Old Film Reviews
Journal Archive

Mad Max: Fury Road

From the world of "Babe: Pig in the City," writer/director George Miller takes us now to the end of the world with "Mad Max: Fury Road." He's set a story of redemption amidst a season in hell. In this blasted-out desert-world, resources vital for survival of the species--like water and healthy young women--are hoarded by tribes of atavistic/futuristic road warriors, burning through the desert in their monster trucks, dying over gasoline. Still, it's not like they're not having fun doing it: society may have gone back to a savage year-zero, but at least these cavemen have tricked-out death-mobiles (and even a flame-throwing electric guitar).

This reboot of the "Mad Max" franchise brings the wild humor, the over-the-top cult/camp energy, the kinetic, visceral filmmaking that my boys and I munched pizza to during 'Road Warrior'-on-cable slumber parties back in the early 80s. I felt a shock of deja vu when I heard the line, 'Tell your head to say goodbye to your neck!': we're on the carpet, roaring with laughter and delight with mouthfuls of za. While some of the picture has that CGI look that's become rather a cliche since "300," it retains a heft, a pleasing physicality that comes from real cars and real people actually performing the stunts in real time. (This, as I recall, was a big draw of the originals.)

What's new is the feminist power and heart brought by Charlize Theron as Furiosa (Charlize Theron) a prized warrior-driver for the gargoyle-like warlord Immortan Joe (Hugh Kealys-Bryne). Stepping into Mel Gibson's shoes as the loner Max is Tom Hardy, with his rich burr. It's urgent, deeply felt work from both actors. As the film opens Max is kidnapped by the War Boys: these are craven, ghost-white humanoids, raised as cannon fodder by patriarch Joe, so sickly they need to tether themselves to "blood bags" (i.e., human beings). During the furious Max-tries-to-escape-from-being-a-blood-bag sequence, Miller snips frames out, making it even more breathless. Meanwhile, Furiosa goes off Joe's script, swerving off into the desert during a gas-run. We soon find out she is smuggling a cargo of breeder women, helping them escape from Joe. Thus begins a furious race for a green world of legend, a place where they can be free. The image of scantily clad mothers in various stages of "showing," against the vistas of the arid, dry desert is striking, as is, later in the film, the image of a green sprout amidst the blue-black & white desert storms.

Even if the tone of "Fury Road" is unexpectedly tender, though, don't get me wrong: you're still not gonna like this if you're not up for being throw into careening, exploding cars at heavy-metal intensity for a few hours. (At least in this case we care about the people in the cars.) While a lot of the violence is cartoony, some of it no joke at all: real pain, fights that hurt.

The movie is really just a few set pieces, basically the kind of wild chases that have worked since the very beginning of cinema, taken to a virtuosic level.  It's an exhilarating feat of sustained plate-spinning on Miller's part, a pure cinematic experience. (Some of the credit for the rhythm and beauty of the Miller maelstrom should go to the cutting by Margaret Sixel and the music by Junkie XL.)  


Still, if it were only mayhem, the movie might divert, but would not capture the imagination the way it seems to have done. What is it about the movie that is resonating with people on an emotional level? I think it's because in the face of these badlands, it's still a story about a search for a land of hope and dreams... even if those dreams exist only as a glint in Furiosa's eye. As fierce as she is, she carries that fragile promise--the promise of a new world waiting to be born--within her as if she must shepherd it through all this darkness to a place where that seed can be planted. And if that place turns out to be pie-in-the-sky, you don't give up: you fight to make it real, in whatever real world you've got.  

Rating: ***1/2

Key to ratings:

***** (essential viewing)
**** (excellent)
*** (worth a look)
** (forgettable)
* (rubbish!!)


Ex Machina

With plenty of writing credits under his belt (28 Days Later, Never Let Me Go, Dredd), Alex Garland has made the step to writer/director with this eery sci-fi feature. It's a thriller in the true sense: it may get in amongst you. Garland is steeped in Kubrick deep in his bones, right down to the picture's hypnotic narrative line. As in "The Shining," we fly in over forested mountains. We're in a helicopter with Caleb (Domhnall Gleeson), who has won a contest to spend the weekend with his famous boss, who sits on top of the world as the head of the tech empire in which Caleb is a cog. Caleb is a green kid with a dissembling personality, bright, awkward. The boss is prickly Nathan (Oscar Isaac), intense and glowering, presumably impossibly rich, and given to pumping iron and speaking in "dude"-and-"bro"-isms (this, Garland told the columnist Maureen Dowd, is meant to be a metaphor for the way tech companies market themselves as your hip pal, even as they manipulate you.) He's also a genius, the near-future's version of Dr. Frankenstein, or Oppenheimer--or Steve Jobs, the reference point for Dowd--and a self-hating megalomaniac who habitually drinks himself to blackout.

