2013: Best and Worst

Oscars are handed out and I realize I never did my Best/Worst of 2013. Oops. But who can blame me? I live in the sticks. If it’s “art house” good, I see it in March. Maybe. With my tardiness, I’m skipping a formal numbered Top 10, bottom 5. Brevity is key now.

The Best

No film floored me in 2013 quite like “12 Years a Slave,” a real American horror/history story. It is the truth to the lies of that other Oscar winner of American lies, “Gone with the Wind.” A must see.

Yet, I had no better time in a theater last year than “Gravity,” an amazing piece of film-making. And it has an equal companion, “All is Lost.” A woman adrift in space, a man lost at sea. Each facing hopelessness. These films are odd, perfect twins that hit me perfectly square in the chest and head, and why not as I turn 40. They are my No. 1 choices, tied.

Call “12 Years” a very close second. It certainly is the most vital film of 2013.

The rest from 4 down: Romantic drama “Her” -- again about a lonely man, notice a theme here? -- and family documentary “Stories We Tell.” Each told new stories with power. 

Trilogy closer “Before Midnight” seemed to spool out as a captured reality, while “American Hustle” and “Wolf of Wall Street” played two wild games of comedy from too-strange real events set in New York.

I also loved the Coen Brothers’ “Inside Llewyn Davis.” Issac Davis just another cool cat.

Closing out at No. 10, another tale at sea,“Captain Phillips,” with Tom Hanks, also staring down death while soaking wet, but desperate to be alone. 

Is this list complete? No. It will change many times. For now, it will do.

The Worst

No film pissed me off more in 2013 than “A Good Day to Die Hard,” an abomination on the 1988 classic action film. That film played for humanity among all the fireworks. “AGDTDH” is soul-dead garbage. 

Four more grating entries: “The Lone Ranger,” “The Host,” “Percy Jackson 2,” and “Fifth Estate.” 

Again, sure to change. But I doubt “AGDTDH” will be bottomed.

All is Lost (2013)

A perfect companion piece to the space-set “Gravity,” “All is Lost” also follows a lone person (Robert Redford as “Our Man,” no name) as he faces death on the vast Indian Ocean, his ultra-chic yacht sinking, every hope escaping his grasp, until suicide becomes not something to fear, but embrace. I don’t know why so many desperate lone survival tales are hitting the screen now -– think of “Life of Pi” or “Captain Phillips” -– but what a remarkable run. Here, Redford -– in a brilliantly paced, near wordless performance that wows with its refusal to go “big” –- awakens to the crash of his yacht against an adrift shipping container. His boat punctured and sinking, the man slowly and clumsily patches the gape. And just when hope is reachable, it crashes away as a violent storm hits, fresh water supplies disappear, and cargo ships –- ironically the man’s only salvation –- pass by like gods too busy to notice a believer. His technology and wits fleeting, Our Man must navigate the ocean by eye. J.C. Chandor’s (“Margin Call”) film is tense and methodical, stepping for every beat that “Gravity” rocketed past as he puts alongside Redford. Most deserved use of the “F” bomb ever. A

Gravity (2013)

“Gravity” is exhilarating, the most damn entertaining, breathless film this year. The promos promise an outer space-set drama about two astronauts (Sandra Bullock and George Clooney) caught adrift in space after a freak debris incident, their shuttle destroyed and crew members dead. It is that and a survivalist-horror film drenched in the gut-punch notion that surviving in space means having to continue to face life’s cruelties on Earth. The lean plot is near required as director Alfonso Cuaron (“Children of Men”) plunges us into a 90-minute shocker that could break with too much filler. Among his sharpest onscreen moves: Simultaneously pitching “Gravity” as a near-wordless silent film of old, but shining new and large with spectacular, game-changing CGI, cinematography, and sound. He casts us adrift above the Earth, awed with wonder at our home and shocked by the absolute black void of space, and then miraculously takes us inside our hero’s space helmet with not a single edit. Bullock rips into her role -– raw, wounded, and shell-shocked –- deserves every award coming her way. As does Cuaron and co-writer/son Jonas who spin a perfect final scene uplifting in every sense of the word as it literally inverts the title. A+