Captain Spaulding's
Favorite Movies of 2013

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"Um, surely you mean 2014, right, Captain? I mean, it's the end of the year. Nobody cares about 2013 anymore."

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People are compiling their best-of-the-year lists for 2014, but I believe in being thorough, and it generally takes me several months into the following year before I've seen the majority of films that I wanted to see. Since I live in a small town, I typically have to wait until movies are released on DVD & Blu-ray to see the most buzz-worthy films of the year. As of right now, for instance, I've only seen about 30 films from 2014, most of which aren't very good, compared to nearly 150 films released in 2013. I was hoping to compile this list at least three or four months ago and put a lot more work into it, writing full-length reviews about each film, but obviously that would take way too long. Hopefully next year I can get around to my favorite films of 2014 before New Year's Eve.

Some of these entries are technically 2012 films, but I say f**k technicalities. If a film first premiered in front of a hundred people at some random festival two years ago, but wasn't released in theaters until 2013 for regular moviegoers like myself and the rest of the world, then for the purposes of this list I'm including it as a 2013 release.

Now on with the unveiling!

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#20) Elysium
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Director: Neill Blomkamp
Starring: Matt Damon; Jodie Foster; Sharlto Copley

Despite generally positive reviews, I don't know a single person who liked Elysium. All my friends received it with a shrug and a "meh," but I enjoyed it quite a bit in the theater, and I enjoyed it even more when I re-watched it on DVD. The film's themes about immigration and health care are blatantly obvious, but compared to typically empty summer blockbusters, I give Elysium credit for having something to say while still delivering action and excitement, even if its message is too heavy-handed. I loved the Mad Max aesthetic of dystopian Earth with the dichotomy of Elysium's luxury. I thought the special effects were very impressive. The action scenes delivered. Sharlto Copley's over-the-top villainous performance was fun to watch. Sure, the romantic subplot is hackneyed, but I say that about almost every movie. I also appreciate Elysium's audacity to carry through with its intended ending, since so many films fail to bite the bullet when it comes to their hero's fate for fear of alienating a portion of the audience. Compared to District 9, one of the best science-fiction films of the new millennium, Elysium is a step down for director Neill Blomkamp, but if this had been a debut feature without heightened expectations, I think audiences would have enjoyed it much more than they did. Or maybe not. Maybe it's just one of those movies that oddly appeals to me and nobody else.

#19) Her
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Director: Spike Jonze
Starring: Joaquin Phoenix; Scarlett Johansson; Amy Adams

Unlike most films on this list, I've only seen Her once, and my last viewing was nearly a year ago. Otherwise it would probably be a few spots higher. The premise of a man falling in love with an operating system doesn't sound like a very engaging film, but thanks to an intelligent, multi-layered script by Spike Jonze and a tender, touching performance by Joaquin Phoenix, Her works wonderfully. Scarlet Johansson's sultry voice is the perfect fit for Samantha. I quickly fell in love with her and never viewed her as a computer but as a living being with the unfortunate handicap of not having a body. Looking back on the film, it's easy to forget that Phoenix was essentially acting with himself, since his character's relationship with Samantha felt so tangible. As someone who has been in a long-distance relationship, I was able to relate to some of their struggles, especially when it comes to issues of intimacy. The script juggles numerous themes with expertise, the most obvious being our increasing inability to interact with others due to how plugged-in our society has become. I thought the idea of hiring someone to write your own personal love letters was both brilliant and damning; I'm sure Hallmark will introduce that department in the near future. The plot takes some twists and turns that are frightening in their implications, like when Samantha reveals that she and other OSes have banded together to give birth to a hyper-intelligent version of a dead philosopher. Her is touching, timely, thought-provoking and wholly original, while also providing audiences with a likely window to our future.

