Review: Kingsman: The Secret Service

by William Hill
★★★

Director Matthew Vaughn continues to prove that he has a unique talent for adaptation. I haven't seen his debut film, Layer Cake, but his other four works have all been adapted from comic books. Or if you must be specific, Stardust was a novel first. Still, Vaughn has delivered some top rate action films in the past five years, and following X-Men: First Class, I was excited to see his latest work.

Gary "Eggsy" Unwin, played be newcomer Taron Egerton, lives in London with his mother and her boyfriend. He's caught in a spiral of minor crimes involving the gang his mother's lover leads. After stealing a car, he calls in a favor of Harry Hart (Colin Firth). After springing Eggsy from prison, Harry takes him to train to become one of the Kingsmen after the recent death of one of their agents.



On the other side of the globe, noteworthy humanitarian Richmond Valentine (Samuel L. Jackson) is meeting with politicians from around the globe to reduce the damage done to the earth by climate change. Also, if you didn't gather from a single scene where Jackson is on screen, he is the villain, and he speaks with a Mike Tyson lisp.

What follows is a collection of training montages where the Kingsman trainees are bumped off one by one in a series of exercises arranged by Merlin (Mark Strong). The narrative of the film is traditional heroes quest fare. There isn't a single missed step from where Eggsy leaves from home to the point where he rises above the opposition and saves the day from evil in the final act. Much like X-Men: First Class, the majority of the second act depicts the training of youth and their growing bond, and eventually how they fall apart, though it is through the completion of their training in Kingsman. This isn't to the films detriment, however. As familiar as it is, the formula is pleasing, and the characters are memorable.



Every performance from a primary or even the secondary cast is spectacular. Everyone on screen turns in their best from the first frame forward. Jackson is wonderful as Valentine, who oozes in the same way that a classic Bond villain would through their deeds as they slink their way to the end of their world dominating plans. Firth's Harry Hart is a gentleman in every motion, smooth and fluid in every one of the over the top action scenes, and likable to the very end. But most important, Egerton's turn as a disenfranchised youth turned debonair spy is a sign of a new talent that's coming up out of British television. There is a fantastic transformation from the swearing, beer swilling twenty-something at the start of the film to someone who mirrors his mentor, while still maintaining some aspects of his identity. The homage to Roger Moore era Bond films at the very end reminds us that he's still got that immaturity in his heart. I'd love to see a sequel to see where he goes from here.

The various spoofs and homages to classic spy movies and television shows add color to the film. From the Q Branch inspired gadgets to a hangar full of classic cars and aircraft, and even mention of a shoe phone straight out of Get Smart, Kingsman knows its inspirations, and doesn't try to hide them. A scene where Hart visits Valentine at his house is reminiscent of the Connery era Bond film, where the hero and the villain, wittily circling each other over dinner, knowing that they are destined to face each other later in the story. Pair this with a soundtrack that sounds more like it belongs in Austin Powers, and the tone is complete.

Except for in one instance which is a bit jarring. There is a scene where a character brawls with a large group of civilians, and the fighting is displayed with the same playful, over the top chaos of the rest of the film. However, when the fighting stops, there is a moment of regret. It comes across as half hearted, because Free Bird by Lynyrd Skynyrd is blaring over the bloodbath. This is the only instance where it happens, and due to the setup, you will likely feel little guilt for laughing at the victims.

The cinematography and fight choreography are top notch. Despite quick edits, fast camera movement, and dozens of people on screen at any time during the fight scenes, it's easy to tell who is doing what, and where they are in the room at any time. It's reminiscent of Timur Bekmambetov's work on Night Watch, and Day Watch, sans the elaborate masking and unveiling of subtitles. The camera makes the best of every set in the film even when blood isn't being spilled. The old English settings, the pubs, the slums, they are all given sufficient space, and often containing some amusing touches in the background.



Kingsman: The Secret Service is a fun film, first and foremost. It's a bloody, messy film with a lot of charm and heart. It's style over substance, but the characters make it a lovely experience from beginning to end. Also, Mark Hamill is in a few scenes, and he's worth the price of admission for his few minutes of screen time.

Joe's Top Ten Films of 2014

by Joe Moss

First, let me begin with a sincere apology to those who frequent this site expecting to see reviews for many more movies than we posted this year. I was not able to uphold my responsibility to website this past fall due to many other obligations that appeared on my plate from beyond my control. I promise that I will be more visible this year (2015) and that Trevor will not be the only person submitting reviews for half of the year.

The films that ended this year made it really difficult to develop a top ten. I believe both Trevor and I easily compiled our TOP FIVE list, but the bottom five have been tossed about, edited and argued over for at least a month -- probably longer.  I feel that the Hollywood studios need to stand up and take notice of the smaller independent filmmakers...this needs to the be the FUTURE of Hollywood. STOP THE REBOOTS!!  Please. Much of the fodder out of Hollywood this last year was not worth mentioning in reviews of any substance. However, the box office redeemed itself by October. My picks are all based around movies that struck a personal chord in my life. So without further adieu, here are my Top Ten favorite movies of the year in descending order.


