Among the most anticipated and admired films of 2014, Selma depicts the epochal series of marches by Dr. Martin Luther King, Jr. (David Oyelowo) in Selma, Alabama, which led to the passage of the Voting Rights Act of 1965. Brought to the screen with power and sensitivity by director Ava DuVernay, this Oscar-nominated docudrama features a host of inspired and often intimate acting and noteworthy musical selections, which include the Oscar-winning song “Glory.”
Arguably, no single individual did more to win World War II than Alan Turing. By cracking the Nazi Enigma code, it is estimated that the genius mathematician shortened the war by two years and saved 14 million lives. So, why isn’t he a household name? Father of the computer, Turing (Benedict Cumberbatch) worked in Britain’s top-secret Bletchley Park, and his achievements were classified for over 50 years. The Imitation Game tells the story of Turing and his fellow code-breakers fighting the clock—and each other—in a race to win the war. Cumberbatch is transcendent as the antisocial, self-absorbed Turing, while Keira Knightley gives her best performance to date as his collaborator and confidante, Joan Clarke. (Both were nominated for Oscars.)
Uber-lawyer Hank Palmer (Robert Downey Jr.) has it all: a lucrative career defending crooked millionaires, a masterpiece home in suburban Chicago… and a dysfunctional family he hasn’t seen for 20 years. When his mother dies, Hank returns to rural Indiana to attend the funeral and grudgingly console his father (Robert Duvall), a stoic judge who had long ago thrown the book at him, sentencing his son to four years in reformatory. When the judge is involved in a hit-and-run accident, Hank must mount a defense, despite his father’s seeming desire to be found guilty. Along the way, we uncover not only the truths surrounding the accident, but the Palmers’ toxic family history as well. There’s also a rekindled romance between Hank and his childhood sweetheart (Vera Farmiga), the only individual who has flourished in this Hoosier backwater.
In 1999, Sports Illustrated voted Muhammad Ali its “Sportsman of the Century.” Ali unquestionably deserves this honor, but it doesn’t begin to convey his importance. Political martyr, civil rights activist, religious zealot, and all-around hero, Ali was one of the 20th century’s greatest figures and, during the ’70s, the most recognizable person on earth. Ali has been the subject of countless films including the brilliant When We Were Kings, 1997 Oscar-winner for Best Documentary.
Post-war Belleville, New Jersey—an impoverished suburb of the impoverished city of Newark—offered few opportunities for upward mobility. The hottest tickets to the middle class were joining the army or joining the mob—either of which could get one killed—or becoming an entertainer. Francis Castelluccio (John Lloyd Young) and his friends were fortunate and talented enough to choose the latter. Adapted from the wildly successful Broadway play, Jersey Boys is the mildly embellished story of Frankie Valli and the Four Seasons, the most popular rock group until The Beatles, who thrived despite the personal tragedies, prison sentences, and personal excesses that attended stardom. Unfortunately, the story doesn’t translate well to the big screen. The carefully calculated dramatic scale that works so well as a stage play is disproportionate here, as both dialogue (especially the jokes) and acting seem bloated and forced.
Son of a corrupt Russian general, suspected Chechen terrorist Issa Karpov (Grigoriy Dobrygin) illegally sneaks into Hamburg and, with the help of his lawyer (Rachel McAdams), seeks to recover his father’s ill-gotten fortune from banker Tommy Brue (Willem Dafoe). American counterterrorism spies led by Martha Sullivan (Robin Wright) plan to seize him, but German intelligence agent Günther Bachmann (Philip Seymour Hoffman) and his team have other ideas, hoping to use Karpov’s inheritance to help catch a prominent Muslim who, Bachmann believes, is secretly funneling money to terrorists. Inspired acting and insightful direction flatter John le Carré’s espionage thriller.
Jay (Jason Segel) and Annie (Cameron Diaz) have lost the spark. The couple’s college sexcapades are a distant memory, as marriage and children have snuffed their sex drive… until, fueled by tequila shots, they decide to make a three-hour porno wherein they attempt every position in the classic handbook, The Joy of Sex. When Jay saves their video to his iPad, however, he mistakenly sends it to friends and family, then spends the remainder of the film trying to reverse his mistake. Jake Kasdan, who directed Diaz and Segel in Bad Teacher, completes the Power Trio here.
Mac (Seth Rogen) and Kelly Radner (Rose Byrne) have a new baby, a new house, and, unfortunately, new neighbors. When a hard-partying fraternity moves in next door, the Radners’ blood pressure skyrockets as their property value plummets and they become locked in a contest of wits and wills with frat president Teddy Sanders (Zac Efron). Funny yet forgettable, Neighbors falls short of Nicholas Stoller’s previous directorial efforts (Get Him to the Greek, Forgetting Sarah Marshall), a consequence of the threadbare script and nonexistent chemistry between the male leads.
Chef Carl Casper (Jon Favreau) doesn’t understand social media. So, when he attacks L.A.’s most powerful restaurant critic (Oliver Platt) on Twitter, their war goes viral and sinks Casper’s career. Hoping to repair the crestfallen chef’s relationship with son Percy, his loving ex-wife (Sofia Vergara) drags him to Miami. There, he buys a food truck and embarks upon a cross-country foodie road trip, which becomes a journey of self-discovery. In addition to his starring role, Favreau wrote, directed, and co-produced Chef, which probably explains why so many top stars agreed to work for scale on this indie film. The result is an intimate, endearing movie, which, with Twitter and food trucks prominently featured, is also quite timely.
Legendary DEA agent John “Breacher” Wharton (Arnold Schwarzenegger) and his task force infiltrate a drug cartel and confiscate $10 million, which immediately disappears. Caught between suspicious Feds and vengeful drug lords, members of Arnold’s team start turning up dead…but who’s killing them? Schwarzenegger excels as both hero and anti-hero in one of the most complex and demanding roles of his career. David Ayer’s directorial style—war correspondent realism with a Michael Mann vibe—is highly flattering to both stars and subject matter.