Tag Archives: The Place Beyond the Pines

Top 10 Movies of 2013

Alright, so there’s still a lot from 2013 that I haven’t yet seen. BUT I’ve also seen some fantastic movies as it is, and I’m getting swept up in the end-of-year lists, so here’s my top 10 movies of the year at this point.

(Just know that Spike Jonze’s Her would probably be on this list, but it doesn’t get released near me until mid-January.)

Honorable Mentions: Blue Jasmine, Star Trek Into Darkness, Before Midnight, Stoker

10. Fruitvale Station

Yes, the movie can be a bit heavy-handed, but overall, it does a great job of showing who Oscar Grant was as a person. We see so many little interactions that seem innocuous on their own but are fascinating to watch and ultimately add up to something much bigger by the film’s heartbreaking end.

9. Nebraska

This is a film that I certainly enjoyed at the time, but it has really grown on me in the weeks since I’ve seen it. It’s funny, touching, and dark all at the same time, boasting great performances and a pleasantly offbeat visual style.

8. Dallas Buyers Club

McConaughey and Leto turn in career-best performances, completely inhabiting the complex characters they are given. But there is more to Jean-Marc Vallee’s film than the sum of its actors. He tells a tender underdog story, refusing to be morose and instead filling every inch of the screen with genuine warmth and an effective visual tone. It’s grim, but it’s also inspiring.

7. Something in the Air

Olivier Assayas’ latest film follows a group of teenagers living in France during the aftermath of the May 1968 protests. While its opening half hour is haunting for the depiction of the violent demonstrations that our protagonists become involved in, the film really falls into its groove after that point, when it shows the fracturing of the group of friends upon graduation. They shift and detach from each other in subtle ways, and Assayas expresses this beautifully, enveloping the film in a warm, hazy sense of nostalgia.

6. Gravity

I’ve seen a lot of people trying to oversell Gravity as a deeper film than it is, but if you accept what is actually given to us, it’s a heck of a lot of fun. Sandra Bullock is charming, exasperating, and relatable all at once, turning in an amazingly layered performance considering that she is not given all that much to work with. And indeed, Cuaron has crafted something truly special in the film’s visuals. The scope is something to behold, and Gravity is no doubt a highly impressive and entertaining achievement.

5. 12 Years a Slave

Steve McQueen’s 12 Years a Slave is not only an “important” film, but also an impeccably crafted one. It is his most accessible film yet, but it still offers his signature visual grit and no-nonsense take on some very dark subject matter. Every scene in this movie feels vital, and it all adds up to a punishing but ultimately emotionally resonant epic. Led by a completely electric Chiwetel Ejiofor, 12 Years a Slave is a film that everyone should make the time to see.

4. Lore

In Germany during the aftermath of WWII, teenage Lore is forced to bring her four younger siblings on a trek across the German countryside after the disappearance of their Nazi parents. Along the way, they meet a young man who challenges the hatred that has been instilled in them, adding another layer of tension to an already very taught film. Lore doesn’t pull its punches, and it feels something like Winter’s Bone crossed with a Michael Haneke film. It’s stark and beautifully aching, boasting revelatory performances from its two young breakout stars, Saskia Rosendahl and Kai Malina.

3. Prisoners

Prisoners is an unrelenting thriller that sits somewhere between arthouse and mainstream. This seemed to make it an unfortunate mismatch for a lot of moviegoers, and despite its star-studded cast, it failed to make much of a dent in the public consciousness. This is a real shame, as Denis Villeneuve has created a visceral, often brutal near-masterpiece here. Partly thanks to Roger Deakins’ impeccably icy cinematography, Villeneuve seems to relish keeping the audience tense and on their toes to an extent that few films manage to achieve. Jake Gyllenhaal turns in the best performance of his career here, and Prisoners is a rare film that plays its suspense perfectly and left me completely satisfied as the credits rolled.

2. Mud

I love Dazed and Confused as much as the next person, but I have seen (and, in many cases, avoided) enough post-2000 Matthew McConaughey rom-coms to sour any goodwill stemming from one movie that came out 20 years ago. Yet here we are in 2013, and somehow McConaughey is one of the most interesting actors we’ve got working. And his first great performance of the year came in Mud, Jeff Nichols’ follow-up to the eerie critical favourite Take Shelter.

