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ClaytonDavis

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Every once in a while, and admittedly not often enough, an actor or actress opens your eyes to talents you weren't aware they inhabited. Over the past few decades, I think of performers like Charlize Theron in "Monster" or Halle Berry in "Monster's Ball" as prime examples. Joining the elite list is the beautiful and incredible Jennifer Aniston in Daniel Barnz's "Cake" co-starring Academy Award nominee Adriana Barraza. In a turn that stands as the single best performance by an actress this year, Aniston offers her heart and soul in the role of her career. "Cake" tells the story of Claire Simmons, a woman addicted to pain killers who begins to hallucinate and see visions of Nina (Anna Kendrick), a woman who commits suicide from her chronic pain support group. Not so long after, she starts a friendship with Nina's husband Roy (Sam Worthington), all while worrying the heart of her angelic housekeeper Silvana (Barraza). Screenwriter Patrick Tobin, a relatively unknown scribe whose only credit is "No Easy Way" nearly twenty years ago, gives a strong focus on the creation of Claire. In partnership with Aniston's talent, Claire comes off like the female equivalent to Melvin from "As Good as it Gets." Snippy, darkly funny at times, but mostly emotionally driven by an aching pain. Tobin's work on character creation is top-notch however, with his ability to move the story along fluidly, there's still some work to be done. When we dig into the people that surround Claire, it's only Silvana that doesn't feel like a clichéd representation of every sappy independent movie you've seen over the years. Director Daniel Barnz has a confident hand on the material and does his very best to elevate the script's flaws. With huge misfires like "Won't Back Down" and "Beastly" under his belt, he finally shows what some of his aesthetic beats can create with the right material. The movie has many interesting questions, some of which feel satisfying and comfortable to ask, other things however feel so small scale that the film itself can't keep up with it. The film lives and breathes, succeeds and soars, and stands tall by the work of Jennifer Aniston. I've liked Aniston since "Friends," my single favorite sitcom of all-time but her film choices have left much to be desired. I never knew that Aniston could dig so deep. I pray to the movie Gods that this is not a one-trick pony for her career. Aniston allows herself to be submerged, and overtaken by all the things that plague Claire's life. A single scene involving a large wall picture will bring many to tears. Adriana Barraza is nearly just as effective as Aniston in a role that will hopefully remind Hollywood that they are not tapping into one of the finest actresses working today. An emotional pillar to the story, Silvana's heart is worn on her sleeve, weaving in and out of Spanish, and presenting brilliant chemistry with Aniston. Sam Worthington continues to try to find his place in Hollywood. Subtle but emotionally distant for anyone to relish. Surprisingly moving, though brief is Chris Messina as Jason. He's a role or two away from having THE role that propels him to stardom. Anna Kendrick is haunting in a performance that beckons and calls for a change of pace for the actress. Felicity Huffman and William H. Macy are effective in brief, underwritten roles. We also get a final look at the late Misty Upham, which is tragic on its own. Overall, "Cake" hits the center of grief and loss just good enough to warrant a positive reaction. Jennifer Aniston's performance is something that most actresses will pray to be able to achieve, but never come close. An effortless turn that doesn't fade in the distance or crumble under the cloud of a faulty script. She excels in a performance that demands respect from her peers, and movie- goers everywhere.

Call me crazy, Tim Burton's newest dramedy "Big Eyes" starring five- time Academy Award nominee Amy Adams and two-time Oscar-winner Christoph Waltz is a witty, satirical, and thoroughly enjoyable romp at the movies. This is Burton's best since "Big Fish."

From screenwriters Larry Karaszewski and Scott Alexander, "Big Eyes" offers big laughs, harmless fun, and a simple take on a most outrageous story. The film tells the story of Margaret Keane, a painter whose husband took credit for all her works in the 1950's and early 1960's. The script is well-paced, though sluggish in spots, and it offers just the right amount of drama and comedy to entertain the audience. There are some opportunities where both the writers and Burton could have offered more development of characters, and the time. If you can get past the tom-foolery of the events that transpired, than you should be able to stick with the elements just fine.

Freshly colored with an array of set pieces, this is one of Burton's most aesthetically pleasing films of his career. Danny Elfman's score is the signature touch that we await in all of Burton's works. It's subtle yet apparent in nearly all the right ways. Same goes for the stunning costume work by Colleen Atwood, a strong contender for another Academy Award nomination.

Amy Adams is richly immersed in one of her finest and daring turns yet. Her performance is much more internalized than what we've come to expect with outlandish roles like "Junebug" and "Enchanted" under her belt. She fixates on the fragility of Margaret and the vulnerability of living in someone else's shadow.

