What a fucking awesome year 2014 was in cinema! There were so many thought-provoking, female-driven, visionary filmmaking showcased this year that I simply could not limit myself and why should I?! This list took me a considerable amount of time to really dissect and narrow down considering that I decided to combine U.S. and foreign films together, making the process literally impossible! But here it is! The best films I've seen this year were first and foremost, possessed impeccable and spellbinding form and naturally, commanding stories that demands the audience to confront their own notions on identity, success, and humanity.

Top 10

Under the Skin (Dir. Jonathan Glazer)

It's no surprise why Under the Skin is on everyone's top film lists and the Badass Femme of 2014. Loosely adapted from Michel Faber's 2000 novel of the same name, Glazer tells a story about an alien seductress who preys on men in Scotland with surprising depth and heart that examines what it means to be a human, specifically a female on this earth. With it's eerily gripping soundtrack and gorgeous cinematography of the vast landscape of Scotland, Under the Skin doesn't shy away from showing the absolute ugliness of humanity with powerful sincerity and heartbreaking realism. Under the Skin particularly touched my little heart and even inspired me to make a short film (coming soon) and name her the Badass Femme of 2014. If you're not convinced that I'm in love with this film, I don't know what else will. Full review // Badass Femmes: The Female

Birdman (Dir. Aléjandro Gonzalez Inárritu)

From the moment, I laid my eyes onto the glorious Birdman trailer that embodied everything I love about cinema (to name a few): long-takes, maniacal characters on the brink of madness, and surreal tones, I was instantly hooked and (im)patiently waited for the film. And boy, I was not disappointed! With the A-List cast and meta story, Inarritu brought powerhouse performances by every characters, delving within each character who are battling their worst demons that brought harsh truths about broken careers, the new generation, and our own projected egos. Full Review

Force Majeure (Dir. Ruben Östlund)

There are rare moments in your life when you watch a film and you are stuffed with sheer bliss from discovering the utter brilliance of a particular film that it's hard to believe it's utter existence! I got that feeling when I watched Yorgos Lanthimos' Dogtooth and now, Ruben Östlund's Force Majeure. It took the premise of trust within a relationship seen in The Loneliest Planet and delves neck deep in Force Majeure to explore perception and gender expectations in a family setting with piercing wit and humor. Photographed in a calculated and pristine manner, Östlund's fourth feature is will most likely be nominated for an Academy for the Best Foreign Language Film which I hope takes the gold! If there is only one film you watch in 2014, let it be this one. 

Nightcrawler (Dir. Dan Gilroy)

Jake Gyllenhaal has recently been taking a dramatic career shift, distancing himself from his Blockbuster woes to pursue more risky projects like Denis Villenueve's Prisoners and Enemy where he played a tortured cop and mysterious dopplegangers, respectively. He elevates his status as a serious actor even further with Dan Gilroy's debut film, Nightcrawler. Filmed on the gritty streets of Los Angeles, Nightcrawler can be seen as today's modern day success story that touts a razor-sharp screenplay and a transformative performance by Gyllenhaal that'll get under your skin and stay with you. It'll be a dream if Hollywood recognized Gyllenhaal for his creepy and haunting turn as Lou Bloom with a tiny golden man. But one thing is for sure, after working in Hollywood for so long, Gilroy is bound to change the way "Hollywood" films are being made. Full review

We Are the Best! ( Dir. Lukas Moodysson)

Lukas Moodysson is one of the rare filmmakers that has the blessed gift of being able to translate the intimate aspects of life directly to screen without tainting the subject in the slightest. We Are the Best! is easily this year's best film that screams and celebrates the joys of being a young female, which is a film we all so desperately need. Adapted from the graphic novel Never Goodnight written by his wife Coco Moodysson, the film highlights the lives of three 13-year old girls who unabashedly share their love of punk music! It's ultra naturalistic performances by these young actresses brings uncanny chemistry that is belly-achingly hilarious, heart-warming, and exuberant. PUNK ROCK 4EVA!

Selma (Dir. Ava DuVernay)

This has got to be the only "Hollywood" film in the bunch and that's primarily due to Ava Duvernay's exceptionally poignant vision chronicling the three month period in 1965, when Dr. Martin Luther King, Jr. led a dangerous campaign to secure equal voting rights. Selma could've been your typical biopic but in narrowing down and presenting the historical and most victorious period for the civil rights movement, gave more room for the story to show the little details behind King and the moments leading up to the monumental time that is as relevant today as it was then. David Oyelowo's uncanny portrayal as King from his round cheeks to the cadence of his voice is powerful and brilliant. Selma is a best history lesson that doesn't preach but shows the urgency of our racial injustice times with sensitivity as well as potency. 

