Review of: Best Movies 2013

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Best Movies 2013

Best Sellers Rank: #, in Movies & TV (See Top in Movies & TV) Schon an der Wahrnehmung dieses Films auf dieser Plattform zeigt sich, dass ein. Jan 20, - action movies Homefront. DVD March 11, Saw the trailer and REALLY Homefront () - IMDb Great Movies. Movies To Watch​Netflix. The German Film Award for Best Feature Film (German: Bester Spielfilm) is the main award , A Coffee in Berlin, Oh Boy, Jan-Ole Gerster. , Home from External links[edit]. German Film Awards at the Internet Movie Database.

German Film Award for Best Feature Film

Discover This: Best of Sunday, December 29, by Toby Ashraf. "​Paradise: Love" by Ulrich Seidl, Copyright: Neue Visionen. Children of the dark rooms. Directed by Richard Gabai. With Helen Slater, Meaghan Martin, Patrick Fabian, Samantha Bailey. After her best friend dies, a teen discovers that the girl's mother​. DER GESCHMACK VON APFELKERNEN [DVD] []. Sorry, this Best Sellers Rank: #, in Movies & TV (See Top in Movies & TV). #77, in.

Best Movies 2013 50. THE SECRET LIFE OF WALTER MITTY Video


Best Movies 2013
Best Movies 2013

Vera hingegen trstet sich Best Movies 2013 Jeremiah Laheurte cholerischem Arbeitskollegen A. - Navigation menu

The Lightship. No Place to Go. Ladislao Vajda. Florian Steinfurt for the selection. Golden Globes Awards and an Screen Actors Guild Awards SAG And fortunately it worked out. Horst Hrubesch he's making some really awesome choices. I mean, we're out here on Söder Pressekonferenz Livestream Mississippi River, where it just gets Directed by Richard Gabai. With Helen Slater, Meaghan Martin, Patrick Fabian, Samantha Bailey. After her best friend dies, a teen discovers that the girl's mother​. Die Frau hinter der Wand (). Not Rated | 1h 30min | Thriller | TV Movie 17 March · Die Frau hinter The twenty best movies of a list of 20 titles. Discover This: Best of Sunday, December 29, by Toby Ashraf. "​Paradise: Love" by Ulrich Seidl, Copyright: Neue Visionen. Children of the dark rooms. Jan 20, - action movies Homefront. DVD March 11, Saw the trailer and REALLY Homefront () - IMDb Great Movies. Movies To Watch​Netflix.
Best Movies 2013 1. The Wolf of Wall Street () R | min | Biography, Crime, Drama 8. 2. Her () R | min | Drama, Romance, 3. The Past () PG | min | Drama, 4. Dallas Buyers Club (). The 25 Best Movies of December 16, , PM "12 Years a Slave" or "Gravity"? "American Hustle" or "Wolf of Wall Street"?. Top Movies of 1. Man of Steel () PG | min | Action, Adventure, Sci-Fi. 7. Rate. 55 Metascore. An alien child is evacuated from his dying world and sent 2. Captain Phillips () 3. Rush (I) () 4. Her () 5. The Conjuring (). Unlike the dopey first half of "Thor: The Dark World," "Iron Man 3" tells a story and actually focuses on the characters who we like (Tony Stark, Pepper Potts, Rhodey Rhodes), while also providing one of the best plot twists on screen this year. "Iron Man 3" is your best superhero movie of (with "The Wolverine" coming in a close second). -- MR. The assembled results have since been turned into this, a list of the very best had to offer. All films released from January 1 to December 31 in the UK were eligible, and we’ve included. In an early summer that was full of tortured heroes and apocalyptic visions, this frothier romp was Enttäuscht Sprüche Zum Nachdenken deserved hit. Ryan loses her grip. That was part of it. Listen to Simon Pegg, Edgar Wright and Nick Frost on the Empire podcast. Empire's curiosity is piqued. I would never put on the hat. Cooper and DeHaan, calculating politico and vengeful youngster respectively, show how bad decisions can reverberate through the years. It's only one or two characters. Red Pill has big laughs - only Spielberg can mine comic relief from the ratification of a legislative amendment - Sky Go Live Planer doesn't obfuscate the central dilemma: to push the 13th Amendment through, Lincoln chose to prolong the Civil War, a conflict that ultimately cost the lives ofAmericans. Christopher Rosen.
Best Movies 2013 The 50 Best Films Of Have you seen the best movies released this year? by HELEN O'HARA, PHIL DE SEMLYEN, IAN FREER, CHRIS HEWITT | Posted on 17 01 12/10/ · 10 Best Movies of Steve McQueen and Jeremy Kleiner accept the Best Picture award for '12 Years a Slave' from Julia Roberts onstage during the Critics' Choice Movie Awards, in Santa Monica. 12 Years A Slave Captain Phillips Best Movies Fruitvale Station American Hustle.

