It’s an insanely busy time of year as I’m rushing to see the remainder of 2014 flicks, preparing for a Top Ten Horror Films of the year and bustling to get ready for a trip around the world. Last week in theaters meant two big blockbuster with colons screenings, The Hobbit: The Battle of the Five Armies and Exodus: Gods and Kings. I enjoyed one more than I thought I would and one quite a bit less. This paved the way for our long awaited release of Ranking Ridley where we put the films of Mr. Ridley Scott to list form. At home, a few heavies, a horror and a pair of wonderful new hits made up the heart and soul of this installment of Weekly Review.

THE TAKING OF DEBORAH LOGAN (2014)

Adam Robitel‘s found footage horror begins in convincing manner with a graduate’s students dissertation taking her to the home of Alezheimer’s patient Deborah Logan. Logan’s, played by the ably creepy Jill Larson, affliction is causing her to do some unorthodox things but when she starts peeling off her skin and speaking in tongues, those studying her are left to assume that there’s something more than meets the eye going on. Released to almost no fanfare (and unceremoniously dumped on Netflix) Logan may not be all that original but it’s wildly effective at deliciously blending body horror with surprisingly eerie FX. (B-)

THE BIRDCAGE (1996)

With the recent passings of Mike Nichols and Robin Williams, The Birdcage seemed ripe for a watch and what a joy that experience was. Uproarious and tender, this Williams-Nathan Lane starrer is a LGBT film ahead of its time – if you ignore the fact that the son is supposed to be sheepish about his parent’s orientation but comes across as heavily pigheaded. Nonetheless, The Birdcage‘s warm center shines through, offering a poignant piece that’s equally emotionally and explosively funny. (B+)

THE THIN BLUE LINE (1988)

My recent obsession with Sarah Koenig‘s Serial Podcast had me craving some more true crime and The Thin Blue Line is a real doozie. While I’m filled with doubt as to what the ultimate result of Serial may be (I fear, like the rest of the listeners, that it will all have been for naught) Errol Morris‘ groundbreaking film proved a precedent for documentary-style investigative journalism inflicting a real impact on judicial proceedings. Morris’ film is so effective at discrediting the jailing of a man wrongfully convicted of a life sentence for murdering a police officer that he was RELEASED FROM PRISON 12 years after his incarceration. Though dated, Blue Line is a cornerstone for the importance of the documentaries and a must-see for anyone who’s a fan of true crime. (A-)

WE ARE THE BEST! (2014)

A trio of 80’s Stockholm misfit band together to ignite a punk group even though they have no talent to speak of. Lukas Moodysson adapts the story with the help of his wife Coco Moodysson from graphic novel “Never Goodnight” and what is lost in translation is made up for by a seething sense of fun. The young performers are always on their mark, adding pathos to the sense of timeless adolescence captured on film. Screened at last year’s TIFF Special Presentation section, We Are the Best! has won over the hearts of critics and audiences who’ve heard the punk gospel and the reason couldn’t be more clear. It’s wholly lovable. (B)

A GIRL WALKS HOME ALONE AT NIGHT (2014)

Check your expectations at the door, A Girl Walks Home Alone at Night is some kind of wonderful lightning in a bottle. How Ana Lily Amirpour takes familiar elements from vampire romance and morphs them into something wholly novel is sight unseen. This slow-moving Iranian art film makes way for a non-stop display of impeccably gorgeous celluloid, black-and-white images dancing against a grainy hi-fi score that’s in part Sergio Leone spaghetti Western and equally a rave scene. It’s eerie and beautiful, creepy and delicate, like Winding Refn taking on Jim Jarmusch. Quite unlike anything else you’ll see this year, Girl also holds the honor of being one of the most important, forward-looking flicks of the year. Who would have expected vampires to ever mean so much (B+)

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