The Overnighters (Dir. Jesse Moss)

The Overnighters tells one of the most relevant and important story about our post-recession American times that is shows sobering reality of our country's dire situation with assured compassion and sensitivity. In the wake of one of the worst recessions in America,  a pastor sparks controversy in his North Dakota town by opening the doors of his church to homeless workers seeking jobs at nearby oil fields. The story itself is sufficiently compelling but the third act shocker transforms the social commentary documentary into a completely different beast, giving rise to one of the best and important documentaries out there this year.

20,000 Days on Earth (Dir. Iain Forsyth & Jane Pollard)

I am ashamed that I did not know who Nick Cave was prior to watching this magical film. Blending fiction and reality, 20,000 Days on Earth focuses on Nick Cave's 20,000th day on earth, showing the day in a life of the musician and international cultural icon. It's hyper-stylized form heightens the surreal experience as we witness Cave's most intimate creative process and reflection on his life that results in a breathtakingly emotional journey for Cave and the audience alike. Bursting with passion and vitality,  Cave's energy is palpable and digs deep down to the microscopic particles of your soul which in turn, forces you to reflect on your own life.

The Babadook (Dir. Jennifer Kent)

Inspired by her short film Monster, Jennifer Kent's The Babadook is truly one of the best horror films of the decade! It utilizes conventional horror tropes of bad kids and supernatural beings to tell a deeply unsettling film that confronts not the demons lurking in the house but the one that lives within yourself. I was not able to sleep for a week after watching this film and personally, my fear of motherhood was only amplified by the monstrous performance by Noah Wiseman who embodies every parent's worst nightmare. The Babadook is a fierce debut film by the Australian writer-director whose cinematic voice is bold and refreshing. I can't wait to see what she does next! Even if that means, I'll lose some sleep. XP Full review

The Raid 2 (Dir. Gareth Evans)

The very coveted #10 spot goes to Gareth Evans' The Raid 2: Berendal, the sequel to what is already been claimed as the Godfather of martial art films. It's explosive, wall-to-wall, ballet of ultra-violence may run more than two hours but it's dramatic opera of undercover cops, family affairs, and new badass characters gives the film sufficient time to flesh out their action-filled storyline with nail-biting intensity and excessive violence, choreographed to perfection! Some may think it's too violent but it satisfies your ultimate action cravings especially in a industry where there are more lackluster and "fake" fight scenes than not. But be careful for what you ask for because this is one slice is pure action that just might detonate your head into flames! Full Review

Honorable Mentions

Festival Favorites:

The Tribe

Girlhood
Mommy
Stations of the Cross
Starred Up
The Tribe
Tokyo Tribe
Why Don't You Play in Hell
Two Days, One Night

Documentaries:

Citizenfour

Citizenfour
Finding Vivian Maier
Happy Valley
Life Itself

Others:

Only Lovers Left Alive

22 Jump Street
Boyhood
Dawn of the Planet of the Apes
Edge of Tomorrow
Frank
Fury
Guardians of the Galaxy
John Wick
Listen Up Philip
Obvious Child
Only Lovers Left Alive
Palo Alto
Snowpiercer
The Double
The Grand Budapest Hotel
The One I Love

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Year: 2014
Director: J.C. Chandor

Writer: J.C. Chandor

Cinematographer: Bradford Young

Cast: Oscar Isaac, Jessica Chastain, David Oyelowo, Elyes Gabel

Country of Origin: U.S.

Rating: N/A

Time: 125 min.

Kristen Sales (Sales on Film) and I went to AFI FEST this past month and we were able to catch some of the same films together and so we decided to do the natural thing and record some reviews together. J.C. Chandor's A Most Violent Year is bound to stir some much needed discussion among cinephiles and audiences alike due to the polarizing effect it had on people. Whether you liked it or not, it is undeniable the unique cinematic voice Chandor has for the struggles of everyday Americans. Kristen and I once again explore the themes and aspects of A Most Violent Year that makes us love it or hate it!

I can totally relate to Kristen when she compares A Most Violent Year to films from the old days and how it feels very old school. Indeed, it feels like it could've been made in the 60's or 70's but they made a very simple story seems a lot more complicated than it actually was suppose to be. But what I liked about it were the tones and moods that gave the story a sense of looming danger and struggle especially in the everyday lives of Americans and immigrants alike. Bradford Young's gorgeous cinematography captured the warm yet rigid and harsh environment during the dark times in 1980's New York where the crime rate was at it's all time highest. Whether you come out liking it or not, you can't help but appreciate Chandor's efforts and vision to highlight an unseen aspect of achieving the American dream.

