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The Rover - David Michod



A chillingly elemental and minimalist slice of Australian filmmaking. It failed to resonate with audiences because it is so deceptively simple - it is no way near as thematically complex as Michod's previous work, Animal Kingdom, and this is precisely why Cannes were largely underwhelmed with it. It is a masterful exercise in mood and atmosphere, and, consequently, a remarkably straightforward film. It's also impeccably photographed, and one of the few Australian films of the last few years that was shot on 35mm photochemical film. And that is precisely what you needed to capture the stark, unforgiving, yet oddly alluring outback of the Australian outback. It's really beautiful.



The Grand Budapest Hotel - Wes Anderson



I am hardly a fan of Anderson's work, but this has to be one of the most technically well-crafted American films of the last ten years. From the the vibrant, vivid colours to the flawless composition and framing to the perceptive and detailed art design, and all the way down to the the witty, fast-paced screenplay, and beautiful cinematography. It also has an extremely impressive cast, lead by the criminally overlooked Ralph Fiennes.



Whiplash - Damien Chazelle



This is truly an intense, fervent slice of filmmaking. It transforms jazz into a ruthless bloodsport. The towering screen presence of Teller and Simmons place aside, this film has to be one of the best, purely from an editorial standpoint, in quite some time. This is how you build a sense of inexorable anxiety and strain - each cut just nervously adding to the next. So often throughout the viewing it felt like you were behind the drums, in Andrew's position, anxiously playing whilst Fletcher was stalking each and every auditory note, ready to pounce in vexation if you blundered. And the use of sound was impeccable - who would've thought jazz music could be so fanatical and daunting when placed in this context? A masterpiece, for sure.



Boyhood - Richard Linklater



This is when experimentation pays off. It's a restrained, careful, and human work, never becoming too exploitive with its 12-year concept nor coming across as overly-gimmicky and showy. It's a difficult film to dislike because it has so much scope - everyone can relate to this film on some level, and it never becomes too extravagant, conceptually, and this is why I think it has resonated with such a mass audience. I wouldn't put this up there as a favourite and I don't even think it's Linklater's best, but there's no denying it's a wonderful film - it has the humanity of an Ozu film and a very European-orientated sensibility, as the pacing and overall structure of the film felt rather reminiscent to something Ingmar Bergman would have conjured up.



Nightcrawler - Dan Gilroy



This is one of the most uncompromisingly salient American films of recent times. Not only a shatteringly insightful look into the ostensibly questionable merit of contemporary journalism, but, on a much larger level, an aggressive denunciation of the corporatist, capitalist model. It's a work that fundamentally demonstrates how unprincipled our system has become, and how we can grant enterprise and opportunities to businesses that run on depraved and venal convictions. Moreover, Jake Gyllenhaal delivers one of the most impressive and focused performances of the last few years. Elswit's beautiful nighttime photography and Gilroy's slick writing, direction, and pacing are all noteworthy points, too. It's also a remarkably edited feature. An instantly recommendable film, if not for its radical political subtext and postulations but for its sheer intensity and drama.



Foxcatcher - Bennett Miller



Technically adept filmmaking, no matter which way you look it. It has a very bleached out visual aesthetic - it's masterfully shot, but not in your conventionally expected way. It's such a complete work; from photography to editing, to acting to sound, to storytelling to direction - it excels in all of the aforementioned components and exceedingly so. The performances are toweringly good, and as some may give all the attention to Carell (who was, yes, remarkable), I personally believe Ruffalo stole the show. This is a work I admire the more I think about it. As we know, it's a real life tragedy, and it could have easily fell victim to overwrought sentimentality and cliches. But Miller approached it with a restrained and observant sensibility, never letting exposition get in the way.

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