To everything there is a season. as awards season 2013 slowly (slowly, slowly) winds down with the BAFTAs tonight marking the last major precursor before the Oscars themselves in two weeks, it’s time to start looking ahead to the year in film that will be 2014.
Shockingly, we already have the year’s first cinematic phenomenon, with “The Lego Movie” absolutely crushing the box office two weeks in a row and picking up scores of positive reviews from critics as well. I’ll try to get a full review in soon, but it’s a blast. After the surprise success of the “21 Jump Street” reboot and now this, writer/directors Phil Lord and Christopher Miller are sure to be hot tickets in the industry. In that spirit, we’ll start off with our little 2014 trailer preview with a few more films that could contribute to this being another banner year for animation.
Ernest & Celestine
Indie distributor powerhouse GKIDS did it again this year, already guiding this charming-looking French film to an Oscar nomination. An English dub and slightly expanded release look to capitalize on that recognition. I wish I had caught it in the original French, but the animation looks suitably gorgeous enough, and the story charming, in any case. Plus, Lauren Bacall now voices the matron mouse, so not all dubbing is questionable.
We don’t get anything of the story of “The Boxtrolls” from this teaser, but I love that Laika, the studio behind “Coraline” and “ParaNorman,” decided to put the behind-the-scenes work front and center. The craft and artistry of Laika’s work has been astounding, and it’s entrancing to see these stop-motion figures come alive in front of our eyes. Anyway, the story apparently tells of a boy raised by the eponymous trash-dwelling creatures, who are endangered by an evil exterminator. Sounds suitably Roald Dahl-ish to me; since “ParaNorman” was a particular favorite, I’m very much looking forward to whatever Laika has cooked up next.
A Long Way Down
I was already scared that someone was attempting to film probably one of Nick Hornby’s trickiest novels, tonally. There’s something about an impromptu suicide pact support group that works in Hornby’s nimble prose, but runs a risk of being insufferably maudlin when literally visualized. And, well, this trailer certainly doesn’t dispel that fear. A critical drubbing at the film’s premiere in Berlin pretty much confirmed the worst. It’s a shame, as the casting is reasonably spot-on, and I pretty much desperately want to love anything with Toni Collette. But this looks like a total misfire that misreads Hornby’s black comedy for inspiration.
What’s up with Tye Sheridan and gruff, inappropriate mentors with mysterious pasts? In any case, it’s nice that David Gordon Green, an indie darling who seemed peculiarly sidetracked by big-budget stoner films like “Pineapple Express” and “Your Highness,” has returned to the taut, primal kind of filmmaking that made his name. “Prince Avalanche” was a pleasant, unexpectedly meditative little piece last year that made excellent use of Paul Rudd and Emile Hirsch, and now “Joe” looks to resurrect the one and only Nicolas Cage. I’m not entirely sold on his performance just from this trailer, but at least it does look like he’s giving a damn again. “Joe” premiered last year at Venice and got generally favorable reviews both there and at Toronto, so it could be worth a watch even if the narrative looks like a fairly standard genre rehash.
Wally Pfister, Chistopher Nolan’s long-time cinematographer, strikes out on his own in a big-budget directorial debut that sure looks to have a huge debt to his friend and collaborator. Set aside that he’s even stolen a couple of Nolan repertoire members (Morgan Freeman, Cillian Murphy, Rebecca Hall), the combination of high-concept sci-fi with eye-popping set pieces sure has that “Inception” stamp on it. How will Pfister fare, especially considering Nolan’s got his own enigmatic sci-fi project coming up later in the year with “Interstellar?”
The first couple looks at “Transcendence” certainly have been intriguing. The cast is fantastic (Paul Bettany is always welcome), especially with Johnny Depp, also, actually looking like he gives a damn; and I’m excited that he’s decided to take on a more villainous/menacing role, a route he hasn’t gone down for a while now. The ideas swirling around artificial intelligence are also quite challenging – can Pfister and company follow through on them rather than devolving into explosions? The writer, Jack Paglen, is a newcomer, so we have no clues there.
I can’t help but think they’ve already shot their wad a bit here with money shots, though; unless there’s something even more spectacular they’re not showing, the question now isn’t what we will see but why it’s happening. That’s never quite as satisfying as encountering such imagery firsthand in the theater.