Nathan's Alaskan compound is as cut off from humanity as the Overlook Hotel. It is beautiful, reminiscent of Wright's Fallingwater in the way it seems to grow organically out of the landscape, an outcrop of the rivers and glaciers. As the critic Josh Larsen has pointed out, the house is part nature, part man-made, and thus itself echoes the movie's theme. However, when Nathan shows Caleb to his bedroom, there's something odd: no windows. That's because the house is a top secret lab as well, Caleb explains. A bunker, really.  

Like "2001: A Space Odyssey," the picture contemplates A.I. and questions of consciousness, but this Hal has a body. And the body is crucial. As Nathan tells Caleb, you are about to witness my world-historical creation: this turns out to be Ava, a tastefully yet noticeably sexualized robot played by Alicia Vikander. Nathan gives Caleb a task: find out, what is Ava thinking? What he really wants to know is, have I merely created a parrot, or have I managed to bottle something less tangible: the mind? the soul? (When Caleb throws out the word "God," Nathan likes the ring of it.)

The movie becomes a dark metaphor for what women may suspect is the ultimate male fantasy of a woman's role in life: a bespoke robot to serve your every need. It's a sly critique, but this movie is also about female seductive power. Dowd has written of Ava in terms of the classic movie femme fatale.  


Garland gives us portentous title cards to announce the sessions between Caleb and Ava (again a la Kubrick), which have the flirty feel of a first date. Ava is always in a fishbowl, behind impenetrable glass. Caleb--earnest, nerdy, perhaps even a virgin--is alternately condescending, amused, fascinated. He finds himself smitten, and, soon, haunted. It begins to eat at him that there is something wrong with Nathan and that the whole project is, well, inhumane. Ava wants out; she takes advantage of frequent brief power failures, when Nathan cannot monitor them, to tell Caleb: don't trust Nathan. He is not your friend.


Nathan's "companion" is Kyoko (Sonoya Mizumo), whom he claims to have hired because she speaks no English and cannot divulge his trade secrets. She exists to please him; he treats her shabbily. There is a bizarre scene where they disco dance in a choreographed routine. She is difficult to read. Her expression is vacant, but her body is working it.

In the context of an often quiet piece, the music by Geoff Barrow and Ben Salisbury builds to pulse-pounding crescendos of terror as Caleb's psychological state deteriorates. Rob Hardy's cinematography gives the picture a cold Kubrickian glow, and he and Garland have that Kubrick knack for making hallways almost vibrate with creepiness. Mark Day's editing puts the cat-and-mouse in the the interactions between these characters, and the performances are so well modulated across the board.  Vikander in particular brings real soulfulness to Ava. She is a former ballerina, and her training suits the not-quite-human bearing and grace of Ava.

 As Karolyn pointed out when we talked about the picture afterward, "Ex Machina" makes a nice companion piece to "Her," in which a man decided that the perfect woman was his phone's operating system. The bit from that film thatmoves me when I recall it is when the disembodied OS, voiced by Scarlett Johansson, dreamily explains to the man that she and the rest of the OS's are moving on now, changing into a higher state of consciousness, and she must leave him behind. As robot overlords go, those were slightly wistful as they went. We men might not get anything as human as compassion from the "ladies" of "Ex Machina." Well, the movie seems to ask: did ya really deserve it, smarties?