Christoph Waltz is infectious nearly throughout, with funny tics and beats that add to the film's nuance. From the surface, it looks as though Waltz may be doing his same shtick but he offers much more than that as the narrative moves on. Similar to his underrated work in "Carnage," Waltz plays the sleazy, underhanded Walter Keane to pure and menacing results. I'd argue even better than his work in "Django Unchained."

Co-stars Danny Huston, Krysten Ritter, and Terence Stamp are virtually unused except for a few story beats, which is unfortunate given their considerable talents.

"Big Eyes" is a great family film for the holidays. Crafted in an interesting and bizarre story, which offers a vivid and visually compelling film in parts. It's one of the surprise successes of 2014.

Passionate, informative, and tenderly told, Ava DuVernay's vision of Martin Luther King Jr. and his fight for voters' rights is fully realized in her newest film "Selma." Written by Paul Webb, the film is ambitious, moving, and features a performance fit for the history books from David Oyelowo. It's one of the single best things you can see in 2014.

In a time where the state of our country is in disarray over race and politics, "Selma" hits our doorsteps at the right time for both sides of the coin to indulge and see how far we've come, or how little we actually have. "Selma" shows the good and the bad, the perfect and imperfect characteristics of one of the most important figures in the fight for civil rights. There's respect, which goes without question, but there's an emotional and raw honesty that DuVernay and Webb choose to tell us about the man who was Dr. King. She doesn't paint the rosey picture you'd come to expect from standard biopics these days. She lays it out, leaving us to decide for ourselves if something outside of what he contributed to our country is great enough to look passed. DuVernay offers in many ways, the single best direction of the year.

Invigorating from beginning to end, David Oyelowo owns every frame of the picture. You don't see performances like this too often especially of a real-life figure like MLK. I go back to works like Denzel Washington ("Malcolm X"), Ben Kingsley ("Gandhi"), and George C. Scott ("Patton") to find a more jaw-dropping or complex acting performance. Something like this only seems to come around once a decade. This may be our decade's. It's more than just the embodiment, it's the decisions in the silence that makes Oyelowo so amazing. You will remember this performance forever.

The entire cast does an admirable to amazing job in their respective roles. Carmen Ejogo is simply electrifying as Coretta Scott King. An impeccable example of wearing the emotions and feelings at the brim without letting go. Just sensational top to bottom.

Despite some hiccups in the accent department, Tom Wilkinson and Tim Roth are serviced well as Lyndon B. Johnson and George Wallace. Both have their opportunities to stand out in their respective scenes but ultimately stand as reminders that we are eagerly waiting to get back to Dr. King.

DuVernay's triumph comes from the extras and smaller name cast she utilizes as sprinkles in every instance that they appear. Stan Houston as the treacherous Sheriff Clark is superbly focused and embodies the mindset of every unfortunate person of hate during the time. Henry G. Sanders and Keith Stanfield in many ways become the heart and soul of the film without no more than just a few moments of screen time. Oprah Winfrey and Lorraine Toussaint also execute their roles proficiently.

The slick and vivacious manner in which "Selma" is assembled is thanks to the genius people behind the camera. Cinematographer Bradford Young is just too great at what he does at this point in his career. With another stunning framing form in J.C. Chandor's "A Most Violent Year," he rises in the ranks to join Roger Deakins and Emmanuel Lubezki as one of the most exciting DP's. Spencer Averick's editing keeps "Selma" on pace, and engaging 100% of the time. Jason Moran's score is palpable and justified in every sense of its usage.

"Selma" is just a joy to behold, a magnificent example of passionate filmmaking that lacked sorely in 2014. It propels DuVernay among the ranks of the best filmmakers working today. Naturally brought to tears, it's a gut-wrenching and honest look into our history. Fulfilling, promised, and profound. One of the year's best films.

Slick, lavish, and imaginatively vibrant, Rob Marshall's newest musical adaptation "Into the Woods" hits most of the notes as a thoroughly entertaining experience of the holiday season. Assembling one the year's finest casts, Marshall brings his ability to bring each actor to their utmost potential, while keeping composer Stephen Sondheim's brilliance intact. In the end however, the real problem with "Woods" is that its narrative structure is slashed like a hairstylist that took too much off the top, or in this case the second act. The first hour of James Lapine's adaptation is so wholesomely fulfilling. When the story takes a sudden, yet awkward shift into "serious" and more adult territory, this Disney produced spectacle struggles to find its footing. Perhaps, a director's cut, 30 minutes longer, and more clearly obvious themes would have felt more satisfying. This doesn't take away from the marvelous performances that are abound. Those will surely keep you engaged enough to make it through.

