Love Is Strange
Another older couple, the newly married gay men portrayed by Alfred Molina and John Lithgow, supplies the heart and soulfulness of Ira Sachs’ endearing yet rigorously unsentimental family drama. You may relish conflict in movies; I savor unexpected moments of connection and tenderness. Love is Strange gives us a precious handful, notably a late-night conversation in which Lithgow’s usually oblivious character offers encouragement — and conveys some understanding — to the justifiably resentful teenager compelled by circumstances to share his personal space (i.e., his bunk bed) with an much older gay relative.
Boyhood
My first three choices suggest that I identify more with older characters each passing year. In my defense, how could you connect with the bland, blank slate that Richard Linklater chose as the focus of his lengthy, superficial opus? Consequently, the moments I most vividly recall involve Ethan Hawke. Linklater’s decision to use the same actors over a decade-plus of filming produce some unique results — hence Boyhood’s inclusion on this list — but the film has surprisingly little to say about the way this child’s passions and values were influenced by his family and society. For a coming-of-age story with exceptional character insight that also punches you in the gut, revisit Francois Truffaut’s The 400 Blows.
Calvary
The gripping opening scene of John Michael McDonagh’s existential Irish mortality play comprises a single, static shot of a priest’s face in the confession booth as he listens to an unidentified parishioner promise to kill him the following Sunday. Brendan Gleeson’s hulking yet ambivalent portrayal — in complete partnership with McDonagh’s literate, grown-up script — carries the scene and the movie into dark, rich places.
Chelsea Girls
Revived by San Francisco Cinematheque at the Castro in November, Andy Warhol’s 1966 double projection, three-and-a half-hour quasi-fictional portrait of denizens of New York’s Chelsea Hotel was one of the weirder pleasures of the year. The parade of fanatically long takes was quintessentially Warholian in that the interminable moments were as central to Warhol’s conception as the compelling ones. I shall long remember Nico standing in a kitchen endlessly trimming her bangs in a hand mirror (file under Innocence), beloved cult figure and in-person guest Mary Woronov skulking and glowering onscreen (No-method Acting) and Pope Ondine shooting speed and going off on some poor woman (Mania).
Listen Up Philip
Alex Ross Perry’s frenetic tale of a self-obsessed young novelist features a relentless performance by Jason Schwartzman as the most insufferable subspecies of educated urban schmuck — the kind who thinks that being self-aware and owning it somehow redeems his schmuckiness. Perry, wisely recognizing that audiences need a break from this egomaniac, dispatches Philip for a good, long while to follow his erstwhile girlfriend.
Elisabeth Moss (Mad Men) delivers the best pure, concentrated acting to grace a screen this year, most memorably in a sequence where she wordlessly glides through a sequence of four or five emotions in response to a piece of news.
The Overnighters
A North Dakota pastor risks alienating his congregation by providing shelter and assistance to the horde of homeless men who’ve come from all over seeking oil-related jobs in this riveting profile by Bay Area documentary filmmaker Jesse Moss. In a strong year for documentaries (so what’s new?), The Overnighters exposed the post-Depression dislocation and desperation that is pervasive yet somehow invisible (at least on television). I have questions about the doc’s structure and ethics, but there’s no denying the unsettling effectiveness of an awkward dinner-table scene with the minister’s family.
Selma
I am ticked off, to tell you the truth, that Ava DuVernay’s impeccably mounted and frequently moving reenactment of a pivotal chain of events in the Civil Rights Movement wasn’t booked into theaters a month before Election Day. It’s all about money, of course: Opening on Christmas Day when children are out of school (and will be for the next week or two) will likely result in better box office than an October run. OK, but if the film’s goals include making a difference — well, you get my point. I suppose I’ll embrace the silver lining, namely that Annie won’t be the only screen representation of black people that white people will see this holiday season.
Mr. Turner