Follow Kristen:

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- See more reviews at AFI FEST -

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Year: 2014
Director: Jennifer Kent

Writer: Jennifer Kent

Cinematographer: Radek Ladczuk

Cast: Essie Davis, Noah Wiseman, Daniel Henshall

Country of Origin: Australia

Rating: N/A

Time: 93 min.

If you didn't hear already, Jennifer Kent's The Babadook is being helmed as one of the best horror films of this year, if not the decade! It was inspired by her short film called Monster which I posted up earlier today. Essie Davis and Noah Wiseman bring this simple story to unparalleled and frightening heights as a mother who is haunted by the death of her husband, all while dealing with her son being taunted by this "Babadook" bogeyman figure lurking around in the house. It's a deeply haunting, atmospheric, and jarring story that taps into your deep and darkest fears of motherhood and loss.

Be forewarned when I tell you that I have not slept properly in about two weeks because of Kent's masterful filmmaking. She takes this seemingly simple story but goes dives full throttle into the psyche of a fragile and tortured soul of Amelia. And that is what's so terrifying about the film is not the power the Babadook has but the one Amelia possesses. She takes all the conventional tropes of horror and gives the story a nice and tight little twist! There is even a real Babadook storybook being sold now all signed by Kent herself! Kent is a brave, bold, and brilliant new voice in cinema and I simply cannot wait what she does next!

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Year: 2014
Director: Xavier Dolan

Writer: Xavier Dolan

Cinematographer: André Turpin

Cast: Anne Dorval, Antoine-Olivier Pilon, Suzanne Clément

Country of Origin: Canada

Rating: N/A

Time: 139 min.

Kristen Sales (Sales on Film) and I went to AFI FEST this past month and we were able to catch some of the same films together and so we decided to do the natural thing and record some reviews together. And how can we go to AFI FEST without reviewing another Xavier Dolan film?! Last year we review Tom at the Farm and this year is one of the year's best films, Mommy. Mommy is about a widowed single mother (Anne Dorval) who has to raise her violent and volatile son all alone (Antoine-Olivier Pilon) until a peculiar neighbor (Suzanne Clément) offers some hope.

Although I have not seen his first feature, I Killed My Mother yet, I can already tell that Mommy is just another extension of that film about his personal relationship with his own mother. You can't help by fall in love with Mommy starting with it's pop culture references like having a 90's top hits soundtrack to shooting in an "Instagram" aspect ratio to emotionally potent performances by all parties that is universally relatable no matter how extreme. It's theme of volatile love in a family setting was wholly relatable to me as I have had my own share of these moments. Mommy went on to win the Jury Prize at this year's Cannes Film Festival and is Canada's official entry for Best Foreign Language Film at 2015's Academy Awards which I am sure, it will get nominated! Now, all I have left to do is watch his first film before he comes out with his sixth feature film next year!

Follow Kristen:

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- See more reviews at AFI FEST -

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Year: 2014
Director: Mia Hansen-Løve

Writer: Mia Hansen-Løve & Sven Hansen-Løve

Cinematographer: Denis Lenoir

Cast: Félix de Givry, Pauline Etienne, Hugo Conzelmann, Roman Kolinka, Vincent Macaigne, Greta Gerwig, 

Country of Origin: France

Rating: N/A

Time: 131 min.

Kristen Sales (Sales on Film) and I went to AFI FEST this past month and we were able to catch some of the same films together and so we decided to do the natural thing and record some reviews together. I also had the privilege of interviewing Mia about her fourth feature, Eden (see interview here) which chronicles 20 years of the life of a French DJ (Félix de Givry) who's credited with inventing "French Touch" or "French House" which was popularized in the 90s.

The beauty within Hansen-Løve's work is how she takes simple everyday stories in a person's life and is able to adapt it to screen with painstaking realism embedded into every scene. With it's naturalistic performances and precise camerawork, Hansen-Løve brings her stories about people and their passions alive. Paul, the French DJ is stuck in a phase of arrested development where the grim realities of adulthood hasn't kicked in and Eden captures his rise and fall with swooning melancholia. This isn't your average musically-driven, club-setting, DJ story but wholly shows the night and club lifestyle in unfiltered form. 

Follow Kristen:

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- See more reviews at AFI FEST -

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Year: 2014
Director: Céline Sciamma
Writer: Céline Sciamma
Cinematographer: Crystel Fournier
Cast: Karidja Touré, Assa Sylla, Lindsay Karamoh, Mariétou Touré
Country of Origin: France
Rating: N/A
Time: 112 min.