It's imperative to begin with Chris Pine. A movie star that hasn't been afforded the opportunity to stretch his acting legs beyond "Star Trek" and "Jack Ryan: Shadow Recruit." When you look at the definition of having fun in a role, Pine's face will be planted firmly next to the words. A career best performance with the show's best musical number, "Agony." Try to look at him the same way after this. A true standout, and scene stealer. Go figure by the way, the man has a very impressive set of pipes.

The Queen of the Academy, three-time Oscar-winner Meryl Streep is the best she's been since "The Devil Wears Prada." Seeing Streep operate in these later years, especially stage adaptations like "Doubt," "Mamma Mia!," and last year's "August: Osage County," have not brought out the greatness that Streep is capable of achieving. Granted, anything that is "lower-tier Meryl" is probably better than most, but I've ached to see her hit another home run. This is it. Streep's work as the Witch is profoundly moving and beautifully orchestrated. "Stay with Me" and especially "Last Midnight" will reaffirm her place in our cinematic lives. One of the best performances of the year.

The gorgeous and vivacious Emily Blunt is everything you've come to expect from her at this point in her career. She's an amazing performer, beautiful singer, and knows how to elevate material, even when it clearly begins to bog her down. There's nothing wrong with the way that Blunt interprets the Baker's Wife. She's desperate, eager, and extremely hyperactive to get what she wants. In the latter part of the script, a controversial choice could have ignited talk and tears however, because there's clearly chops throughout the narrative, the Baker's Wife's role ultimately feels non-fulfilling for the audience. That doesn't take away from Blunt's talents. She's simply terrific.

In what clearly is designed to be the heart and soul of "Into the Woods," James Corden's work as the Baker will propel him into a household name (especially with his upcoming takeover for Craig Ferguson). He's funny, tender, and just a joy to watch. He's a throwback to John C. Reilly's Oscar-nominated work in "Chicago." Affecting, expressive, and memorable. In a story full of characters you grew up loving, making terrible life choices, you find yourself rooting for someone to come on the other side alive, intact, and sustained. For many, Corden will be that character. He's the real deal. I can't wait to see him in more challenging and daring roles in the future.

"Up in the Air" gave us Anna Kendrick, well at least to the high- brow film community. One Academy Award nomination later, she has mostly succeeded in her own vehicles like "Pitch Perfect" and the upcoming "The Last 5 Years," at least based on early word. Playing Cinderella is a daunting task. Anyone who has it will have to compete with mental images from the animated classic, and any other live action interpretation you've seen throughout your life. Kendrick has the physical prowess and charisma to do all Cinderella's assets justice however, there's something that ultimately feels off. While her co- star Pine disappears into the role of the Prince with no semblance of his former character interpretations, Kendrick just doesn't disguise herself enough to warrant a 100% golden star, or in this case a shoe. For her number "On the Steps of the Palace," she nearly hits her stride. Just not exactly what we hoped for.

The rest of the cast has their individual moments. Johnny Depp's interpretation of the Wolf was fun, but anyone who had a problem with his vocal range in "Sweeney Todd: The Demon Barber of Fleet Street," will have their lickings once again. I'm glad that I've learned who Billy Magnussen is now as a result of his work as Rapunzel's Prince. He's delightful. Mackenzie Mauzy's Rapunzel is an unrealized staple of the musical that could have been far more richer and satisfying than what was ultimately displayed. Mauzy's turn is essential.

Christine Baranski's work as the wicked Stepmother kicks off the film on the most enormous high. A delectable presence sprinkled throughout. Same for the brilliant Tracey Ullman who just needs to be in more movies these days. The young performers, Daniel Huttlestone as Jack and Lilla Crawford as Red Riding Hood are equal parts impressive and annoying. The step-sisters, Lucy Punch and Tammy Blanchard are finely tuned with their wicked counterpart throughout.

"Into the Woods" is an energetic, rapturous romp at the movies. Lovely displayed with stunning production work and costume design, which are both singular standouts of the film year. Managed, genuine, and appreciated, "Into the Woods" is a must-watch for the season. An alluring, though flawed work, that stands as an excuse and reason to keep the movie musical alive. If anything, above all else, you take that with you to the bank.