Mud is a somewhat nostalgic look at youth in the vein of Stand By Me. Young star Tye Sheridan is completely believable and often heartbreaking as Ellis, a good-hearted kid from poor circumstances. But it’s McConaughey as the enigmatic titular Mud that gives the movie
a unique wildcard. It’s a surprisingly toned-down performance from McConaughey, and his on-screen chemistry with Sheridan is a treat to behold. There’s something so sturdy and sad about their relationship. That combined with Nichol’s languid look at small town America and the loss of youthful innocence makes Mud a quietly beautiful and piercing ride.

1. The Place Beyond the Pines

As I walked out of the TIFF screening of The Place Beyond the Pines in September 2012, I knew I’d seen something special. A genuine achievement in filmmaking at a point in time where a lot of movies seem to blur together. And while I saw many other good and very good films over the course of 2013, none of them could quite touch my early TIFF favourite. (The same thing might just happen for me again in 2014 with Kelly Reichardt’s Night Moves.)

I went to see The Place Beyond the Pines again during its theatrical release and loved it just as much the second time around. The plot turns may not have been surprising this time, but knowing what was coming made the movie even more urgent and aching. I’d initially thought that the second third of the film (which revolves around Cooper’s character) was the film’s weakest aspect. But knowing where that storyline leads only amplified the damage of his character and it made me appreciate that storyline and Cooper’s performance far more.

This is a sprawling movie that explores a lot of heady territory when it comes to family, the consequences of our actions, and legacy. I’ve found it’s impossible to do The Place Beyond the Pines justice with a simple plot description, and I think this is a testament to the film’s power. On the surface, the story and themes of this movie aren’t groundbreaking. Yet, the way that it’s constructed and its tone almost turn it into something completely different, and the results are breathtaking.

There’s almost a dampness to this film that just sort of…seeps in as you’re watching and long after the film ends. It’s difficult to explain. But regardless, this is a movie that’s sat with me for over a year now, and it’s impacted me in a way that very few films do.

TIFF 2012: The Place Beyond the Pines

Just a few days in, and TIFF has already screened a spat of critic and movie fan favourites. From grand blockbusters like Looper and Cloud Atlas to human dramas like Argo and The Master, big stars and big directors are already pleasing crowds at the festival. And you might as well add Derek Cianfrance’s follow-up to Blue Valentine, The Place Beyond the Pines, to that list. Met with generally positive response from critics, the film is likely to connect on a gut level with many viewers.

Pines made its world premiere on Friday night, and I entered the press screening early this morning with the unique experience of knowing virtually nothing about the film. And honestly, it’s best to know as little as possible about this film going into it. As such, I’ll be very vague with the plot description. Ryan Gosling plays Luke, a motorcycle stunt driver. Bradley Cooper plays Avery, a newly minted and overqualified police officer. When Luke gets caught up in some illegal activities, the two inevitably come face to face. Their meeting then sparks a chain reaction of repercussions that affect not only them, but also their family.

At its core, The Place Beyond the Pines is a story about masculinity and the consequences of actions. And Cianfrance evokes the ache of regret beautifully. There is a palpable sense of uncertainty, and like the characters on screen, the audience is held in a constant state of tension. This is not an action-packed movie, yet there is such suspense in every character interaction. A number of figurative threads could be pulled at any time during this film and the lives of the characters would almost instantly unravel.

Cooper perhaps does the best job of conveying this unsettled tone. Much of the latter part of the film deals with Avery’s struggle to come to terms with his past decisions, and Cooper gives an aching, slow-burning performance. His character is wonderfully complex, and Cooper sinks his teeth into every nuance of the role. It’s easily his best performance to date.

Also breaking new ground here is up-and-comer Dane DeHaan. Though DeHaan does not appear until later on in the film, his character quickly becomes a key player, and DeHaan deftly navigates the epic relationship landscape that Cianfrance has constructed by this point. He’s already impressed me this year in Chronicle and Lawless, but now given a meaty dramatic role, DeHaan shines even brighter. He’s given some scenes that easily could have seemed overly laboured or difficult to believe, but DeHaan’s easy naturalness never wavers. He just sinks into the role and inhabits every corner of it.

Ben Mendelsohn (Animal Kingdom, The Dark Knight Rises)gives another fantastic, chameleon-like performance as a man who takes Luke under his wing. His subtle humour is welcome in this heavy film, yet his character also has plenty of demons of his own. Gosling turns in yet another great, emotionally captivating performance, and Eva Mendes is surprisingly good as the woman his character peruses.