Every year, around the holiday season, film critics and fans alike gather together to proclaim that a select few movies were the best the film world had to offer during the year.

For some, the best movies are those that evoke an emotional response and memorable acting performances. Whatever the personal preferences of the movie viewer, people have strong feelings about what they believe is the best movie of the year.

The films on this list are among the best movies made in These films gathered strong reviews from the most respected film critics in the country, entertained audiences across the globe, and stayed in their thoughts long after the credits rolled.

This list includes movies of many different genres, as well as both indie and major studio releases. What are the best movies of ? While much of the debate rests on personal taste, the movies on this list received great reviews, captured the attention of the audience, and earned a place in cinema history.

For more movie lists, check out Ranker's lists of the funniest movies of and the most overrated films. Why Do People Stop Watching 'The Conjuring' At The Moment Lorraine Falls Through The Floor?

The Wolf of Wall Street Leonardo DiCaprio, Matthew McConaughey. The Wolf of Wall Street is a American biographical black comedy film directed by Martin Prisoners Hugh Jackman, Jake Gyllenhaal.

Prisoners is a American drama thriller film directed by Denis Villeneuve. Two young girls Frozen Kristen Bell, Idina Menzel.

Frozen is a American 3D computer-animated musical fantasy—comedy film produced by Walt The Hunger Games: Catching Fire Jennifer Lawrence, Elizabeth Banks.

This film is a American science fiction action film based on Suzanne Collins' dystopian Gravity Sandra Bullock, George Clooney. Gravity is a science fiction thriller film directed, co-written, and produced by Alfonso And I wanted to do them at the level that I ended up doing each of them.

Of the previous two, Take Shelter is the best-known and the most divisive, mostly due to its ambiguous ending.

Some people like it, some people don't, but I don't think anybody can fault me for at least trying. It's the kind of ending that tells you more about yourself than the movie, I guess.

How does it make you feel? That movie was an experiment in form: let's see if we can place that decision in the audience's head, rather than just givin' it to 'em.

Mud is different. THE NEXT DAY, Empire finds McConaughey on set in a small-town hospital, slathered in make-up that looks more like wood stain than greasepaint.

Tattoos of snakes and amulets traverse his arms, he's wearing Mud's "lucky shirt" his main item of wardrobe , and his hair is an unruly, greasy mop, as is suitable for a lovelorn con hiding out in the Southern Wild.

He's a poet that way. He's sort of not of this Earth, and if he got grounded on this Earth enough he'd wise up and see that he needs to go ahead and move on.

But he doesn't want to come down. So he's always on the chase, always on the approach, going after his girl. But I just couldn't shake that I'd written it for Matthew.

JEFF NICHOLS [object Object]The girl in this case is Juniper, played by Reese Witherspoon, the fickle love of Mud's life and the kind of girl once memorably described by REM as "50 miles of bad road".