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Demonstrating competent war scenes, along with an astounding and near unrecognizable performance from two-time Academy Award nominee Bradley Cooper, Clint Eastwood's new film "American Sniper" falters on storytelling and thematic developments. Continuously going back to the sacrifice that our military men and women make, which is perfectly fine, but beating the audience over the head with the sacrifice they make is something we've seen before.

The tagline of the poster reads: "the most lethal sniper in American history." You'd expect to see a lot more sniping that led this man to becoming a "legend," which is what everyone calls him. The inner turmoil for a soldier is understood, but what more does Eastwood and scribe James Dean Hall have to say? Evidently, not much. If you're looking for a tribute to a soldier, than the film suffices. If you're looking for a good movie, then this oddly constructed, and often times uninteresting piece will leave you wanting more.

Eastwood has taken on war films before with "Flags of our Fathers" and "Letters from Iwo Jima." One of those is gorgeously constructed and moving. Eastwood is obviously pro-soldiers, as we should all be however, the film often rings false as Chris Kyle goes from cowboy, to enlistment, to watching the twin towers fall, and wanting nothing more than to continue to serve. Surely that can be the case in real life with the real Kyle, and this is no disrespect to his sacrifice and memory, but hardly anything that is presented on-screen feels authentic.

Bradley Cooper has proved his worth for the past two years with work in "Silver Linings Playbook" and "American Hustle." As Chris Kyle, this could be the best work Cooper has done yet. Unrecognizable and emulating the works of a Heath Ledger and/or Jeremy Renner, Cooper creates Kyle from the legs up, giving him beats that elevate the material. One scene in particular will rid any doubts that anyone has ever had as him as an actor. He's a marvelous wonder to behold.

Sienna Miller is vastly wasted in a character that will go down as one of the worst of the year. The supportive wife equivalent of Jar Jar Binks, an overwhelming feeling of annoyance is present every time Miller shares the screen.

Tom Stern's camera has finally been given a flash lens as we're finally able to decipher what's going on. A dust storm is expertly shot that helps create palpable tension. The best scene of the film.

This is one of the Eastwood's strongest attempts at recapturing his magic from "Million Dollar Baby" but he comes nowhere within its vicinity on quality. I'm unapologetically a person that didn't find "Invictus" a catastrophe and that remains one of his better efforts as of late. "American Sniper" will have its fans but Bradley Cooper is the only take away from the picture. That's a marvel to watch. Everything else, not so much.

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There are so many things to admire when looking upon Angelina Jolie's English language directorial debut. "Unbroken" checks most of the boxes of a great film. Inspiring, moving, and emotionally resonate, Jolie's epic lands on the back end of the film year and becomes an instant contender. Pulling out the big guns with legendary cinematographer Roger Deakins, and a Sound team that includes five-time Oscar nominee Frank A. Montaño ("Gladiator"), Emmy-nominee Jon Taylor ("Apollo 11″), Production Sound Mixer David Lee, BAFTA winner Becky Sullivan ("The Fugitive"), and MPSE Winner Andrew DeCristofaro ("To the Arctic 3D"), both technical aspects of the film are among the very best seen, and heard in 2014. "Unbroken" is an uplifting, daunting experience, telling the story of a man who fought against impossible odds to survive. A worldly film that speaks to so much happening today.

The screenplay, which went through three drafts by William Nicholson, Richard LaGravenese, and Joel Coen & Ethan Coen, is the film's biggest hiccup. The first half of the film is entrenched, marvelous even, focusing on the survival and story of Louis Zamperini. The Olympic story, as you'd expect, is secondary to our tale. Playing in flashbacks from Zamperini on a flight mission, then to his early days as a child, rambunctious and being inspired by his older brother to join the track team. Jolie focuses on the world around Zamperini in those early scenes. Introducing an Italian-immigrant mother, praying for her son's safety and guidance, along with a disciplinarian father. You have moments in those early scenes that call back to "Forrest Gump," (still unsure if that's a compliment or not) but the visual aesthetics are well positioned by DP Roger Deakins. Gorgeous to look at 100% of the time.

The performances are fully developed. Jack O'Connell, as Louis Zamperini, provides another example of a killer breakout year with other performances in "Starred Up" and "'71." His dedication to the role is undeniable, losing weight, and managing to elevate some of the more stagnant scenes. He's an exciting actor to watch. Domhnall Gleeson's turn as Phil, Louis' "boat-companion," is truly remarkable. I do wish we got a split story of Louis and Phil's journey. There's a beautiful dynamic that the two have, and that could have been explored. I think it's just a missed opportunity.