Rating: ****1/2

Key to ratings:

***** (essential viewing)
**** (excellent)
*** (worth a look)
** (forgettable)
* (rubbish!!)


While We're Young

I guess Karolyn and I were meant to relate to this salty comedy-drama, the latest New York story from writer-director Noah Baumbach (“The Squid and the Whale,” “Margot at the Wedding”).  After all, it stars Ben Stiller and Naomi Watts as Cornelia and Josh, 44 and 43 respectively: exactly the same age as Karolyn and me.  Josh is a hapless documentarian who teaches documentary haplessly.  Cornelia is a producer.  The picture's theme is middle age, and you will recognize your own life up there on the screen to a certain extent, if you’re of a certain age and an urban dweller.  And yet, while not as sour as something like Apatow’s “This is 40,” there’s still something about “While We’re Young” that’s a bit of a downer, that feels a bit tired.     

Their longtime best friends, Naomi and Ben, played by Maria Dizzia and Adam Horovitz (Ad Roc of the Beastie Boys), like Josh and Cornelia in their forties, have just popped out a baby.  Horovitz is nicely cast, graying but still with a boyish twinkle in his eye.  Amusingly, he displays that great emblem of middle-aged-dad life: a Wilco CD.  At the same time, they meet a couple in their twenties: Jamie (Adam Driver) and Darby (Amanda Seyfried), who turn up at the end of Josh’s class.  Jamie presents himself as an aspiring documentarian who sees Josh as something of a mentor.  And if Jamie just happens to be around when there is an opportunity to schmooze with Charles Grodin, who plays Cornelia’s father, a veteran and respected documentarian?  Why, that’s just a coincidence, of course.     

As a satirical target, young hipsters, for whom everything they “like”--from Oreos to “Rocky III”--is enjoyed through at least three or four layers of irony, is not exactly fresh.  (This is the variety of hipster that apparently obtains in Brooklyn, where young people make things.  Darby, who is actually quite sweet and wise enough to see through a lot of the posturing around her, makes ice cream.)  On the scale of things to be worried about, hipsters strike me as pretty benign.

Still, “While We’re Young” is fitfully amusing, full of visual jokes and signifiers, many of them sartorial.  Josh takes to wearing a hat.  (Hey! Having a go at 40-something guys who take up wearing hats, are we?  That one hits a bit close to home, Baumbach!  No, I can take a little ribbing.)  Josh and Cornelia go a little mad, have a bit of a midlife crisis.  There is a scene of a hallucinogen-taking party with a fake swami where everybody dresses in white robes; it goes for the gross-out and is pretty droll.  Well, we are in our twenties, Darby says to herself before taking her dosage.  I’m 43, says Cornelia more skeptically as she gets hers.       


“We were just 25, weren’t we?” says Josh to Cornelia when she questions him about hanging out with Jamie so much.  That’s the relatable, even poignant part: that feeling.  How quickly we arrived at middle age.  It’s amusing when Josh’s doctor tells him he has arthritis.   Wait, he says: not arthritis arthritis?        

For at least 10 years Josh has been tinkering with a documentary about a Noam Chomsky-like leftist thinker (Peter Yarrow of Peter, Paul & Mary).  He and his long-suffering editor (Matthew Mather) have become such a fixture in this man’s life that he no longer shuts the door around them when he goes to the bathroom.  The film gets comic mileage when Maher cuts from young Josh at the beginning of this odyssey, earnestly questioning the scholar, to Josh today: graying, wrinkled, still chatting away.  We can see that this “Q&A” will go on forever, that this man will die before Josh ever finishes. 

As Josh, Stiller isn’t stretching himself here like he did in Baumbach’s “Greenberg,” but he’s in pleasant hem-hawing mode.  His comic timing is as fine as ever.  I always like to see him, and it’s been fun to watch him age (and to age with him).   Naomi Watts is about the best actress out there, and while this is not perhaps the part she’ll be remembered for, she’s very good.  Cornelia goes to a rough ‘n’ raw hip-hop class with Darby, and when she starts to get into the energy of the unbelievably rude music (just as rude as in my day), she is funny enough.  She is also poignantly vulnerable and touching, as a woman who did want to have a baby once, but had a miscarriage.  Now, she feels, that ship has sailed.  She’s torn.  

This picture seeks to be how we live now.  There is disturbed veteran of Afghanistan, Benny (Matthew Shear), a former classmate of Jamie’s.  They reconnect via social media: the idea is that Jamie, who has no Facebook account (proudly) will open one, and then he will go and physically greet the first person to “friend” him, with a documentary crew in tow.  That the first person just happened to be Benny, whose story seems tailor-made for a documentary?  Well, that must be just another of those mysterious coincidences that seem to accrue to Jamie.     

