I have a simple, private, binary grading system with films. Once I have logged a film as “seen”, I either give it a star or not. This is quite a relief after the minefield of having to award stars out of five for professional reviewing purposes. Either a film feels like it was worth seeing, or it wasn’t. I sometimes go back and add or remove the star, depending on how I feel at a later date about the film. This makes collating an end of year list much easier, as it sifts the wheat from the chaff before I start. (This is why a bit of airborne nonsense like the Liam Neeson thriller Non Stop gets into the Top 50; I liked it enough at the time to give it a tick.)
Of the 142 films I saw in 2014, 92 were new, in that they were released in the UK for the first time this year. (For quick but odious comparison, of the 153 films I saw in 2013, 122 were new. I don’t know why I saw less films, especially less new films, but it may have something to do with having worked harder for less money in 2014, and having to make some tough choices simply in terms of sparing the time. I regret this.) Here they are, in order – and I have been tinkering with this for about a fortnight. An important note: I did not get to see Turkish maestro Nuri Bilge Ceylan’s film Winter Sleep in December, as it is three hours long and I had no-one to go and see it with. I know in my bones it would be in the list, possibly near the top. Its absence is glaring and unbalancing. So it goes.
1. Boyhood | Richard Linklater | US
2. Leviathan | Andrey Zvyagintsev | Russia
3. Stranger By The Lake | Alain Guiraudie | France
4. Ida | Pawel Pawlikowski | Poland/Denmark
5. 20,000 Days On Earth | Iain Forsyth, Jane Pollard | UK/US/Canada
6. Dallas Buyers Club | Jean-Marc Vallée | US
7. The Grand Budapest Hotel | Wes Anderson | Germany/UK
8. Two Days, One Night | Jean-Pierre Dardenne, Luc Dardenne | France/Belgium/Italy
9. Nymphomaniac Vol. 1/Vol. 2 | Lars Von Trier | Denmark/Germany/France/Belgium
10. Calvary | John Michael McDonagh | Ireland/UK
11. American Interior | Gruff Rhys, Dylan Goch | UK
12. Under The Skin | Jonathan Glazer | UK
13. Citizenfour | Laura Poitras | US
14. Lilting | Hong Khaou | UK
15. The Lego Movie | Phil Lord, Christopher Miller | US/Australia/Denmark
16. Starred Up | David Mackenzie | UK
17. Showrunners | Des Doyle | Ireland/US
18. Belle | Amma Asante | UK
19. Locke | Steven Knight | UK
20. A Story Of Children And Film | Mark Cousins | UK
21. Nightcrawler | Guy Gilroy | US
22. The Rover | David Michôd | Australia
23. 22 Jump Street | Phil Lord, Christopher Miller | US
24. Inside Llewyn Davis | Joel Coen, Ethan Coen | US
25. Noah | Darren Aronofsky | US
26. Jimmy’s Hall | Ken Loach | UK/Ireland
27. Cold In July | Jim Mickle | US/France
28. The Past | Asghar Farhadi | France/Italy
29. Dawn Of The Planet Of The Apes | Matt Reeves | US
30. Chef | Jon Favreau | US
31. ’71 | Yann Demange | UK
32. X-Men: Days Of Future Past | Bryan Singer | UK/US
33. The Wolf Of Wall Street | Martin Scorsese | US
34. August: Osage County | John Wells | US
35. Only Lovers Left Alive | Jim Jarmusch | UK/Germany
36. Northern Soul | Elaine Constantine | UK
37. Her | Spike Jonze | US
38. Edge Of Tomorrow | Doug Liman | US/UK
39. Non-Stop | Jaume Collet-Serra | US/France
40. A Most Wanted Man | Anton Corbijn | UK/Germany/US
41. The Riot Club | Lone Scherfig | UK
42. Maps To The Stars | David Cronenberg | Canada/US
43. The Guest | Adam Wingard | US
44. The Armstrong Lie | Alex Gibney | US
45. The Unknown Known | Errol Morris | US
46. American Hustle | David O. Russell | US
47. The Heat | Paul Feig | US
48. The Two Faces Of January | Hossein Amini | US/UK
49. Easy Money III | Jens Jonsson | Sweden
50. Captain America: The Winter Soldier | Anthony Russo, Joe Russo | US
Really, I don’t think there has ever really been anything like Boyhood, but its technical and logistical achievements might just have been that had it not been for Richard Linklater’s guiding hand and a cracking cast, most remarkably Ellar Coltrane and Lorelei Linklater, respectively seven and eight years old when shooting began in 2002. Rarely have 165 minutes passed in a cinema without anybody looking at their watch. This film singlehandedly made a case for the occasional preeminence of American filmmaking in the 21st century, where noise and surface are often all it’s got. (I say that, but the US dominates my list, if not the Top 10, as the bulk of the films I saw were American, or American co-productions. As ever, a bit of Danish or French often rises to the top.)