#18) Blue Jasmine
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Director: Woody Allen
Starring: Cate Blanchett; Alec Baldwin; Sally Hawkins

Fifteen years from now, when I finally get around to sharing my list of all-time favorites, expect A Streetcar Named Desire to make the list. Obviously Woody Allen is also a big fan of the film and/or the original Tennessee Williams play. I remember an extended sequence in Sleeper that referenced the film and featured Diane Keaton displaying a surprisingly good impersonation of Marlon Brando's Stanley Kowalski. Now comes Blue Jasmine, which is essentially Woody Allen's modern take on the same story, resurrecting Blanche DuBois in Cate Blanchett's body: a self-destructive, misplaced socialite whose mental faculties are slipping after suffering a nervous breakdown from losing her Bernie Madoff-inspired husband, as well as the entitled lifestyle and luxury that came with being his wife. Cate Blanchett deserved every accolade that she received for her powerhouse performance. Despite being difficult to like, it's impossible not to feel sorry for her character's plight, in large part due to Blanchett's damaged, soul-revealing vulnerability. The rest of the cast is also very good. Sally Hawkins gives one of the best supporting performances of 2013, and I also enjoyed the supporting turns from Louie C.K. and Andrew Dice Clay. Blue Jasmine utilizes flashbacks to maximum effect, peeling back the layers of Jasmine's past like an exposé, where each revelation becomes more shocking and depressing. I'm also thankful that Woody Allen didn't cast himself in the film, nor insert himself into the script. In fact, if not for the opening credits and some of the dialogue, I'd never know that this is a Woody Allen film. I consider that a good thing, since I'm not the biggest fan. In my opinion, this is one of his best films, and possibly my second favorite after Annie Hall.

#17) Captain Phillips
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Director: Paul Greengrass
Starring: Tom Hanks; Barkhad Abdi

I don't pay much attention to the news, so even though I vaguely recall the hijacking incident a few years ago, I know nothing about the details of what transpired. My ignorance of real world events probably enhanced my enjoyment of this captivating motion picture and made it less predictable for me than for those who are more familiar with the true story. I was on the edge of my seat during the entire film. Greengrass directs in a way that makes the audience feel as we're right there with the characters, our lives at risk as we experience the same panic, fear, adrenaline and claustrophobia as the people on screen. Tom Hanks is exceptional as the titular Captain Phillips, exhibiting poise and confidence in the face of danger while maintaining subtle cracks of vulnerability. Hanks balances the leadership qualities of the character without losing the Everyman attributes that have turned him into one of the most relatable and likable Hollywood stars of his generation. He deserved an Academy Award nomination for his performance. Newcomer Barkhad Abdi is equally excellent. The film's biggest strength is its ability to allow the audience to empathize with the pirates and their increasing sense of desperation. Straddling the line between documentary realism and Hollywood thriller, Captain Phillips is one of the most thrilling, intense, emotionally exhausting films of 2013.

#16) Byzantium
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Director: Neil Jordan
Starring: Saoirse Ronan; Gemma Arterton

Thanks to Twilight, vampires are no longer viewed as monstrous creatures who hide in the shadows and feast on blood. Instead they shine like diamonds in the sun and mope and pout and fall in love with high school girls. So color me surprised when I fell under the spell of Byzantium despite it bearing more resemblance to Edward Cullen than Nosferatu. Byzantium breaks numerous vampire rules (the biggest offense: no fangs -- the characters grow a talon instead). The film is moody, drenched in angst and dreary atmosphere; the writing is sharp; the visuals are lush. I've been impressed with Saoirse Ronan since Atonement; she continues to prove herself as one of the most talented and promising young actresses. Gemma Arterton is appropriately sexy and alluring. My favorite aspect of the film is how deftly it weaves the flashbacks into the narrative, effectively telling two stories at once. The flashbacks resemble the traditionally Gothic narrative, invoking Bram Stoker, Anne Rice and others, while the modern day narrative is a superior take to the post-Twilight portrayal of vampires. In my opinion, Byzantium is the most overlooked film of 2013. (Of course, I'm completely ignoring the fact that it technically debuted in 2012, because f**k you, Swan! :p) One of the better vampire movies I've seen.

#15) Dallas Buyers Club
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Director: Jean-Marc Vallée
Starring: Matthew McConaughey; Jared Leto; Jennifer Garner

It's one thing to witness actors exhaust themselves emotionally while the camera is rolling, but when the commitment to their craft bleeds into the real world, taking a physical toil on their bodies and their health, my respect rises tenfold. Suddenly the acting feels less like an occupation, less like a choice. It loses its glamour and becomes an obsession. It's the sort of mentality more often seen in athletes than actors. The sight of the malnourished bodies of McConaughey and Leto in the biographical Dallas Buyers Club inspire pity and shock, yet their physical transformations also provide a level of realism and empathy needed for the story to reach its potential. I actually think the performances are better than the movie itself, since the writing and directing feel a bit too workmanlike at times. At least the script steers clear of the emotionally manipulative tricks typical of movies that portray HIV or other life-threatening diseases. Despite being firmly in Woodroof's corner, the movie doesn't shy away from showing his selfish, ugly side as well. I also admire the movie's ability to take several well-deserved jabs at the medical community, pharmaceutical trials and the FDA without oversimplifying the complicated nature of such matters. Overall, Dallas Buyers Club does a lot right, but it's the career-best performances of McConaughey and Leto that maximize the movie's potential, turning a good movie into a great movie.

