theatre, with a lot of people, in a big room where you (eat) your warmed popcorn with the bad butter,” said an impassioned Gray, “well, that was amazing. I don’t think anything tops that. Certainly not watching it on my iPad."

The Booming Irrelevance of The Oscars…
Actually, that needs clarification. The Oscars circus is still crucial to the movie-making industrial complex. The award season madness, which culminates with the glitz and glamour of the Academy Awards ceremony, provides a point-of-difference for Hollywood’s marketeers, allowing them to cover their respective studios in the glow of socially redeeming, issue-based films, the kind that can make money without fast food tie-ins. The films need not be very challenging, very insightful or even very good; earlier this year, such earnest, average voters-bait as 12 Years A Slave and Dallas Buyers Club triumphed, while Her and American Hustle were elevated far beyond their worth to provide an element of ‘cool relevance’; in a few weeks, the vastly over-rated Boyhood, this year’s BIG issue-pic Selma and obligatory Brit contenders The Imitation Game and The Theory of Everything will dominate the 2015 line-up; we can only hope Birdman (pictured, left), Whiplash, The Grand Budapest Hotel and Nightcrawler brighten Oscars’ podium with their unique visions. Of course, I’ll clear my calendar to watch it live. 

Also, it just crossed my mind that...

Scarlett Johansson is in a very good place. From the fearless ferocity of Under the Skin, the lunacy of Lucy and the sexy, good-time physicality she exuded in Captain America: The Winter Soldier, the actress (pictured, right) had a great 2014.

Shailene Woodley will be America’s next great film actress. Two big hits in 2014 (the franchise-starter, Divergent; YA phenomenon The Fault in Our Stars), a hotly-anticipated indie (Gregg Araki’s White Bird in a Blizzard) about to roll-out, and the lead in the new Oliver Stone film locked in, Woodley is on track for super-stardom.

Indie Horror is where it’s at! Studios have bailed on horror fans (Annabelle? Ugh, puh-leeze; Eric Bana's Deliver Us From Evil was terrible) but the independent sector delivered the year’s most memorable midnight movie-going moments with nerve-rattlers like Honeymoon, Starry Eyes, The Sacrament, How to Save Us, Oculus and Inner Demon.

Keanu Reeves is back. Not just because he was in the year’s bloodiest, most exhilarating action film, John Wick (pictured, left), but also because he handled with grace the wave of ill-will about his actually-quite-awesome flop 47 Ronin, took on the new technological paradigm of digital filmmaking as frontman on the doco series Side by Side and directed the martial arts bone cruncher, The Man from Tai-Chi (yes, 2013, but saw it this year).

Subtitles rule. Iranian Nami Javidi made his directing debut with the unnerving, compelling drama, Melbourne. Other foreign sector must-sees were Cannes favourites Leviathan and Winter Sleep; the dialogue-free social document, Manakamana; the 5½ hour Filipino drama, From What is Before; and, Ida.

And, from the desk of Amy Pascal. Change all your passwords, now.

Thanks for all your support in 2014 and have a happy and safe New Year.
Simon Foster, Managing Editor