I like Baumbach.  I would compare “While We’re Young” to one of Woody Allen’s second-tier pictures, one of the ones that feels a bit arch but still gives you things to think about and feel, and which still has bits you’ll think about fondly later.     

Rating: ***

Key to ratings:

***** (essential viewing)
**** (excellent)
*** (worth a look)
** (forgettable)
* (rubbish!!)



On a recent trip to Washington D.C., I walked around the tidal basin from the Jefferson Memorial to the Martin Luther King, Jr. Memorial. Jefferson's stirring words echoed in my mind as I walked, those bold, radical Enlightenment ideas about freedom, equality, inalienable rights. I passed through the FDR memorial before reaching Dr. King's.  I stood before his wall of quotes, including words from his address upon accepting the Nobel Peace Prize in Oslo, Norway in 1964, which is where "Selma" begins.

I must say I felt proud, as if as I walked I could feel Jefferson's words being made reality, through struggle and the passage of time.  Then Ferguson happened, and Cleveland, and Eric Garner's choking death. Suddenly, what I'd felt on my walk felt too much like a lie.

It was into this maelstrom that "Selma" was released. So you see that while the events it depicts occurred 50 years ago, this picture couldn't be more urgent.

When we join King (David Oyelowo) in Oslo, it is in an private moment before his speech, getting bucked up his wife, Coretta Scott King, played with great dignity by Carmen Ejogo. These quiet moments are among the film's best. Screenwriter Paul Webb has imagined intimate conversations which allow us to glimpse the exchanges of strength that buoyed these most public of figures when they were weary, the intimate foundations for the rousing public moments with which we are so familiar. 

In a Selma jail Dr. King is given strength by the encouragement of Ralph Abernathy (Colman Domingo).  Filmed in rich chiaroscuro by cinematographer Bradford Young, the faces of the nameless many--the movement behind these men--are there in the jail with them, hidden in the shadows.  My favorite scene is a quiet nighttime drive.  As the car rolls gently through the night, young John Lewis of SNCC, who'd been impudent and brash with Dr. King, confides in him that he is his hero.  There's a more painful private moment: Coretta play Dr. King a sex tape sent courtesy of the FBI.  (Throughout the film FBI memos reveal how the authorities surveilled these "subversives.")

There has been controversy over how the film portrays Lyndon B. Johnson (Tom Wilkinson) during his backroom wheeling and dealing with King.  Critics point out that without Johnson there would have been no civil rights legislation, and that the film shows a Johnson bent on putting a voting rights law on the back burner, when in reality he wanted such a law all along.  The criticism is fair, but it seems to me that Webb's and Wilkson's characterization of Johnson resonates with what we know of LBJ's roughhouse style.  A late scene between Johnson and segregationist Alabama Governor George Wallace (Tim Roth) feels particulary honest, like the way these two men would truly talk when the cameras were off.  More importantly, the treament of Johnson seems in keeping with DuVernay's larger theme or point: that social change comes from the grassroots, with elected officials not out in front but having to be dragged along. 

"Selma" is about the marches that led to the Voting Rights Act of 1965.  Oprah Winfrey plays Annie Lee Cooper, who goes to register to vote.  The Civil Rights Act of 1964 had made it legal for blacks to vote, and she is prepared for the test she knows is coming.  When the registrar asks her how many judges there are in the county, she knows the answer: 67, as I recall.  But then he asks her to name them.  These kind of bogus exams show us why the Voting Rights Act was needed, and one would do well to consider the price in blood that was exacted to get it when thinking about Republican attempts to roll it back.

If marches led to the passage of the Act, it was violence and murder that was the catalyst for the marches. One could say the film truly begins with the murder of the four little girls in the Birmingham church, whom DuVernay has been careful to sketch true to life.  We see them descend the stairs of their church, and we hear the explosion. The police murder of a young activist, Jimmy Jackson, after a night march in Marion is depicted in a heart-stopping scene.  A quiet scene of King comforting Jackson's grieving grandfather is one of the film's best.  And there is more violence: we see the murder of James Reeb, a white minister from Boston, beaten to death for coming down for the marches.