Kristen Sales (Sales on Film) and I went to AFI FEST this past month and we were able to catch some of the same films together and so we decided to do the natural thing and record some reviews together. Starting off with Céline Sciamma's Girlhood (Bande de filles)  which is a breathtaking examination of social navigation and identity within Marieme's world as a young woman. Girlhood is booming with ferocious energy and daring performances that is complemented really well with it's cool electronic soundtrack. 

It is probably one of the best coming-of-age stories that is told in the backdrop of lower class Paris neighbors which features an all-Black cast of first-time actors starring with Karidja Touré who plays subdued teen Marieme. Sales and I both really love Sciamma's style and approach to storytelling that truly commands your attention to examine sexuality, identity, and society as seen in her previous works like Water Lilies and Tomboy. I hope you enjoy our review and come back for more reviews from AFI FEST this week!

Follow Kristen:

Blog // Twitter

 - See more reviews at AFI FEST -

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Year: 2014
Director: Francis Lawrence
Writer(s): Peter Craig & Danny Strong
Cinematographer: Jo Willems
Cast: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Donald Sutherland, Phillip Seymour Hoffman, Julianne Moore
Country of Origin: U.S.
Rating: PG-13
Time: 123 min.

"If we burn, you burn with us!" is probably my favorite line ever and I will be repeating this line to every person I see from now on! The Hunger Games: Mockingjay (Part I) is the second to last installment of one of the best young adult franchises to have come along since Harry Potter. Naturally, the studios followed Harry Potter's footstep and the final book was split into two films which obviously has good and bad aspects to it. Inevitably, it's the split created a very lukewarm and inconclusive tone. But nonetheless, it packs a punch with it's thrilling action sequences, emotionally captivating performances, and supremely talented cast. As a fan, I loved just watching these characters return and expand their world that focuses on their grim and harsh realities back home that is politically charged. 

(See my Trailer Reaction)

EDIT (11/28):

Arshad and I had an in-depth discussion about The Hunger Games: Mockingjay (Part I) as we are huge fans of the book and films alike! You saw my take of the film up above and now, you can see us discuss the film in terms of performance, structure, story, and the differences from the book and the film. We really get nitty gritty with it and geek out a little bit so take a look!

Follow Arshad

YouTube // Website // Facebook

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Year: 2014

Director: Shim Sung-bo
Writer(s): Shim Sung-bo & Bong Joon-ho
Cinematographer: Hong Kyung-pyo
Cast: Park Yu-Chun, Kim Yun-seok, Han Ye-ri, Lee Hee-joon, Kim Sang-ho
Country of Origin: South Korea
Rating: N/A
Time: 111 min.

Contemporary Korean films have made a reputation of being the most grim experiences out there, replete with unabashed violence, incest, social inequality, and crime – Haemoo has three of those things! Adapted from a play by Kim Min-jung, it’s about a real life incident that occurred when a Korean fishing crew got mixed up in a botched human trafficking operation. Screenwriter-turned-director Shim Sung-bo’s adaptation is a harrowing film riddled with nail-biting suspense and easily accessible blockbuster conventions.

The film takes place in 1998, when the IMF Crisis made life hard for ordinary South Koreans. The owner and captain of a beat-up boat, Kang Chul-joo accepts a high risk job smuggling ethnic Koreans from China in exchange for enough money to save the ship he’s so desperately attached to. Kang doesn’t bother to reveal his desperate plan to his fellow fishermen until they’re out on the treacherous sea, entrapping them in an inevitably doomed arrangement. While everyone seems on board with the plan thanks to the persuasion of a hefty sum, it only takes one of the crew, Dong-sik (Park Yoo-chun), to fall in love with one of the immigrants, leading him to rebel against Kang and his shipmates.

(Continue reading on SoundonSight.org)

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Year: 2014

Director: Josephine Decker
Writer(s): Josephine Decker & David Barker
Cinematographer: Ashley Connor
Cast: Sophie Traub, Joe Swanberg, Robert Longstreet
Country of Origin: U.S.
Rating: N/A
Time: 94 mins

If Terrence Malick had a twisted little sister, it would be Josephine Decker; the resemblance is clearly discernible in her sophomore feature, Thou Wast Mild & Lovely, utilizing Malick's uninhibited and experimental handheld style but with her own dash of psychosexual drama. Decker's story is framed against the backdrop of a quiet country farm, and shells out the kind of chills that not even Malick could muster. 