The second half of the film is dominated by the aura and presence of Miyavi (or if you prefer Takamasa Ishiara) as the diabolical Mutsushiro Watanabe, commanding officer of the concentration camp where Louis is imprisoned. Just one year after Michael Fassbender scored an Oscar nomination for "12 Years a Slave," a role that is similar in structure and similar by aura, Miyavi creates a multi- layered man, with so many things going on inside, aching for an explanation for the audience. Not everything will be answered, but he feels the most satisfying of every character on screen. A Supporting Actor contender has emerged in Miyavi. A breakout performance.

Angelina Jolie has a firm hand on what is happening on-screen. Rumors have made their rounds that there is a director's cut, likely about 30 minutes longer. I have to imagine that if true, that is the version that feels more complete. The last quarter is problematic, rushed even, and I imagine that's where many of the cuts were made. Jolie's abilities as a filmmaker are way above par for a person on their second feature film. If we look at many director's second outings, I don't think you'd find to many as polished or confident as Jolie is behind the camera. She doesn't shy away from the brutality of the story. "Unbroken" is the most fitting title of any story delivered this year. Encompassing everything that this film is about.

Oscar race questions? Thought you'd never ask. Easy pick for a Best Picture nomination with all the crafts its likely to eat up including Cinematography, Film Editing, Sound Mixing, Sound Editing, and a beautiful score by Alexandre Desplat. In a thin Adapted Screenplay race, the four-man writing team should find wiggle room, and in a just world, Miyavi should join the Supporting Actor contenders and score his first Academy Award nomination. Angelina Jolie will gain lots of respect for what she has constructed. If anything, this begins the narrative and excitement for her next feature "By the Sea" with hubby Brad Pitt.

"Unbroken" is a fascinating deconstruction of a man beaten to his core. An enlightening story, featuring star-making performances, and an abundance of masterclass filmmaking techniques. The Oscar race continues.

Are you anxiously awaiting the coming of the "Mockingjay?"

The YA (Young Adult) universe has been taking over cinema screens for years now. "Twilight" dominated the box office for its run while "Harry Potter" brought in more money than they knew what to do with. "The Hunger Games" took on a new phase of the genre, appealing to not only the young people it so desperately needed for box office results, but keeping the older viewers/parents of these movie-goers interested. The next installment of the franchise, "The Hunger Games: Mockingjay Part 1," is a purely entertaining set piece for what will likely be a most intriguing finale.

The obvious quarrel with the film is the splitting into two separate movies. "Harry Potter" coined this tactic with "The Deathly Hallows," breaking them into two films to maximize box office potential. "Twilight" soon followed with "Breaking Dawn." This installment is probably the least bloated out of any of the franchises seen yet. It feels legitimately focused on the development of the characters and the surroundings they are now inhabiting.

Jennifer Lawrence reprises her role as Katniss from a whole new perspective. The film takes place just a short time after the events of "Catching Fire." Katniss is living in District 13, angry and in despair after losing Peeta (Josh Hutcherson) in Quarter Quell. To add, Gale (Liam Hemsworth) has revealed that District 12 has been destroyed. Only 950 of 10,000 survived the raid and Katniss is asked to be the face of the revolution that is now rising against the Capitol and President Snow (Donald Sutherland). When Peeta is revealed to be alive and being held in the Capitol, Katniss must wage war against Snow, with the rebels, and try desperately to save Peeta.

Lawrence continues to develop Katniss and bring us on her journey with a believable and authentic nature. Katniss is very broken in this installment, weakened by the events that preceded her, and Lawrence executes it just about flawlessly. The real surprise, is how effective Hutcherson and Hemsworth are this time around. Their roles are expanded, and they are offered an opportunity to showcase some very real and heartbreaking moments. Especially Hutcherson, who sheds all the annoyance he embodied in the first film, and brings a new life and lust to his eyes. I was quite taken by what he was doing and where's going.

the-hunger-games-mockingjay-part-1-sliceDonald Sutherland is a fantastic villain. The ying to Katniss' yang, the two are practically in an abusive love affair and it works tremendously. They're the two opposite spectrums of this new world where war rages on and the dead are not necessarily the unlikely ones. Julianne Moore, Woody Harrelson and the late Philip Seymour Hoffman are equally amazing in good measure of their respective roles. The pinnacle of the performers, and has been for this entire franchise is Elizabeth Banks. As Effie, she's embodied a soul plucked from her normal environment and thrust into the battle grounds of something she doesn't fully understand. Her appearances are both funny but impeccably warm. I hope people notice how vital and important she's been to the franchise, which should lead her to more vital and vivacious roles in the future.