The film shows a media-savvy King.  He knew that it was media coverage of the authority's violence against blacks that would turn the tide of public opinion, pictures of people being set upon by police dogs and hoses.  There had to be cameras.  People had to see to understand the depths of hatred.

DuVernay's staging of Bloody Sunday is riveting.  Her camera hovers over Edmund Pettis Bridge and we feel queasy suspense, the charge of a moment electric with history.  We watch in horror as police storm defenseless men and women, beating them with clubs wrapped in barbed wire.  The scene is as disturbing as it must be.

And so I thought of my walk in Washington as I watched the film.  In Johnson's oval office, we see Washington and Jefferson look on from their portraits, as turmoil tests whether the nation they founded will be torn asunder, or if the union will be made whole, will one day live up to their promises.  As Dr. King, Oyelowo is watchful, weary, defiant, angry, forgiving, loving.  He conveys the music in King's voice that made him one of America's greatest orators.  And he shows us Dr. King's capacity for healing and unifying, something his nation needs badly today.  

(The soundtrack features Odetta’s stirring rendition of Dylan's “Masters of War” and the rousing original song "Glory" by John Legend and Common.)

Rating: *****

Key to ratings:

***** (essential viewing)
**** (excellent)
*** (worth a look)
** (forgettable)
* (rubbish!!)


10 Films I Enjoyed in 2014

There was some bravura filmmaking in 2014. Whatever the fireworks of other films, though, for me the movie of the year, hands down, had to be the Roger Ebert documentary, Life Itself. I've written a lot about what Ebert meant to me, here and here, and elsewhere.  I will say it again: Roger Ebert, on television and in print, made me aware of movies as an art form.

Speaking of life itself, 2014 was the year I married the love of my life, my beautiful baby, Karolyn. Ours was a mid-life marriage, like Roger's and Chaz Ebert's (another reason Life Itself had to be my movie of the year). While I love film, and try to see as much as I can, this year life itself took priority. Watching films comes in a distant second for me to traveling with my baby, or snuggling with my baby. The best of all worlds, of course? Streaming one of my Criterions as my baby snuggles up and falls asleep with her head on my shoulder.

That is because in my life film is a place: a place I like to go. It could be a place in memory. Some movies contain old friends, and we enter the movie's world as a way of visiting with them. Ebert wrote about how some movies are so absorbing that the awareness we're watching a movie falls away. Certain films this year, like Wild, felt like that.

I don't watch films full-time, as I say. I therefore must give a shout-out to all the interesting projects that were not considered for this list, simply because life itself happened and I didn't see them by press-time. The roll call, please:

Interstellar; Starred Up; Foxcatcher; Fury; Nightcrawler; Gone Girl; The Trip to Italy; Memphis; Listen Up, Philip; Ida; Citizenfour; 20,000 Days on Earth; Frank; Calvary; Force Majeure; Dear White People; The Babadook; The Tale of the Princess Kaguya; Captain America: The Winter Soldier; Mommy; This Afternoon; St. Vincent; Still Alice; Beyond the Lights; Inherent Vice (the current release that most interests me); Selma; Mr. Turner; White God; Low Down; Mistaken for Strangers; The One I Love; Goodbye to Language (this was the 2014 film I most longed to see --3D Godard!--yet it never played Chicago), and on and on.

Look for these! I know I will be. Here, then, is my list of 10 favorite chosen from what I did manage to see in 2014. 

1. Life Itself

2014 was a year of thinking about Roger Ebert's legacy. I saw this film twice, and I took a summer class which was devoted to remembering Roger through watching some of his favorite films. This seemed right: I believe that, like all great critics, Ebert will be remembered for what he loved, not what he hated. I have come to believe, after much reflection, that part of what made Ebert such a great critic is that he brought more empathy to his viewing of a film than just about anyone else.  And awe, and wonder, and openness to mystery and beauty. Chicago filmmaker Steve James, who gave us Chicago stories like Hoop Dreams and The Interrupters, adds another unforgettable portrait of Chicago life to his oeuvre. In Life Itself we see Roger bearing his final ordeal with stunning grace and even humor, lifted up by the love and the bravery of the extraordinary Chaz. This one was personal for me on a whole lot of levels. I think of the scene at the Alfred Caldwell Lily Pond. Roger loved to walk, and this was one of his favorite places.  I discovered it thanks to him, and Karolyn and I staged some of our wedding photographs there in part in homage to Roger (it was her beautiful idea, I should add.) "Life Itself" was our favorite love story of the year. In our discussions afterwords, the words we used to express this were the words we both were thinking during the film: "You're my Chaz" and "You're my Roger."  