In the vein of John Steinbeck's East of Eden, the film follows Akin (Joe Swanberg), a man who's taken a summer job on a farm only to develop an attraction to its owner's daughter, Sarah (Sophie Traub). In what's seemingly an inevitable romance, the pair's physical attraction is amplified by their isolated setting, leading this quaint farm story to pack a ferocious intensity. If Terrence Malick had a twisted little sister, it would be Josephine Decker; the resemblance is clearly discernible in her sophomore feature, Thou Wast Mild & Lovely, utilizing Malick's uninhibited and experimental handheld style but with her own dash of psychosexual drama. Decker's story is framed against the backdrop of a quiet country farm, and shells out the kind of chills that not even Malick could muster. 

(Continue reading on Sound on Sight)

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AFI FEST has finally come and gone! AFI FEST has always been on top of their game when it comes to showcasing some of the finest and groundbreaking International and American cinema and this year, they outdid themselves. Highlighting the fest, they had an emotional and long-overdue tribute to the legendary Sophia Loren who has graced the Italian and American screens for generations. I had the privilege of being able to watch just a fraction of the films they had and I am even sad that I was not able to watch EVERYTHING! AFI FEST is a particularly great festival considering that all their tickets are FREE. Yeah, you heard that right, $FREE.99! 

And with that, you have one of the best curated film festivals in Los Angeles that caters to the mainstream and the indiest of audiences! You betcha that I was able to film some stuff while I was there so make sure to check out my film vlog down below! And keep your eyes out for upcoming reviews this week and many more updates on these films because I loved them all so much and everyone must watch them!

Top Five Films:

Girlhood (Dir. Céline Sciamma) (See review)
Mommy (Dir. Xavier Dolan)
The Tribe (Dir. Miroslav Slaboshpitsky)
The Absent (Dir. Nicholás Pereda)
Felt (Dir. Jason Banker) (See review)

A Most Violent Year (Dir. J.C. Chandor) (See Review) B+
Eden (Mia Hansen-Løve) (See interview) A 
The Midnight Swim (Dir. Sarah Adina Smith) B+
Two Days, One Night (Dir. Jean-Pierre Dardenne & Luc Dardenne) A
Merchants of Doubt (Dir. Robert Kenner) A
Inherent Vice (Dir. Paul Thomas Anderson) B+
Thou Wast Mild & Lovely (Dir. Josephine Decker) (See Review) A-
Stations of the Cross (Dir. Dietrich Brüggemann) A
Haemoo (Dir. Shim Sung-bo) (See Review) B+
Tales of the Grim Sleeper (Dir. Nick Broomfield) A
Happy Valley (Dir. Amir Bar-Lev) A
What We Do in the Shadows (Dir. Jemaine Clement & Taika Waititi) A
Fish & Cat (Dir. Shahram Mokri) A

(See  Photos)

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Year: 2014
Director: Jason Banker

Writer(s): Jason Banker & Amy Everson
Cinematographer: Jason Banker
Cast: Amy Everson, Kentucker Audley, Elisabeth Ferrara, Roxanne Lauren Knouse

Country of Origin: U.S.

Rating: N/A
Time: 80 min

It's a rare discovery when a film can materialize the internal terror that women experience on a daily basis so disturbingly close to reality. Blurring the lines of documentary and narrative storytelling, Felt truly is a film that demands to be felt. It accomplishes its goal by penetrating the deepest, most harrowing aspects of trauma to tell one of the most powerful and jarring stories about the female experience and rape culture ever put on screen.

Director and cinematographer Jason Banker follows his 2012 debut film, Toad Road with Felt, co-written by Amy Everson who stars in the film as Amy, a San Franciscan artist recently plagued by a trauma (not explained but certainly sexual) inflicted by the men in her life. As her ordeal unravels emotionally and psychologically, she plunges herself in the world of art as a coping mechanism. 

“My life is a fucking nightmare” are the first words out of Amy’s mouth, a vocal confirmation of her trauma, usually reserved for her performance art. From there, we see her as she caves in on herself, crawling so deep and beyond, it’s unknown where the real Amy starts and ends. She re-appropriates the male form by frolicking in the woods, wearing an anatomically correct muscle suit and trying to re-enact the dominance demonstrated by the men she’s encountered. But it doesn’t stop there, as she continues to embrace their stereotypical brash, lewd attitude outside of costume form. This outlet to reclaim the power taken from her by an unknown attacker is only the beginning of how her mental disintegration manifests. Witnessing her inner battle materialize in outer form further conveys the delusion and terror that Amy struggles with every day, heightening the grim realities and the harsh effects of our gender warped society.