One thing that really surprised me about The Place Beyond the Pines was the scope of the film. Cianfrance has experimented with time lapses already in Blue Valentine, but while that film felt suffocating in its intimacy, Pines feels almost grand and epic in its ever-expanding story. And Cianfrance put every minute of the two and a quarter hour runtime to good use. Yes, a couple of story elements feel a bit convenient and/or melodramatic. And yes, I did find the second third of the film to be a little too conventional in its “dirty cop” tropes (though Ray Liotta is great in his very small role). But ultimately, none of that mattered. The Place Beyond the Pines packs an emotional punch the gut. This movie is about the consequences of our actions. And as characters’ past decisions start to affect innocent people, it’s hard not to get engrossed in the injustice and tragedy of it all. Simply put, The Place Beyond the Pines feels poetic without being pretentious. It might not fully satisfy those looking for a bit more violence in their studies in machismo, but the slow-burning drama makes for a far more substantial product.

9/10

TIFF Gears Up for Big Stars, Big Hits

The Toronto International Film Festival announced its first wave of festival programming via a live press conference this morning. After weeks of speculation and rumour, it turns out that many of the films that fans were hoping to see on the list will in fact play at the festival this year.

TIFF, which usually favours smaller, independent fare, will play host to a couple of big-budget blockbusters-to-be in September. Rian Johnson’s Looper will open the festival with a special gala on September 6. The sci-fi action film stars Joseph Gordon-Levitt, Bruce Willis, and Emily Blunt, and is set to hit theatres for a major release on September 28. This marks a significant step up for TIFF’s opening film in terms of budget and profile. Last year’s opening film was the U2 documentary From the Sky Down, and the year before that, the Charles Darwin biopic, Creation.

The folks at TIFF also announced that the Wachowski’s Cloud Atlas will also premiere at the festival. Starring Tom Hanks, Halle Berry, Susan Sarandon, and Hugh Grant and boasting an estimated budget of $140 million, this is definitely one of the biggest films TIFF has ever welcomed.

On a slightly smaller scale but no less exciting is the announcement that Terrence Malick’s latest project, To the Wonder, will screen at TIFF. Given the long post-production life of The Tree of Life and Mallick’s typical long gaps between films, some fans thought it was unlikely Mallick’s next project would be ready in time. However, the film, which stars Ben Affleck, Rachel McAdams, and Javier Bardem will in fact make its world premiere at TIFF this year.

Other big name directors whose films will show at TIFF include Ben Affleck with Argo (starring Affleck and Bryan Cranston), David O. Russell with Silver Linings Playbook (starring Bradley Cooper, Robert De Niro, and Jennifer Lawrence), Noah Baumbach with Frances Ha (starring Greta Gerwig), Joe Wright with Anna Karenina (starring Keira Knightley and Jude Law), and Robert Redford with his star-packed The Company You Keep (Redford, Shia LaBeouf, Julie Christie, Terrence Howard, Brendan Gleeson, Sam Elliott, Anna Kendrick, Richard Jenkins, Nick Nolte, Brit Marling, Stanley Tucci, Susan Sarandon, and Chris Cooper).

Speaking of stars, TIFF will once again celebrate Ryan Gosling, as they host the world premiere of The Place Beyond the Pines. Directed by Blue Valentine helmer Derek Cianfrance, the film stars Gosling and Bradley Cooper as a stunt rider and a cop who square off. Other big names you might see walking around Toronto this September include Zac Efron (At Any Price), Marion Cotillard (Rust and Bone), Bill Murray (Hyde Park on Hudson), Jake Gyllenhaal (End of Watch), Kevin Bacon (Jayne Mansfield’s Car), and Kristen Wiig’s (Imogene).

And while it’s easy to get caught up in the glitzy star spectacle that TIFF can become, it is also a festival that honours a lot of Canadian and foreign films, too. TIFF will round out its line-up in the coming weeks with more of these titles. For now, though, we know that Ruba Naddi’s Inescapable (starring Marisa Tomei and Fringe‘s Joshua Jackson) and Deepa Mehta’s Midnight’s Children will be two Canadian films having their world premieres at TIFF. The latter also tie’s into the festival’s “City to City” theme, which this year will highlight films from and about Mumbai, India.

The Toronto International Film Festival will run September 6-16. See the full list of films announced this morning at tiff.net/thefestival/filmprogramming