In a year without Boyhood, Leviathan would have sat comfortably at the top of a the pile. Andrey Zvyagintsev’s austere, symbolically rich tale of contemporary smalltown corruption plays out as a David and Goliath struggle between a car mechanic and a grotesque mayor on the coast of Northwestern Russia over a patch of land (the mechanic, Alexei Serebriakov, lives on it, in a house he built himself; the mayor, Roman Madyanov, wants it). A slow, downbeat, naturalistic and unshowy slice of life, Leviathan nonetheless rears up into moments of pure beauty and portent, not least when one character glimpses an actual whale breaking the surf in the bay, or when the teeth of a JCB tear into a house like a dinosaur searching for prey. It’s all about scale.
I’m pleased that a large number of UK and Irish releases made the final cut – Starred Up, Belle, Locke, Calvary, Under The Skin, American Interior, Jimmy’s Hall – as well as a clutch of documentaries, although I can think of half a dozen I’ve missed, too. I also missed Pride, which I feel might have been in there, had I seen it. Feel free to tell me yours, but don’t take it personally if a film you’ve loved this year isn’t in my Top 50; I might simply have missed it. And I really didn’t like Mr Turner.
A postcript: I continue to hold a Curzon cinemas membership, and it is my lifeline. It should be noted that in 2014, the chain announced that it had finally recognised the union Bectu and agreed to pay its workers a living wage. So far, this agreement seems to have held, and no funny business has emerged. I am in touch with the previously aggrieved Curzon workers via Twitter and have heard nothing to the contrary. I sincerely hope this continues to remain true. Other cinema chains have not been as willing to compromise, and it blights the whole business of cinemagoing.
yeah, ‘boyhood’ was amazing. and i expect i am not alone in wanting to ask, why didn’t you like ‘mr turner’? i found it really absorbing with plenty of humour. i enjoyed ‘the drop’ – some twists, some grit, whilst ‘frank’ and ‘only lovers left alive’ were disappointing (the elements in frank should have made a great film, the director of only lovers has made some of my favourite films ever).
i liked ‘night moves’ a lot. and ‘of horses and men’ was weirdly wonderful and beautiful.
I found Mr Turner overlong and lacking in any insight into the title character’s character. Spall played him as a caricature, and Leigh wrote him, and everyone else, as such. I love Mike Leigh, but Mr Turner, though lovely to look at, was overblown and tedious.
We loved the Boxtrolls—the perfect movie for kids who didn’t “want to build a snowman.”
Interesting. I have seen none of these films. I’m bound to catch up with a few on Netflix or elsewhere, but I’m not sure what happened to the film fanatic I was–the one who saw 3 to 8 movies every week. I know when it started–when our local theater owner didn’t show the credits at the end of 8 films in one summer. The credits are as important to me as the film–the only chance to see the names of everyone responsible, and to find out where it was filmed, and who got paid for product placement. So I’d drive 80 to 160 miles to other theaters to watch movies, but it was too expensive, really, and so now I indulge my agoraphobic tendencies completely and watch everything on my computer in my bedroom. The last film I saw in a theater was Avatar, which came out in 2009. That was a waste of $11.00. It’s nice to have a list to work through on my computer in my bedroom, so thanks.
I’m lucky enough to have an arthouse cinema about half an hour’s walk from my house in London, or 10 mins by bus, so I’m spoiled. But a trip to the cinema can still be stressful, thanks to the variable known as Other People. I went to see The Theory Of Everything this afternoon, and could not completely settle until I knew that the people who talked all through the ads and trailers would stop talking when the film started. At least watching them on your computer, you know the experience will be how you want it to be!