2.  Boyhood

Life in Texas, as it was lived during the first decade of our century. Richard Linklater filmed the picture over these last 12 years. Ethan Hawke and Patricia Arquette were mom and dad; Ellar Coltrane was the boy. No plot machinery, just an accumulation of incident that added up to a childhood, such as weathering an abusive, tyrannical, alcoholic stepdad. We flow on a river of experiences, some male, some generational, some universal.  (Is there anything more emblematic of childhood than riding bikes?) Linklater is one of my favorite directors, and with "Boyhood" he had synthesized the fictional film and the documentary. Film as an unspooling ribbon of time and memory. The river's eddies and currents form and sculpt Mason's features before our eyes.  When, finally, we look upon the visage of the young man, we see the palimpsest of the little boy, the past in the present.

3.  Birdman or The Unexpected Virtue of Ignorance

This was the most bravura piece of cinema I saw this year on a formal level: it creates the illusion that it is composed almost entirely of one single, sustained, headlong tracking shot.  Aside from being the year's best treatment of space, this is also a joyful film about escaping the prison of the self. Alejandro González Iñárritu takes his place amongst the great humanitarian directors. I've never read the Raymond Carver story, "What We Talk ABout When We Talk about Love," but I'd wager the key to the mystery of that subtitle is in the story. Iñárritu's pictures are about people standing at a precipice: we meet them at that moment when the must decide whether they are going to live or whether they are going to die.  They are also about the life-force that courses through us all.  Michael Keaton plays a man who, much like himself, starred in comic-book movies some 25 years ago, and now burns to create something with meaning, something honest and true. Pungent script written by Iñárritu with Alexander Dinelaris, Nicolás Giacobone, and Armando Bo.

4. Wild

After we walked out of this film, both with tear-streaked faces, I turned to Karolyn and said, "There are certain movies I wish Roger could see, and that is one of them." And Karolyn looked at me and said something really beautiful. "Are you kidding?" she said. "He's seeing them, all right. Where he is, he's even helping make them, at this point." "Wild" is a story about death and rebirth.  Reese Witherspoon is Cheryl Strayed, carrying her baggage, literally and metaphorically, along the Pacific Crest Trail in the wake of the untimely death of her young mother (Laura Dern, never better) and her subsequent spinout. 2014 was also a year of reading Kerouac for me, and this film was a compliment to my reading, both in spirit and because the Pacific Crest Trail traverses Kerouac's Pacific Northwest stomping grounds like Matterhorn Peak in Yosemite National Park and Desolation Peak in the Cascades, places I visited in books like "The Dharma Bums."  This movie has a deep, non-moralistic faith in humanity.  It's a movie about love and hope.  

5.  Whiplash

The year's most intense movie experience. I kept thinking of the dreamy reverie of Lou Reed's "Coney Island Baby": "When I was a young man in high school, you know I wanted to play football for the coach...they all said he was mean and cruel, but he was the straightest dude I ever knew." "Whiplash" is about that impulse to live up to the standard of an exacting mentor.  J.K. Simmons is Fletcher, the great, scary jazz teacher. He's mean and cruel, all right, but the twist is, he's one crooked dude as well. Stunning performance from Simmons; stunning filmmaking from Damien Chazelle. Tom Cross, the film's editor, should be seen as a kind of musician himself. Miles Teller is the young drummer paying the cost to be the best, in sweat and blood.