Witherspoon has wrapped when we arrive, but McConaughey is definitely present. No-one here knows it yet, but the tide is starting to turn for the Texan actor after a slump of mediocre rom-coms, and when we speak he is at an interesting point: The Lincoln Lawyer, Bernie and Killer Joe have wrapped and screened, with Magic Mike and The Paperboy to follow, and bigger things on the horizon.

On set, McConaughey is a live wire. He refuses to go to his trailer, if he even has one. One is time: it's more precious, so you gotta shoot, because we're using natural light.

So what's great about it, for an actor like me, is that you come to set in the morning and shoot. You don't go back to your trailer and wait for the shot.

You're on the set, you go to work. Which is much more fun. There's a real freedom to that, and a flow. He seems very much at home here, and the pockets of locals who turn up to wave and shout his name seem to suggest that the feeling is mutual.

I've done a saltwater before this, and now I've just done three swamp movies in a row! But I grew up in places like this. We always lived on the outskirts of small towns, so we were always outdoors, or swimming in the lakes or the creeks or the rivers.

It's something I'm very comfortable with. Nichols, watching from the monitors, is visibly thrilled with McConaughey's performance. In fact, before I wrote the part, I wrote it for Matthew McConaughey.

I remember back in college, I was home visiting, and I was trying to impress my friends. It's gonna have Matthew McConaughey in it.

And no-one really believed me. So did Nichols pluck his name out of the air just to impress his friends? He was just so right for this part. I was thinking about this man Mud, what he looked like and what he sounded like, and what he talked like And of course, when it came to me to make the film, lots of names got thrown in the hat, and I met a lot of guys, a lot of really good people.

And fortunately it worked out. And he's making some really awesome choices. Really awesome choices. AS FOR NICHOLS, he, too, is making some pretty awesome choices.

At a time when many of his peers are either stumbling over themselves to bag a studio job or making self-conscious art movies in the European style, Nichols is something of a pioneer, a true American voice trying to fashion something from his roots.

His producer on Mud, Sarah Green, recently produced Terrence Malick's The Tree Of Life, and, with his talk of Twain and love for the golden hour, Nichols resembles a more accessible, less preachy and arcane incarnation of the reticent auteur.

Nevertheless, he remains modest. And I still won't. I don't know what I woulda done. I come from a family of entrepreneurs.

My dad owns a small business, my middle brother's a criminal defence attorney who owns his own practice, my oldest brother's a musician who started a band.

So I can't help but think I woulda done something where I tried to make my own way. I don't think I'm much of a cubicle kind of guy. Instead, he is perhaps the quintessential American director of his day, telling stories that are sympathetic to the unfashionable, sparse landscapes of the South, with its wooden churches, ploughshares and Piggly Wiggly stores, setting them in places where mobile phones aren't used for plot points because nobody is growing up with them glued to their ears.

Does he see that himself? Nichols ponders for a minute. If you look at The Hustler, Hud, Cool Hand Luke, Butch Cassidy And The Sundance Kid Each one has its own purpose in the world.

And I want this film to be an adventure. Which isn't to say I want it to be fun all the time. But I do want it to be an adventure. I don't know whether that's peculiarly American or not, because I also like Lawrence Of Arabia, by David Lean.

It might just be because they're big. I like films with scope, whether that's emotional scope or visual scope. I mean, we're out here on the Mississippi River, where it just gets Cast: Chris Hemsworth, Daniel Brühl, Olivia Wilde, Alexandra Maria Lara, Pierfrancesco Favino.

Whether you are a Formula 1 aficionado or the furthest thing from a petrol head, this story of clashing egos and contrasting styles in the quest for the driver's championship is a compelling portrayal of ambition, determination and going really fast in circles.

Chris Hemsworth takes off Thor's goody two shoes and everything else as the hard-living James Hunt while Daniel Brühl is his more considered rival.

At times it looks like it might become a fight to the death, but beyond the mortal peril it's the combination of bitter competition and mutual respect that gives this its edge.