Francis Lawrence makes artistic choices that keep the audience at arm's length. Some of it is deliberate to hide things I'm sure we will know in the next installment. Some of it, is deathly obvious, bringing suspicion and tension to characters we know are going to be forces to be reckoned with. For the most part, everything is standard filmmaking. Something as massively popular as this needs to be to get the widest audience possible. I do wonder if that wasn't the focus on Lionsgate, and if they attempted to be more gritty with the material, show the destruction and blood of the people, and go up to an 'R' rating, if this isn't elevated significantly? Can only wonder.

Overall, "The Hunger Games: Mockingjay Part 1" is very satisfying. Setting the chess pieces of what is destined to be an epic finale, it's one of the best things you can bring your family these upcoming weeks leading to the holiday season. I took my 14-year-old niece to see it, and she emphatically expressed "Oh my God! It was amazing!" You can't beat that.

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At the Museum of Modern Art, New York audiences were treated to the "New York Premiere" of J.C. Chandor's "A Most Violent Year," as a part of their Contenders 2014 series. Chandor's previous films "Margin Call" and "All is Lost" were also screened there over the years. The former is a well-told story, which garnered Chandor an Oscar nomination for Best Original Screenplay. The latter, was well-admired, featuring a beloved turn from Robert Redford, and only managed a single nomination for Best Sound Editing. Chandor produces his finest effort yet with "A Most Violent Year" featuring two powerhouse performances from Oscar Isaac and Jessica Chastain.

Chandor gets his hands on some of the most talented and undervalued people in the film business for A24's newest venture. Cinematographer Bradford Young showed his best Terrence Malick-like aesthetic with his work on "Ain't Them Bodies Saints," probably his most recognized work up until now. He showed his abilities and the depth of his scope with the little seen "Middle of Nowhere" from Ava DuVernay in 2012, and "Pariah" by Dee Rees from 2011. His visual eye is simply remarkable, and what he captures in Chandor's newest, is some of the DP's most calculated and precise efforts. New York City, 1981, is the backdrop of our film, but along with Young's camera work, Chandor's focused direction and storytelling, and an ensemble that resonates profoundly, a new character is created before our eyes. Young inhabits the soul of that character. New York, you haven't felt this alive in cinema in quite sometime.

One year after delivering THE performance of the year with "Inside Llewyn Davis," and being passed over by the Academy Awards and several major guilds, Oscar Isaac hits another one out of the park with his performance as Abel Morales, a man desperate to achieve the American dream. Isaac, who is both complex and satisfying, is richly devoted and impeccably raw. With his work on display, he shoots to the near top of today's best working actors. Isaac's turn is easily one of the year's most invigorating and most exciting character studies, revealing only real and believable behavior. Intelligent, well-mannered, and downright fantastic, it's one of the best performances of the year.

Jessica Chastain sinks her teeth into another meaty role and bites down hard as Anna Morales, Abel's wife. Reminiscent of a mixture of Jacki Weaver in "Animal Kingdom" and Laura Linney in "Mystic River," Chastain constructs an enigmatic woman, a Lady MacBeth-type, but with an authentic style that steals the show. There are even elements that call back to something like Sharon Stone in "Basic Instinct." Definitely alluring, and inhabiting a sexiness you can't teach in Julliard, Chastain keeps the audience in the dark but with a complete hypnosis. She fixates on her motives with a terrifying determination, accompanied by a gritty script, and sets the screen ablaze word after word, minute after minute.

The rest of the supporting cast delivers in their brief moments on- screen including Albert Brooks, David Oyelowo, and Alessandro Nivola. One of the great finds of the year, at least to those who appreciate a layered and bravura performance, is that of Elyes Gabel. Making a living on CBS's "Scorpion," and with some remembering his work on the first two seasons of HBO's "Game of Thrones," I have to sadly admit to never hearing of him before (or realizing it was him). As Julian, Gabel takes on a fully, fleshed out supporting turn, commanding our attention, and earning every second of screen time. In a just world, we'd be talking about him as a serious Best Supporting Actor contender. Gabel is a marvel to witness.

Composer Alex Ebert hits another career high with his score and original song titled, "America for Me." Ebert channels the tension of the scene within his composition, knowing exactly when to pull back, and hit the accelerator full force.

The film is a slow simmer, ferociously brought to a boil, before unleashing its fury in a third act that is fully engrossing. Admittedly, it takes some time to wonder if the work is either earned or necessary. I kept going back to the last few moments, wondering if what I saw was ultimately satisfying. Days later, it stands out as one of the key scenes in film from the year overall. There's a brilliance to what Chandor decides to show and end in those moments. Unpredictable, and maybe not the note that audience members will want to go out on, but completely guided.

