By Thomas Kika
Staff Writer
artsent.asp@gmail.com
January 28, 2015
Hundreds of films are released every year by major studios, indie operations, foreign distributors and every other outlet above, below and in-between. No one can possibly keep up with that sort of output, and with only so many award shows out there capable of putting a spotlight on a year’s best, many gems can end up under the radar for most audiences. With that in mind, here are a few great films from 2014 that deserve a wider audience.
Credit:rogerebert.com
Movie poster for “Dear White People.”
“Dear White People”
Racism is far from over in Justin Simien’s sharp and insightful directorial debut, “Dear White People.” Set on an Ivy League college campus, the film follows four African American students as they navigate the uneasy waters of modern race relations after a confrontational new radio show, which shares a title with the film itself, lights a fire under the student body.
Simien wastes no time establishing his own witty voice, and the film is alive with his infectiously energetic cinematic style. His script is smart enough to engage some of the pressing questions of our time, while also being wise enough not to answer them.
Each of the lead actors (Brandon P. Bell, Tyler James Williams, Teyonah Parris and Tessa Thompson) give a superb, career-launching performance, making their characters relatable and genuine in unique ways. The clear highlight of the cast is Thompson’s Sam White, a would-be political firebrand carrying unexpected personal baggage.
“Dear White People” hits home media and VOD platforms on Feb. 3.
Credit:http://www.moviexclusive.com
Movie poster for the film “The Babadook.”
“The Babadook”
It has been a good few years for studio produced horror films, but the indie scene continues to be the beating heart of the genre, as evidenced by Jennifer Kent’s “The Babadook.” Not only is it one of the best horror films of the last decade, it is one of the best films of 2014, full-stop.
The story follows a single mother, Amelia, as she struggles to raise her son while coping with the death of her husband. Amidst her struggles, a malevolent entity known as “Mr. Babadook” comes to haunt her home after she finds a mysterious pop-up children’s book and begins to prey on her emotional distress.
“The Babadook” is a film that is never afraid to be about things, and goes about exploring its themes in the way that horror films excel at when in the hands of a gifted artist. Kent expertly builds tension and executes scares, but the film’s lasting resonance comes from the way her script deals with the harmful effects of grief and the emotional hardships of being a single parent. All of this is tied together by a heartbreaking performance from Essie Davis as Amelia.
“The Babadook” can currently be rented on a variety of platforms, and hits home media on April 14.
Credit: imdb.com
Jenny Slate stars in “Obvious Child.”
“Obvious Child”
A whole lot more lovable than its politically divisive subject matter would suggest, Gillian Robespierre’s “Obvious Child” is an utterly charming comedy with a refreshingly mature take on abortion and a delightfully immature sense of humor.
The film follows Donna Stern (Jenny Slate in a star-making turn), an aspiring NYC comedienne who finds herself with an unwanted pregnancy after a post-breakup one night stand. Being one of modern comedy’s favorite archetypes, the adult-child, this situation forces Donna into adulthood whether she likes it or not.
Blending relevant social issues with low-brow comedy (the films opens with a stand-up routine about women’s underpants and flatulence) sounds like a tough act, but Robespierre nails it in execution. This is largely thanks to Slate’s excellent emotional range and boundless charisma, and the way that the script creates an unexpected internal conflict in a film about abortion.
“Obvious Child” is currently available on home media and VOD platforms.
Credit:http://www.westendfilms.com/
Nicolas Cage and Tye Sheridan star in “Joe.”
“Joe”
Director David Gordon Green has had one of the most bizarre career paths in recent memory. He got his start with well-respected indies like “George Washington” and “All the Real Girls,” before moving into the realm of studio filmmaking with raunchy comedies like “Pineapple Express” and “Your Highness.” In recent years, he has returned to his artistic routes with smaller character pieces like “Prince Avalanche” and last year’s excellent “Joe.”
“Joe” tells a coming-of-age story in a most dirty corner of the dirty South. Looking for work to help support his family, a young homeless boy, Gary (Tye Sheridan), finds himself under the wing of Joe (Nicolas Cage), an ex-con struggling to live out his second chance in life.
More than just continuing Green’s return to form, the film finds Cage back in the world of dark character drama after years of shoddy blockbusters and tax-shelter productions. “Joe” is one of the best roles of his lengthy career, as it finds him tapping into his long-since-called-upon likability and capacity for high-intensity performance to embody a decent man struggling with his own violent tendencies. Props must also go to Sheridan as Gary, a role that allows him to flex his dramatic range more than any of his past work. He will soon be seen as a young Cyclops in “X-Men: Apocalypse.”
“Joe” is currently available on home media and VOD platforms, and will hit Netflix on Feb. 1.