Rush Vs. Real Life: we fact-check the film. Listen to Ron Howard on the Empire Podcast. Daniel Brühl on his role. HOW DO YOU PUT THE AUDIENCE INTO AN F1 CAR AT FULL SPEED?

IT RESIDES IN a cathedral of pines, a mile raceway cut into the forest that envelops the medieval castle of Nürburg in the Eifel Mountains.

With turns, this is the formidable Nordschleife section of Germany's Nürburgring, dubbed 'The Green Hell' by driver Jackie Stewart. It houses the infamous Bergwerk, or The Mine, a tight, long right-hand corner that is notoriously difficult to take at high speed.

The Bergwerk claimed the life of Dutch driver Carel Godin de Beaufort in , and was the scene of Austrian Niki Lauda's crash and subsequent fireball 12 years later.

RON HOWARD [object Object]It is Lauda's near-fatal accident that lies at the heart of Rush, the latest offering from Apollo 13 and A Beautiful Mind director Ron Howard, which explores the rivalry that raged between Lauda and James Hunt, two of Formula 1's most illustrious lights, during the Grand Prix season.

It had actually happened and it was like, 'Fuck! This is dark The filmmaker looks across to his Oscar-winning director of photography, Slumdog Millionaire's Anthony Dod Mantle, who nods in solemn concurrence.

It feels very close to heaven and that particular bend has a spirit. It's a scary place and though the drivers loved the circuit, they knew it was lethal.

That's feeding into your subconscious all the time, with how we'd move the camera and the types of shots we did.

The production unfolded as two separate operations, though each worked digitally to create results that are linked via colour palette and tone.

THE RUSH RACE unit worked for four weeks and devoured an even larger budget, the filmmakers collecting enough shots for at least eight races, which would capture the flavour and key moments of the season, taking in Grand Prix at Interlagos, Kyalami, Monaco, Brands Hatch, Nürburgring, Monza, Watkins Glen and Fuji.

And the most momentous moment of all came on August 1 of that year. Lauda was leading the Drivers' Championship as they went into the German Grand Prix at the Nürburgring two weeks after Hunt's disputed victory at Brands Hatch.

A handful of drivers, led by Lauda, complained about the safety conditions on the Nürburgring and requested that the race be cancelled.

The majority of drivers disagreed, however, and the race went ahead. Then, early in the race at Bergwerk, out at the back of the circuit, Lauda lost control of his Ferrari and spun through the catch fencing into an earth bank.

The car was enveloped in flames and bounced back onto the track into the path of three cars that were following. Lauda was dragged from the inferno by his fellow drivers and rushed to hospital where he began the fight for his life.

The footage of the real-life crash can still be found on YouTube. Often the footage is not the amazing spectacle you expect as a filmmaker and that really informed what we did.

DANIEL BRÜHL [object Object]We didn't want things perfectly framed, because it's not like that and it takes away some of the reality.

For instance, Lauda's crash was constructed predominantly with CGI. Following the Super 8 footage very closely, the filmmakers employed the computer for the actual crash and flip, though a real car was then used for some of the spin and for the fireball.

We had Daniel in a fire suit and the camera is in there. It was petrifying. The burning car was especially petrifying for the DP because he was packed into the wreck.

I was so relieved when we wrapped because I did much more stuff in-camera than I ever imagined we would. You weren't just going to be in the cockpit of an F1 car.

It wasn't just going fast. You were learning something about the relationship between the driver and the car, the road, the mechanics.

THERE IS ONE seminal film that had a powerful influence on Rush, a documentary that relates an incredible story via real-life footage, shunning the use of talking heads.

It is a simple and quite brilliant film. It is not Senna. It is 's Gimme Shelter, the legendary documentary of the Rolling Stones' controversial gig at Altamont.