"A Most Violent Year" is one of the great modern crime thrillers, ultimately showing itself as one of the most enthralling experiences of the year. I thoroughly believe that a true Oscar contender is on our hands in several categories. Visibility, and a love for the movies, are the only requirements to enjoy this gem. A great piece of art that all should treat themselves to.

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It's hard to put into words why "Still Alice" from writer/directors Richard Glatzer and Wash Westermoreland is as effective as it is. A cinematic experience that will pull you through the ringer, similar to other tearjerking efforts like "Terms of Endearment" or "Stepmom," the film is a heartbreaking measurement of storytelling that is one of the surprising gems of the year. Helmed by a magnificent performance by Julianne Moore, "Still Alice" dodges most of the cliché tropes of disease-ridden dramas with spunk and warmth. It's not just about the struggle of Alice (Moore), it's also an in- depth and informative medical drama that not only breaks your heart, but provide valuable information and sensitivity to anyone who may know or will know someone in the future.

The film tells the story of Alice, a brilliant professor that is diagnosed with early on-set Alzheimer's disease at the age of 50. Terrified of the future, and the fear of forgetting the life she's created, "Still Alice" reflects not only on the ramifications of knowing such knowledge of your eventual demise, but how it affects those who know and love you. If your loved one was stricken with such an illness, would you, rather could you stand by their side no matter what? It's easy to answer with the socially acceptable response until you're faced with such a question.

"Alice" inhabits a simplicity that almost feels too uncomplicated and transparent to warrant a positive take but alas, here we are. Glatzer and Westermoreland create a sensitive, well-intentioned examination of a woman struggling with early on-set Alzheimer's disease. May sound like shameless, factory-standard Oscar bait, but its unlike any movie you'll see this year, dealing with delicate subject matter in a tender way. They cover different angles of the topic at hand without getting too preachy. Of course, this is mostly due to the brilliance of four-time Academy Award nominee Moore, but she's not the only one on her A-game. Co-star Alec Baldwin, who plays Alice's husband John, showcases one of his most layered portrayals yet. Internalized, disturbed, but very compelling in the way he chooses to execute his feelings. Baldwin's mannerisms and antics have not been put to better use in quite sometime.

Kristen Stewart continues to revitalize her image as an actress. "Clouds and Sils Maria" and "Camp X-Ray" are terrific examples of her talents put to great use but what she achieves as Lydia, Alice's youngest daughter is nothing short of spectacular. Glatzer and Westermoreland understand her abilities and limitations but heighten them to stunning results. If Stewart continues on this path, she could easily become one of our greatest working actresses. She's certainly one of the most exciting at the moment. Stewart is a gift.

After struggling to find her voice in the movies, Kate Bosworth hits on all cylinders as Anna. As does Hunter Parrish, fondly remembered from "It's Complicated." He's aching for his big, breakout role.

I guess it's time to worship the aura of Julianne Moore. It's easy to dismiss my take on her work since I'm unapologetically a Moore enthusiast (loud and proud). Three of her Oscar nominations for "Boogie Nights," "Far from Heaven," and "The Hours" are all worthy citations, arguably winning performances that Oscar passed over. I've been able to separate her overall brilliance from some of the choices she's made in roles over the years. "The English Teacher" is an attempt to be change it up, "The Forgotten" is a horror/mystery that lacks either of those words, and "The Prize Winner of Defiance, Ohio" is well…that movie from 2005. Julianne Moore is a revelation of epic proportions. Bold, provocative, and emotionally gripping, she delivers one of her strongest performances to date. She's takes a daring stand to be vulnerable, and hits an amazing high. A destined winner of Best Actress.

The film can feel like a factory-standard creation passed over by the TV networks at times, mostly due to the style in which its shot. Cinematographer Denis Lenior keeps things straightforward but isn't adventurous enough to stand out in the crowd. Film Editor Nicolas Chaudeurge should also take a few cues from the playbook of Pietro Scalia, Stephen Mirrione, and Richard Marks, editors that know how to milk a scene for everything its worth. There are moments that will surely create a weep-a-thon in your seat, but there are missed opportunities to really push the audience over the edge. Composer Ilan Eshkeri however, takes his cues from famed musicians like John Williams and Howard Shore to swell the tearducts to maximum capacity.