#14) Prisoners
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Director: Denis Villeneuve
Starring: Hugh Jackman; Jake Gyllenhaal; Paul Dano; Terrence Howard; Viola Davis

I've seen a few members of the forum say that they prefer the similarly themed Big Bad Wolves of the same year, which surprises me, since I personally found Big Bad Wolves a bit cartoonish in its execution and lacking the moral ambiguity and suspense that made Prisoners the best thriller of 2013. Unless Sexy Celebrity and I adopt at some point in the future, I doubt I'll ever have kids, so I can't even imagine the level of panic and fear that a parent must experience when a child is abducted. However, thanks to Hugh Jackman's career best performance, I now know what such a feeling looks like. If the Best Actor pool hadn't been so stacked with talent, I'd say Jackman deserved a nomination for exposing himself to such a dark frame of mind, since he perfectly embodies the anguish, fear, frustration and desperation of his character. Paul Dano is turning into one of my favorite character actors; his role in Prisoners does nothing to change that. Gyllenhaal imbues his intense performance with just a hint of mischief, which adds yet another piece to the puzzle, since at times I questioned if he had something to do with the disappearances. (The fact that he's named Loki almost serves as a red herring.)

I don't think Prisoners is perfect. I agree that it's too long, and I think it stumbles toward the finish line; but it's also an incredibly suspenseful, dark, disturbing, thought-provoking thriller with gorgeous cinematography and a host of strong performances from a great cast. If I didn't know better, I'd think Fincher directed this film, which is a huge compliment. What made Prisoners so effective for me personally is how well it played with my ethics and made me question what was right and what was wrong. When it seemed that Dano's character was guilty, I justified Jackman's barbaric method of interrogation. Despite cringing at the torture, I felt that Jackman's character should do whatever it took to find his daughter before it was too late. Then a later development would reveal that Dano's character might be innocent, which would cause me to feel an immense sense of self-guilt and disgust at how I had encouraged such actions. In my opinion, that's the sign of a successful film: forcing viewers to feel uncomfortable, to feel incriminated, to put themselves in the same situation and ask: how far would I go?

#13) American Hustle
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Director: David O. Russell
Starring: Christian Bale; Amy Adams; Bradley Cooper; Jennifer Lawrence; Jeremy Renner

I caught American Hustle in the theater on opening day. At the time it was considered the frontrunner for Best Picture. Given the hype and the phenomenal cast, my expectations were huge. I'm not going to say that I disliked it, but I was very disappointed and underwhelmed. I walked out of the theater thinking that it was the most overrated movie I had seen in years. Thank God for second chances. I rented American Hustle a few months later and re-watched it with family, even telling them beforehand to temper their expectations. Perhaps it was the fact that my own expectations were no longer shackled to the film, or that I already knew how the complicated plot played out, allowing me to focus all my attention on the characters and all their little idiosyncrasies, but my opinion did a complete 180.

In place of the muddled, sprawling, slightly dull mess of a film I had initially experienced, I found one of the most vibrant, playful, funny, entertaining films of the year. The soundtrack is excellent. The performances are excellent. The writing is excellent. Watching a hefty Christian Bale perfect his elaborate comb-over, or Jennifer Lawrence drunkenly strut and sing along to "Live and Let Die," or Bradley Cooper's hilarious interruptions of Louie C.K.'s ice-fishing story, is an absolute blast. Adams and Lawrence are two of my favorite modern actresses. Both are superb in the film -- not to mention sexy as hell in their revealing outfits. The hairstyles and wardrobe choices are simultaneously awesome and comical. The cast displays impeccable chemistry. I still think the film gets off to an unnecessarily slow start, due to the voice-overs and the backtracking for each character, but once the movie gets out of its own way and the actors' showcase begins, American Hustle transforms into an exhilarating ride that it is almost Scorsese-like in execution.