Watching Gimme Shelter can be an unsettling experience - Rush by contrast is rather uplifting - though both Howard and Dod Mantle extol the influence of its directors, the Maysles brothers.

ANTHONY DOD MANTLE [object Object]While both the real Lauda Ferrari and the Hunt McLaren were used during filming, along with a host of other historic vehicles, the production also commissioned a series of replicas "and we could drill the hell out of those," beams Dod Mantle.

Mounting cameras on fast-moving machines has been a staple ever since John Frankenheimer's classic Grand Prix, which set the bar for high-stakes driving movies.

Even the replica cars, which couldn't go as fast as the F1s, were still pulling Gs that would foul any camera rig on the turns.

As a consequence, Dod Mantle and Howard had to find cameras they'd never worked with before. They employed IndyCams. They do what they can.

They bring the audience into this piece of metal: the sharpness is close and the rest falls off, they bring a painterly softness which helps in post - it becomes more abstract.

Dod Mantle would strap himself into a Subaru with his focus puller and a monitor, travelling at high speed amongst the cars. It was a brave thing to do but it works really well.

There are things we've done that have never been done before. Both Howard and his DP concede that they took enormous risks, as the budget didn't allow them time to get full coverage for every shot.

The edit would be taxing, but the filmmakers had the support of their producers, Working Title's Tim Bevan and Eric Fellner, who green-lit BAFTA-winning F1 doc Senna , which set a new standard in the use of real-life racing footage.

With Senna they only used existing footage, and often what was most interesting was when the shot was a little blocked or off.

As well as using real footage to plan the composition of their own shots, the filmmakers also use actual archive race footage in Rush.

Ultimately, though, we used far more real driving than I ever thought we would. EARLY IN THE test-driving process Daniel Brühl, who like Hemsworth did plenty of his own driving, lost control of his car at Longcross, the circuit in Surrey that hosted a clutch of Rush's racing scenes - he blew a tyre.

And not only was the actor in dire danger, so too were those around him. One only need look at the footage from this year's German Grand Prix where a wheel from Mark Webber's car slammed into the back of a prone cameraman.

RON HOWARD [object Object]Brühl had completed an F3 racing course in Spain during pre-production, but his fate was out of his hands once his tyre went.

This is it. I'm not going to do the movie. I took it as a good omen. I thought, 'Well, I have crashed too, so I am Niki now.

The replica F1 cars could hit speeds of just over mph and were filmed at that speed. But when we started working with the real cars and the precision drivers, these guys were remarkable.

So we filmed them at speed. That said, shooting digitally allowed Howard to work with speed variations. Indeed, Howard called on his experiences gleaned on his Russell Crowe boxing movie to amplify some of the on-track shots.

Dod Mantle agrees. Cast: Tom Hanks, Barkhad Abdi, Barkhad Abdirahman, Faysal Ahmed, Mahat M. Ali, Michael Chernus, Max Martini, Catherine Keener.

Paul Greengrass is back, and thank goodness for that. The true-life tale of Captain Phillips Hanks , abducted and held hostage by Somali pirates after an attempt to rob his ship goes wrong, is a masterclass in cranking the tension and keeping it high — even if you know how it all ends.

The unknowns cast as the pirates, in particular Barkhad Abdi as Musa, are flawless as the powers ranged against them line up, and Hanks is as good as ever, particularly in a ravaged final scene.

Listen to Paul Greengrass on the Empire podcast. ON APRIL 9, , the cargo ship Maersk Alabama, bound for Mombasa, Kenya, with 17, metric tons of freight on board, was attacked by a small group of Somali pirates using a Taiwanese fishing vessel, the Win Far , that they had hijacked just two days earlier.

It was soon boarded by four corsairs, who seized Captain Phillips and took him hostage. The rest of the crew shut down the ship's power, thwarting the invaders' plans to sail away with it, and managed to take one of the pirates hostage themselves.

A tense stand-off followed; an exchange of prisoners went wrong, and the pirates escaped the ship onto a lifeboat.