(Continuing reading on Sound on Sight)

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Year: 2014
Director: Alejandro Gonzalez Inarritu
Writer: Alejandro Gonzalez Inarritu, Nicolas Giacobone, Alexander Dinelaris, Armandro Bo
Cinematographer: Emmanuel Lubezki
Cast: Michael Keaton, Emma Stone, Naomi Watts, Edward Norton, Andrea Riseborough, Zach Galifianakis
Country of Origin: U.S.
Rating: R
Time: 119 min

This may be a bold statement but I can honestly say Alejandro Gonzalez Inarritu's Birdman is my favorite film of the year! It has the total package of a stellar cast, a relevant and important meta story, and technically meticulous and beautiful cinematography. There's no denying how magnificent the film is but as I was watching it, I couldn't help but feel like the film was made for me (self-involved much?) given my strong preferences of all the spellbinding attributes Birdman embraced and showcased. It is one of those films that reminds you of every single reason why you ever fell in love with film in the first place. Here I list for you the 5 reasons why I loved the film so much!

01:47 - Alejandro Gonzalez Inarritu

02:52 - Cinematography

04:17 - Michael Keaton's Character

05:46 - The Cast

08:20 - Because I can watch it all the time!

Trailer // Poster // Stills 

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Year: 2014

Director: Alex Ross Perry

Writer: Alex Ross Perry

Cinematographer: Sean Price Williams

Cast: Jason Schwartzman, Elisabeth Moss, Jonathan Pryce

Country of Origin: U.S

Rating: N/A

Time: 108 mins

Jason Schwartzman has now made a lifetime acting career out of his typecast as an pompous and inconsiderate intellectual from the start with Max Fishcher in Wes Anderson's Rushmore. So it's no surprise that Alex Ross Perry casted him in a film where the character and the film alike share the same arrogant qualities that is braised with New York literary comedy to the likes of Woody Allen and Noah Baumbach. Perry's third film, Listen Up Philip  is well aware of it's influences and bathes in the tradition of the voice-over narration, self-loathing banter, and light-speed quip all while sticking to his guns by presenting despicable characters in the most harsh and unfiltered light. But its in that process of piercing honesty that we witness a genuine sincerity in these characters no matter how ugly they are. 

Schwartzman plays Philip, a tragically incorrigible and spiteful writer with a knack for unapologetic asshole tendencies who is on the cusp of releasing his sophomore novel. When Philip is not hell-bent on making everyone bleed dry of happiness with his sharp mouthy fangs, he is pestering his painfully vulnerable and kind-hearted girlfriend Ashley (Elisabeth Moss). Either way, he is an insufferable, self-involved bastard who just doesn't know when to quit and just smell the roses. More fire is added to the fuel when Zimmerman (Jonathan Pryce) who is the splitting image of Philip but thirty years plus, is added to the picture, only to make the plagued atmosphere even that much more venomous. Naturally, the collision of these two forces only ignites a blistering game of one-upping one another to ceaseless ends. No one said being an "artist" was easy.

It's only a matter of time before we completely forfeit to Philip and Zimmerman's incessant piercing jabs. Luckily, Philip's girlfriend Ashley, tells her own story sandwiched in between these other two guys we do not care for. I first and foremost know Elisabeth Moss as Peggy Olsen from Mad Men and wasn't sure how good she would be playing a modern day woman but boy, was I wrong. Moss' breathtaking performance as a fragile and vulnerable woman on the path to independence was breathtaking light the film desperately needed. She brought such a painfully genuine performance that just swoops up your heart and hugs the shit out of it! It was at this very moment where I realized rare and immense talent Moss possessed that skyrocketed her to a league of greats actresses like Kate Winslet and Natalie Portman. 

Shot in 16mm, the film emits a seventies vibe that embraces the almost claustrophobic yet intimate scenery of New York City even though the story is clearly set in present day. What is also enthralling and refreshing is the fact that even though it tells very revelant stories about our current times, there is never once a shot of any technology-related items (ie: lap tops & smart phones)! 

I had the privilege of watching Listen Up Philip at this year's Sundance Next Festival where Schwartzman and Perry was in attendance! And guess who else joined their Q&A? None other than the revered writer, Bret Easton Ellis! Check out my video if you haven't seen it! Underneath all the grumbling rants the film spits, it is for certain that Ross has a knack for compelling storytelling with razor-sharp dialogue that'll make your stomach sore from boisterous laughter. He is face of the next generation of filmmakers emerging on the scene and like him and so many others, be sure to be ready to witness a mixture of both old and new traditions to bring a wholly refreshing and revitalizing movement to the future of film! A

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SPOILER ALERT! SPOILER ALERT! SPOILER ALERT!