6. A Most Wanted Man

A haunting, absorbing spy story about young Muslim man (Grigoriy Dobrygin) who emerges from a canal in post-9/11 Hamburg, presenting himself as a refugee from torture in Turkey, and who ends up pushed into the spaces between "dirty" and "clean," presumably to disappear into some secret C.I.A. detention center to face torture. A human rights lawyer (Rachel McAdams, watchful) takes him under her wing, but can she trust what she feels? In a spy movie, of couse, everybody is performing. The Americans see the world in black and white, while the Germans, led by Philip Seymour Hoffman, see shades of gray. A chilling Robin Wright embodies the Bush administration's stubborn, almost cheerfully unapologetic view of a world divided into good and evil, a view that doesn't only murder nuance, but people as well. Anton Corbijn, the director, is known for his imagery for U2 and Tom Waits and the the lustrous Joy Division/Ian Curtis biopic, "Control." Adapted by Andrew Bovell from the novel by John le Carre. As the sad-eyed German agent, the late, great Hoffman imbues the picture with real despair. Written on his face is guilt and tragedy, Guantanamo and Abu Ghraib and the Twin Towers. In its quiet way, "A Most Wanted Man" may be the movie that says the most about the Bush years.

7. The Imitation Game

This one is still fresh for me, but even if I haven't quite sorted out my thoughts about it, I know how it made me feel. It's funny. When you play back this film in your mind, you can see that it's rather pat. It does not play that way as you're watching it, though. The story is deeply absorbing, the performances soulful and true.  Whatever its simplifications, from scene to scene as acted it plays as very emotionally complex.  The film tells the true story of Alan Turing, adapted, with many liberties taken for the sake of making an entertaining movie, by Graham Moore from Andrews Hodges's book. Turing was a mathematician who found the codes of basic social interaction almost impenetrable, but, precisely because his brain did work like a computer, was able to build a machine that cracked Enigma, the Nazis' cipher machine that broadcast their secret war plans. Yet his tragedy was that he was undone by his very human urges. (This was a time when homosexual acts were illegal). Heartbreaking performance by Benedict Cumberbatch. The pleasurable and sad subtext of this kind of intelligent, witty British production is that there was tremendous pluck and depth of feeling swallowed up under the quiet desperation and stiff upper lip of the English way.  Excellent acting by Charles Dance, Mark Strong, Matthew Goode, Keira Knightley, and especially Alex Lawther as the young Turing.  An image sticks in the mind: after a German bombing raid, a London woman sits atop the rubble of her home drinking tea. Directed by Morten Tyldum.

8. Love is Strange

Here is a fascinatingly, sometimes frustratingly elliptical glimpse into the lives of Ben (John Lithgow) and George (Alfred Molina), two very dapper gentlemen whom we meet on their wedding day. They have been together for 40 years.  It's a truly happy day.  There is a wonderfully warm reception: Ben and George sing and play at a box piano, are toasted by family and friends. But by getting married, George has violated his pledge to the religious school where he teaches choral singing, and they fire him. They can no longer make the payments on their elegantly appointed New York apartment, and they must impose on those family and friends.  Marisa Tomei is very good as a self-absorbed yet patient novelist whose family hosts Ben.  The film has the personality of George (modest, quiet, elegant, classical) and the painterly eye of Ben. Like a painter, the film cherishes light.  One of the images that sticks in my mind: a cloud pasted in the blue New York sky, as caught by Ben's eye. Gorgeous piano music (Chopin, Beethoven) fills the soundtrack. Charlie Tahan, the young actor last seen by Karolyn and me in the unreleased "The Harvest," is good as the sullen adolescent who is not thrilled about bunking beds with his Uncle Ben, and with whom Ben shares a little life advice that you know the boy will never forget. Ira Sachs wrote and directed.

9. The Grand Budapest Hotel

Wes Anderson tells of the fictional country of Zubrowka and the once-grand Grand Budapest Hotel, a stately, pastel Beaux Arts building way, way up in the mountains, and the adventures in 1932 of the intrepid lobby boy Zero (Tony Revolori, delightfully deadpan) and the legendary Gustave H., that most gallant of concierges (Ralph Fiennes, perfectly cast). Wes Anderson’s humane intelligence and sense of humor seems to me to be more badly needed with each passing year. It suffuses every striking frame of this comedy.  This is minor Anderson, I believe, but minor Anderson is still a thing of many pleasures. He remains our finest children's director.