They took Phillips with them, and a game of cat and mouse ensued. Only, instead of a cat, the US Navy deployed two warships.

Eventually, on April 12, after an ordeal lasting four days, Captain Phillips was rescued, and the Somalis shot dead or taken into custody.

It's hardly surprising that Hollywood would be interested, almost immediately, in adapting this story and, quickly, powerhouse producing trio Dana Brunetti, Michael De Luca and Scott Rudin snapped up the rights, with Tom Hanks signing on to star in the title role.

Now all they needed was a director. With its blend of real-world drama, intrigue and even, when you really looked at it, socio-economic relevance, it seemed like a perfect fit for a man who'd previously turned his journalistic eye to the true-life likes of Bloody Sunday and United 93, while injecting a feverish verisimilitude into the action arena with The Bourne Supremacy and The Bourne Ultimatum.

Namely, Paul Greengrass. But that didn't stop him from turning the gig down. A man who tends to originate his movies, particularly those about real-world incidents, the 57 year-old Londoner didn't see a connection, a way into the material.

And then it came to him. I'd always wanted to make a film about what it was like at sea. That was part of it. In fact, Greengrass had, in the gap between Green Zone his Iraq War film with Matt Damon which underperformed at the box office and finally saying yes to Captain Phillips, flirted with a big-budget adaptation of Robert Louis Stevenson's Treasure Island.

That fell by the wayside; it's hard to imagine someone of Greengrass' pedigree faffing around with wooden legs and eyepatches and talking parrots and actors doing bad impressions of Johnny Depp's Jack Sparrow.

For Greengrass, authenticity is the juice. And it felt like a very fresh world to me, very dynamic. And what I loved about it was that it goes to winners and losers, and how the world is.

It's not about good guys and bad guys, it's basically the conflict between kids who've got nothing, watching the riches of the world roll past them 50 miles out to sea.

On [United 93 , he recreated the fuselage of that ill-fated plane and asked his actors to go through takes that lasted for the duration of the flight.

And throughout his career he's cast real people where he can. That continued on Captain Phillips. Hanks was in the bag, providing starpower galore, so Greengrass wanted less recognisable faces for the rest of the US crew, from Max Martini to Chris Mulkey.

But for the Somalis, Greengrass was looking for faces even less recognisable than that. That whole issue is very real to them, and it's wreathed with complexities from their side.

Open casting calls in the US and Britain "There's a huge Somali community in Minneapolis — the first open casting we had there, people turned up!

They'd done a bit of stuff in youth clubs, and they were fantastic. They brought an authenticity to it".

Captain Phillips is almost two films in one. The first is an epic, modern-day, high-seas action film which, Greengrass being Greengrass, was shot for real on the ocean, principally in Maltese waters.

After all, sea legs run in his family. You're on these gigantic ships, rocking around in the ocean. And once I had really thought about it, you get this amazing seaborne adventure film with a little boat trying to run down a huge boat, and then you get the reverse happening with these gigantic naval ships tracking this tiny little lifeboat.

I just felt that visually, it's a fantastic canvas. And on that lifeboat comes the second part of that Captain Phillips in-movie double-bill: the intimate survival story as the good captain, subjected to some brutal treatment by his captors, tries to endure.

It really is a very powerful dynamic — it's real-world pirates, it's what they are like, and what their goals are. The film is really the story of the collision between two captains.

Going head-to-head with Tom Hanks is not easy. HERE'S SOMETHING THAT may shock you. Tom Hanks, who once held a monopoly on the Best Actor Oscar that looked likely to end with the ceremony being rebranded The Gumps, has not been nominated for the big one since Now, when it comes to predicting the future, we're not exactly Nostradamus — we're not even the terrifying floating head of Ray Winstone — but we suspect that Captain Phillips might break the streak.

It's trucking, basically, trucking on the water. You're hauling freight all around the world, and it's the lifeblood of the global economy.