(Now back the fuck off & don't tell me I didn't tell you so!)

Gone Girl is the most talked about film of the year. It was incredibly hard to pack all the information about the film into a measly video review and I feel like there is a lot more to be said about the film considering that this is one of the most polarizing film that'll surely leave people furiously discussing in in-depth details about it's gender politics, contrived dramatizing of media, and the differing readings of modern day marriage. The tone is atmospheric, chilling, and did I already mention contemplative? 

Rather than remembering how good this film is, people will most likely take away how this cautionary tale about marriage will haunt them for the rest of their lives because of cut-throat portrayal of Amazing Amy. It's not so much the story but the representation of Amy in all her misogynistic glory that is sorely unjustified as she is seen as the ultimate fucked up villain who will be simply labeled as "cRaZy" instead of understood by the general public. 

As a fan of the book, the uneven perspectives told from both Amy (Rosemund Pike) and Nick (Ben Affleck) has morphed the film to tell a story where Nick is the absolute victim and that's not really the conclusive point of the story. Like I said, considering that Gone Girl is the most talked about film of the year, there will be many think pieces about the film for many days, weeks, and even months to come. Especially when it comes to Cool Girls. And it's no surprise because a film of this caliber with David Fincher's signature stamp and Gillian Flynn's grim vision, it's going to take a lot more than a shower to wash away the blood after watching this film. 

Trailer // Poster

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Nightcrawler has got to be one of the best and my favorite films of the year! This is Dan Gilroy's directorial debut film and it is an absolute knock out of a film with its razor sharp screenplay, Los Angeles setting, and Jake Gyllenhaal's incredible transformative performance that is sure to get under your skin and stay with you! Gyllenhaal is Lou Bloom, a petty thief that will stop at nothing till he succeeds is today's modern day success story despite its grim and twisted outline! Gyllenhaal shed 30 pounds for the role and completely lost himself during the process aka smashing a mirror during one intense scene! Gyllenhaal really gives it his all and it is one of the most chilling performances I have seen as of lately that is bound to hear some Oscar buzz.

This is one film that I MUST watch on repeat because as a Los Angeles native and actually seeing L.A. story on screen that is ACTUALLY SHOT IN L.A. is pure euphoria. Jake Gyllenhaal has proved himself to be Hollywood's rare gem, repelling blockbuster films after stumps like Prince of Persia (remember this atrocity?!) to pursue more challenging indie pieces like Denis Villeneuve's Prisoners & Enemy and now Nightcrawler. Riz Ahmed is a joy to watch as Bloom's aloof and nervy "intern" and so compelling that I was shocked to know that he is actually British! If you just cut the fat off Bloom's psychotically twisted view of success, the film serves to be one of the most inspirational and motivational pieces I have ever seen or is that my psycho brain talking?! Regardless, Nightcrawler is a rare film birthed out of Tinseltown because it has the meat of an art film and the shine of a Hollywood film! You can't ask for anything better than that! The film comes out October 31st. GET READY.

Poster & Trailer // Teaser 

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This is a particularly special review because I had an extensive discussion all about the gripping YA novel/film, The Maze Runner with my good friend Arshad. Arshad does a lot of things (singer, songwriter, actor, director, etc!) and one of them is being a huge fan and expert on the YA novel and film movement that got sparked when The Hunger Games (2012) came out. We both caught The Hunger Games bug and while I drifted off especially with the hype of Divergent (2014) came around, Arshad increased his interest hence why he asked me to collaborate with him on The Maze Runner as a person who hasn't read any of the series. 

I caught a sneak peek of what to expect from The Maze Runner at this year's WonderCon and I was amazed. As far as YA adaptations go, everyone wanted to make something as great as The Hunger Games but just kept failing. The Maze Runner might be a close-runner up due to the fact that when they got something right, it was absolutely great with the incredible special effects (for their small budget), superb performances casting choices (KI HONG LEE!!), and overall pacing of the film. The only gripe I have with the film is their lack of an explanation to why the kids are even there and what the maze was even suppose to prove. Arshad and I really go into it so sit back and grab some coffee cause it's going to be a long one!