Overall, "Still Alice" is a very rewarding experience, wrapped in a blanket of emotions held by Julianne Moore and Co.. It's one of those rare films that makes you think and gives you a debate to have with your loved ones. A deep, human movie that doesn't shy away from baring its soul and the vast complexities that come with it. Just plain great.

You want some intensity, heart palpitations, and just sheer pulse- pounding action? You don't need to look much further than David Ayer's monumental war film "Fury" with an all-star cast that includes Brad Pitt, Logan Lerman, Shia LeBeouf, Michael Pena, and Jon Bernthal. In the vein of any edge-of-your-seat thrill ride experienced over the past few years, "Fury" ignites a passionate look at the brotherhood of war and the beauty that can peak its head out every now and again. Honest, raw, and vividly shot, Ayer's war epic stands as one of the best surprises the year has offered.

With elements of Steven Spielberg's "Saving Private Ryan" and a "dinner scene" that would put "Django Unchained" to absolute shame, "Fury" is full of wit, charm, and affection. The film takes place in April 1945 Germany. A five-man crew of a Sherman tank, lead by a battle- hardened sergeant named Wardaddy, take on near-impossible odds to hit the heart of the opposition towards the end of the war. When a rookie infantry member joins the group, they will learn several things about each other, and ultimately themselves, in the face of a motherless war.

How can you start anywhere else, without beginning with the writer and director David Ayer? Already gaining a legion of fans following "End of Watch," the impressive filmmaker takes on a new realm of storytelling that feels intimate, and consequently real. We spend over 60% of the film, inside the belly of a mechanical beast. Paul Greengrass executed a similar take with "Captain Phillips" last year in the lifeboat, and Ayer illustrates the same quality that is sure to be appreciated and loved. From a directorial standpoint, Ayer is unmatched by any action filmmaker that has hit screens this year. He owns every shot, every emotion, and every ounce of pride that the cast and crew exhibit. He controls the ship (or in this case TANK) with an effortless ease. There will be no doubt that this is a testosterone driven film, and the average movie guy will be screaming from the rooftops in an action-packed blissful state. However, there is an emotional core that is so very present in every scene, even when its ugly, that it allows an accessibility to every movie-goer. You won't find a more genuine depiction of war since "The Hurt Locker."

From a writing standpoint, Ayer puts forth a solidly valiant effort, with minor missteps along the way. I would have wanted less clichéd behaviors from certain characters at times, even some richer dialogue. Ayer constructs his story with precision. He absolutely knows when, what, and how he wants his characters to react. Every action feels fluid, and moving towards an ultimate resolution. He finds the beats of a scene quite well and at over two hours, the film moves like a freight train. You never feel a second. I do feel that Ayer missed out on some opportunities for a "real" breakthrough in a character, or a revealing quality of a character that didn't feel like I've seen it before. There were moments that were predictable but in no way do they bog down the overall experience of "Fury."

A slick and magnetic ensemble are present on screen. This is one of the best performances that Brad Pitt has ever done. Continuously pushing himself as an actor, his depth and vigor are both alluring and hypnotic to watch. The real breakout star of the film is none other than Logan Lerman. Already exhibiting an awards worthy performance in Stephen Chbosky's "The Perks of Being a Wallflower" over two years ago, if there was any doubt that this young man is one of the most exciting actors to watch, they should be laid to rest. Lerman is sensational from front to end. Calling back some young actors that have played in war films and have stood out (I kept coming back to Jeremy Davies' unrequited work in "Saving Private Ryan"), he plainly steals the movie from underneath every actor's eye. Lerman's work is an awards- caliber performance that the Academy Awards should not hesitate to recognize.

Co-stars Jon Bernthal, Michael Pena, and especially Shia LeBeouf all have individual moments to shine. Bernthal is a tornado of frenzy rage, taking out everything in his path. LeBeouf calls back to his stunning work in "A Guide to Recognizing Your Saints" from nearly a decade ago. Quietly powerful but loudly present. Pena is your most underwritten and clichéd character, but someone of Pena's talent ability, rises above in nearly every instance.

"Fury" has an abundance of technical highlights. Recent Oscar- winning composer Steven Price, puts forth another emotionally resonate score that stands out. Cinematographer Roman Vasyanov captures shots of anxiety and concentration that only a master could accomplish. Film Editor Dody Dorn, who's crowning work will always be Christopher Nolan's "Memento," should be commended for making a 135 minute war epic, feel like a fleeting anxiety attack.

"Fury" is an emotional extremity. You don't get films like this that both operate on an accessible entertainment level for all audiences and still remain awards-caliber. It's a tremendous achievement, unforgettable, and one of the richly rewarding films of the year.

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