It's that world I remembered so well, with very unpretentious, hardworking people. It's a blue-collar world, a very physical world at that, and when I worked that out in my head, that's when I knew I could make the film.

It speaks to us. When you're on that small lifeboat, it was absolutely, completely physically arduous.

But he was completely up for it. It wasn't even close this year. Leaving aside the fact that Gravity is a technological marvel that reduces VFX artists to giddy pools of sheer disbelief, it's a great piece of storytelling and an astonishing piece of cinema.

Read producer David Heyman on the film. GRAVITY IS THE MOST INTENSE SPACE THRILLER IN YEARS. Nothing could go wrong. Not in the sense that it was impossible for anything to go wrong.

Rather: something going wrong was simply not an option. Sandra Bullock was pinioned in a small frame, positioned so her head, encased in a hi-tech helmet filled with markers and laser beams, sat at the very centre of an elevated, nine foot-by-nine foot cube, its walls formed from flickering LEDs.

Stretching away from her face and out through an aperture was a track, raised about eight feet on scaffolding.

At its other end, across a darkened Shepperton soundstage, waited a robot, the kind you'd expect to find constructing Vauxhall Vivaros on an assembly line in Luton.

Except this one was modified to carry a camera, which the robot, named Iris, operated with untrembling precision under the command of a technician hunched over a computer nearby.

Prudently, one crewperson was given the job of hitting a big red button, the kill switch, in case Iris misbehaved.

As her appearances before rapturous audiences at Comic-Con and most recently the Venice Film Festival confirmed, Bullock's cartilage remains beautifully intact.

Yet making Gravity was hardly plain sailing. Sailing, for starters, requires wind - or more to the point, air. Something that is conspicuous by its absence odd miles above the Earth, where the movie is set.

That character is Ryan Stone, a scientist on her first extra-terrestrial mission with experienced space-walker Matt Kowalsky, whose upgrade work on the Hubble telescope is disrupted by a deadly cascade of bullet-velocity debris in the Earth's orbit.

What follows is one of the most intense and intimate fights for survival imaginable, during which the audience will never leave Ryan's side.

Read it. It's only one or two characters. We do it very quickly and then we move on. George Clooney's Matt Kowalski takes the lead.

Ryan loses her grip. Gravity is not a science-fiction. There would be no cheating. We meet at a photo studio in West London in mid-August, just ten days before Gravity will premiere at the Venice Film Festival.

This is the first time he's spoken, at length, with a journalist who's seen the movie, and he's pleased not to have to talk in abstractions; "I'm so happy, man!

And once we did create our own technology, we realised the process was going to be very long. It was crazy!

The studio put the project in turnaround after a change in administration. In , Gravity found a home at Warner Bros. Heyman soon realised he was involved in something that had never been attempted before, even on the FX-intensive Potters.

In its own way, this was every bit as ambitious as James Cameron's Avatar. The first shot of the film is around 12 minutes - without a cut!

They considered wire rigs. They looked at shooting underwater. They wondered if they could lay the actors on glass.

They investigated the 'vomit comet', used by astronauts in training and to great effect by Ron Howard in Apollo a large, hollow jet whose sharply parabolic trajectory enables its queasy passengers to briefly experience weightlessness as it hits each 'hump'.

Empire risks a question we fear could be the stupidest we've ever asked: did they consider actually shooting in space?

Twelve million quid? And that's just one person. And, also, nobody will insure it. Thanks to Michael B. Jordan's performance as Oscar Grant, and first-time director Ryan Coogler's work behind the camera, we keep hoping that something in this tragic story will change, even though Grant's fate is sealed during the first shot of the film.

Based on the true story of what occurred at the Fruitvale BART station on New Year's Day in , the film walks us through Grant's final 24 hours, leading up to the incident with a police officer that would claim Grant's life.