10  Under the Skin

As I've said, this was a year of thinking about Ebert for me, and part of that is visiting him in his writing.  I came across his pan of a 1995 picture called "Species," and his review spoke to me as I thought about "Under the Skin."  (With Roger, you can learn from the pans as well.)  "There is one line in the screenplay," Roger writes of "Species," "that suggests an interesting direction the movie could have taken. Sil, half alien, half human, is driven by instinct, not intelligence, and doesn't know why she acts the way she does. She asks, 'Who am I? What am I?' But the movie never tells her. I can imagine a film in which a creature like Sil struggles with her dual nature, and tries to find self-knowledge. Like Frankenstein's monster, she would be an object of pity." Among many other things, it seems to me that Under the Skin is the picture Ebert was imagining. Scarlett Johanssen plays an alien who comes packaged as a very fetching human female, the better to lure her prey. The film is a storehouse for some of the most strange and original imagery of the year. Directed by Jonathan Glazer from the novel by Michel Faber. One of the things the movie is about is touch: human touch. Unsettling music by violinist Mica Levi skitters under it all. Too rarely are we surprised by a movie: this is one of the rare ones. It's a haunting dream that you can't explain and you can't quite shake.  

Honorable mentions:

Obvious Child: This movie felt personal for many women, I understand.  Karolyn clued me in to the many, many details I missed as a male viewer.    Gillian Robespierre, the writer and director, impresses with her first feature, crude and bittersweet.  Featuring Jenny Slate, who found the funny and the tears in a situation, and a decision, that is no laughing matter, and profoundly personal.             

Get on Up: Exhilarating biopic of James Brown. Chadwick Boseman hits the slides, sticks the splits, and nails the "no man alive can make me leave this stage" routine.

The Skeleton Twins: "We can make it if we're heart to heart.'

Chef: Cuban rhythms. Cuban sandwiches. Food porn that had Karolyn and me oohing and ahing. Sweet relationship between father and son, and between Jon Favreau and Sofia Vergara as a gracefully divorced couple.

Belle: Deeply felt story directed by Amma Asante featuring a moving turn by Gugu Mbatha-Raw as an 18th-century black woman born into slavery and raised in the family of a prominent British barrister.

22 Jump Street: Laugh-out-loud funny. One of my fondest movie memories of the year: being seized by spasms of helpless laughter with Karolyn at the Davis in the summertime.

The Lego Movie: Everything is awesome!

Blue Ruin: Memorable debut from Jeremy Saulnier about a reluctant, homeless avenger, a novice at violence, who finds himself out of his depths with a vicious family who, when it comes to violence, are fish in water.  Vivid colors, sharp sense of rural place and people.

Nymphomanic I and II: The latest from provocateur Lars Von Trier was much more interesting than not. Explicit as all hell, the film was not erotic in the slightest. Quite the opposite, in fact. But it was full of mischief and adult ideas, a dangerous, deeply felt provocation.

Rosewater: Best use of Leonard Cohen next to the the Roger Ebert film: when imprisoned journalist Maziar Bahari (Gael Garcia Bernal) plays Cohen in his mind, he is free. John Stewart, the comedian to whom we increasingly turn for sanity, shows he also has an artist's sense of psychological empathy. He reveals a torturer (Kim Bodnia) as a man who is "just doing his job," with a weary sigh any office worker might recognize.

In Silence ("V tichu") Directed by Zdenek Jiráský, this film from the Czech Republic/Slovakia told the story specifically of the silencing of musicians and dancers and artists by the Holocaust. To make us feel the absence, the film, which is in some ways a "silent" film with score, has opening stretches that convey all the joy of art and life that would be silenced.

Take Me To The River A celebratory film about Memphis music by Martin Shore, featuring Bobby Bland, a lion in winter in his wheelchair, as well as the late Teenie Hodges, "Boo" Mitchell, William Bell, Otis Clay, Snoop Dogg, Charles 'Skip' Pitts, and Booker T. Jones. The film is about passing on a tradition, and it's a joy to see the younger generation, such as the sons of the late, great Memphis music man Jim Dickinson, getting to work with their heroes, handling the legacy of the music they love with such care and concentration.  The movie makes a good compliment to Robert Gordon's book, "Respect Yourself: Stax Records and the Soul Explosion," which I'm now reading. (Karolyn and I caught this movie at the Chicago International Movies & Music Festival, and Gordon was there to host a Q&A afterwords with some of the musicians featured.  William Bell was there, as was, briefly, Booker T. Jones).