Follow Arshad:

Website // Blog // Facebook // Twitter 

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Year: 2014
Director: Kevin Smith
Cast: Justin Long, Michael Parks, Genesis Rodriguez, Haley Joel Osment, Johnny Depp
Country of Origin: USA
Rating: R
Time: 102 mins

As someone who has only seen Clerks. (1994) and isn't a hardcore, wild, boob-flashing kind of fan gal of Kevin Smith, I had below zero expectations of Tusk in terms of story and execution. I went in absent-minded and when I came out, I had one of those rare bug-eyed "What the fuck did I just watch?!" moments that sparked a fury of bewilderment and excitement within me that could only be tamed by having a fervent and extensive dissection about its bizarre likeability with friends. Would I recommend it to other people? Not necessarily. Would I say it's downright horrible? Not necessarily. Despite my wavering opinion, one thing is clear: the film has been swimming its rounds in my mind and inducing word vomit references to it ever since. If my subconscious was book-marking Tusk for whatever reason, it was a sure sign that the film really did dig it's deep "tusks" in me. 

The story follows Wallace (Justin Long), an unlikeable, one-half of a beloved podcast duo alongside Teddy played by the almost unrecognizably plump but still baby-faced Haley Joel Osment called The Not-See Party. How adorable. Their time is spent discovering and mocking humiliating viral videos like the Internet celebrity, Kill Bill kid who accidentally cuts off his own limb while trying to expertly wield a samurai sword. Wallace decides to fly to Canada to interview the unfortunate Uma-Thurman wannabe only to find out that he axed himself completely. Upset that he's trekked his way up to The Great White North, he tries to find another "weirdo" to interview. Luckily inside a restroom stall, Wallace sees an hand written ad offering a room in his house for free and the guarantee of hearing a lifetime of interesting stories. With his interest and desperation piqued, Wallace arrives at the mansion of Howard Howe's (Michael Parks), a wheelchair-bound retired seaman stocked full of eccentric artifacts and bountiful tales of encountering Earnest Hemingway to being rescued by a Walrus he named Mr. Tusk after a shipwreck. After some engrossing exchange, Wallace blacks out from the drugs laced in the tea Howe has given him only to wake up the next morning, imprisoned to a wheelchair with his legs amputated. The nightmare is only about to get next level worst when Howard reveals that he will be turning Wallace into a walrus. A. REAL. LIFE. WALRUS!

You can imagine my horror when I realized what the actual premise entailed and although, I am always down for some body-horror with absurd logic to the extremes of The Human Centipede (2009), Tusk felt like a misguided, tone-deaf, bipolar child dealing with an identity crisis. It has a bit of everything stirring in the pot from horror to thriller to dark humor but never does it get the blended recipe fully right without other ingredients diminishing. But when it does get a genre right, it is absolutely appetizing for that sweet blissful moment. There are terse but fervent bubbles of lunacy that delivers its rightful punches but is halted by elongated and lethargic drags that seem to last forever as if you are running miles between two words in sentence.

But luckily, it is the life-saving performance of Parks who is an absolute hoot, embodying the perfectly petrifying host from hell with his delusional psychopathic mask plastered to his face that creates the uneasiest and queasiest coils in our blood. Long as Wallace is generally an unlikeable guy who is only tolerable shrieking his way through this film due to his preceding real-life "good guy" reputation. Is it also so wrong to assume that Smith decided to please fan boys around the world by injecting the hopeful notion that a guy like the cheating Wallace could ever land and deserve a woman who is so ungodly beautiful and sweet like the talented and unjusticely casted, Genesis Rodriguez as Wallace's wallowing girlfriend? I think not. And of course, Haley Joel Osment's booming cackle is not to be underestimated and really should be experienced and heard by everyone as it will only spread manic grins across our faces. The third act introduces the (naturally) disguised Johnny Depp as an alcoholic Quebec ex-cop, thirsty for Howe's blood, is such a poorly drawn Looney Tunes cartoon with a worse French accent than Pepe Le Pew that I can hear Quebec natives cringing.

It all goes back to its faulty screenplay that wants to be a pinch of a talky Quentin Tarantino piece with a dash of the grotesque shock-value of The Human Centipede which quite never reaches its extremes to push the factor due to its lackluster motive that feels like the film was just made for shits and giggles. It's no surprise of the laziness of its construction considering that the film was conceived based on a joke Kevin Smith made on his own podcast, SModcast. It is an admirable act to have pursued a project based on his fan's unrelenting enthusiasm to the production rather than creating the film for cinematic story-telling value. But if his intended goal was to amp up the WTF-factor to levels that dances along the lines of sheer terror and absurdity, I would say great job indeed! And despite my unwillingness to pick a Love it / Hate it side like I normally do, it speaks volumes when it becomes a film that hypnotically terrorizes my mind day in and day out. Thanks Kevin Smith. 

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