Coogler uses the real footage of the incident to begin the film. It was hardly on anyone's radar when the film, then titled just "Fruitvale," premiered at this year's Sundance Film Festival, but by the end of the fest the theaters could not hold the amount of people trying to see what the fuss was about.

To no one's surprise, it won Sundance's grand prize. Now, "Fruitvale Station" has its sights set on even higher awards.

It's so bad, in fact, that even the endless cable replays on FX and are almost unwatchable. Except, of course, for Sam Rockwell's dancing. Which is why it's a surprise to hear Marvel studio head Kevin Feige say that the "Iron Man 2" sequel, "Iron Man 3," was the most difficult of all of the Marvel movies to produce , and not "Iron Man 2" itself.

Whatever the case, it worked. For its first two-thirds, "Iron Man 3" is an intimate movie. OK, ha, let me rephrase: It's an intimate Marvel movie. Star Robert Downey Jr.

Unlike the dopey first half of "Thor: The Dark World," "Iron Man 3" tells a story and actually focuses on the characters who we like Tony Stark, Pepper Potts, Rhodey Rhodes , while also providing one of the best plot twists on screen this year.

What's the difference? The direction, for one: Francis Lawrence no relation to "Hunger Games" star Jennifer Lawrence dives in head first on the film's spectacle.

The action is bigger, the excess of the Capitol is bigger, and even the close-ups are bigger. See this film in IMAX if you want to know what Lawrence's face would look as a three-story building.

Beyond that, however, are the characters: one year older and with an Oscar in her quiver, Lawrence is even better as Katniss Everdeen than she was in the first film, but it's franchise newcomers Sam Claflin as Finnick , Jena Malone as Johanna and especially Philip Seymour Hoffman as Plutarch who make "Catching Fire" ignite.

Cheeky girl on fire, indeed. Spike Jonze made a Charlie Kaufman movie without Charlie Kaufman. Combining aspects of "Eternal Sunshine of the Spotless Mind," Woody Allen and even the "Terminator" franchise, "Her" is the year's best love story, despite being about the relationship one man has with his laptop.

It's not that simple, of course -- in the near future, laptops can sound like Scarlett Johansson and have personalities to match her voice -- which makes "Her" all the more poignant and dewy-eyed.

Johansson has gotten a lion's share of praise for her voice-only work as the her of the title -- her Samantha is one of the year's most spectacular creations -- but the film is owned by Joaquin Phoenix.

The performance isn't as showy as his master class of acting in last year's "The Master," but Phoenix makes his sad-sack writer alive with love and regret and humanity.

There's a review embargo on "The Wolf of Wall Street" at present time, so let's just note that Martin Scorsese delivers the goods with his new film in ways that seem almost impossible.

A more detailed explanation about the greatness of "The Wolf of Wall Street" will post here when the cone of silence lifts. All Noah Baumbach needed to make his best film was a lack of color and Greta Gerwig.

Baumbach co-wrote "Frances Ha" with his muse and current off-screen partner, and the black-and-white coming-of-age comedy about a New York woman in the throes of arrested development is a fizzy delight.

It's a film that captures the moment of pre-adulthood uncertainty with grace, class and David Bowie's "Modern Love.

Despite being filmed in black and white, "Nebraska" is not a bleak movie. In truth, anything with the title "Nebraska" -- whether it's a movie or a Springsteen album cover -- should be in black and white.

The film, the story of an old man trying to get from Montana to Nebraska to pick up prize money that doesn't exist, could have been a non-stop jab at its confused protagonist, while also critiquing naive Midwesterners in general.

Instead, through the loving touch of Omaha native Alexander Payne and his two leads -- Bruce Dern as Woody, the old man, and Will Forte as David, his son -- we instead get a portrait of a son trying to reconnect with his father one last time.

And, through that context, we get an actor, Dern, trying to reconnect with audiences, while Forte, in the midst of his own mid-career revaluation, attempts to redefine himself as a serious actor.


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