10. The LEGO Movie

Emmet, Unikitty and Wyldstyle discuss plans to save the world.

This movie was all about absurd fun. Original, yes. This was an adult humor filled film masquerading as a children's movie! The amount of potty humor was outstanding, yet tempered just enough that it went over the heads of many. I truly enjoyed the ability of directors Christopher Miller and Phil Lord to make a positive lesson out of what seemed to begin much like a pothead dream. Overall, the message was simple -- enjoy the simple everyday things out of life: play a little, and don't take every act so seriously. If you do this, then "EVERYTHING IS AWESOME!!!!!"


9. Ida

Ida and Wanda learn what really happened to Ida's family.

Pawel Pawlikowski made an absolutely stunning movie that reminded me of Hollywood films of era gone-by. The long camera stills, the perfect shading, the old style black and white. Gorgeous. The story was just as intriguing: a young, orphaned postulate nun about to take her vows, is suddenly thrust onto an aunt (her only surviving relative) to learn about her family, her past and her parents.The only problem is, as we find in the course of the movie, her aunt needs her more than the other way around. This is a dynamic coming-of-age film set in rural Poland. Awkward at times, yet stunningly beautiful in it's real-world storyline about the tribulations of Polish Jews. Sure to be a front-runner for the Academy Award for Best Foreign Language Film.


8. Wish I Was Here

Adam, Grace and Tucker finally get to the pool to learn to swim.

As I stated earlier in the year, Sundance did not disappoint when it announced how the audience so favorably responded to this film. I am still over the moon about Zach Braff's sophomore release that I cannot express enough how quickly everyone should go to see it. If you are in the mood for a heart wrenching, true-to-life drama that transcends to address many of the social issues of today, look no further. In what feels like a short while (only 106 minutes) you will be hit head-first with the stark clarity in dealing with family-ties, religion, death and simple pains of growing up 'a little bit different' than the norm of society.


7. Starred-Up

Eric Is taken to his cell and watched by all as fresh-meat.

Raw. Powerful. Emotional. This movie reminded me about why the TV series "Oz" on HBO was such a success during its first two seasons. David Mackenzie's film follows a young man as he enters into the English prison system. We never truly find out what he did -- left to speculation from conversation and flashbacks -- but it begs us to ask ourselves are prisons there to help people find salvation, or to perpetuate all of the problems in certain segments of society. Eric (Jack O'Connell) is plagued by the few memories of his father -- also a prisoner (Ben Mendelsohn) -- and how his life may have turned out. But, as it happens, many people do not like his attitude toward other prisoners and the guards. He acts as though he's already in charged, or starred-up. Even more problematic is that the resident social worker Oliver (Rupert Friend) thinks that he is a salvageable young man with potential in society. If you can stomach the emotional turmoil of a harsh look into prison systems, look no further.

6. Wild

Cheryl sets camp for the evening and ponders a suddenly fresh future.

Reese Witherspoon is at her best in this film about Cheryl Strayed, a young women who 'strayed.' She strayed from the plans of childhood dreams to become an author. She strayed from her husband. She strayed from taking care of her brother. And most of all, she strayed from who she really was. Why? What caused such a catastrophic meltdown into sex, drugs, and debauchery? The death of someone she held on a pedestal. The film picks up as Cheryl attempts to get her life back on track by hiking through the wilderness (a beautiful metaphor for her life) until she is able to reach nirvana. In the process, she rediscovers a strength she didn't realized she had left. Cliche? Not hardly. This film was beautifully adapted from Strayed's memoirs about her hike to salvation along the Pacific Coast Trail. As well, this movie truly showcases why Witherspoon has a phenomenal screen presence and why she truly deserves another Academy Award for this poignant portrayal of a young woman on the edge, who finds redemption in the most unlikely place -- within herself.


5. Boyhood

Mason and his father discuss the loss of the muscle car he was promised.

I love Richard Linklater. He appears on my movie lists time and time again. He is such a ground-breaking, no nonsense, innovative film maker. How could he not be? Last year, with "Before Midnight," he wowed us with the third installment of a series following two strangers who fell in love and married. Now, with "Boyhood," Linklater follows a family through 12 years of life. That is correct: a movie shot over 12 years in real time! The audience literally watches as the actors grow up on film. To tell the truth, I am not even sure how he was able to edit the film footage down to a 165 minute run time. Mason (Ellar Coltrane) and his family are your typical dysfunctional modern family. He lives with his mother (Patricia Arquette) and sees his father (Ethan Hawke) sporadically over the years when he drifts into town as needed. The film is not for everyone as it is truly a voyeuristic look at the growing pains of a young man's life. His relationships with family, love, self-discovery, peer pressure and finally understanding who he, himself, really truly is. I must admit when leaving the theater, I was not as enamored by the film as Trevor and Sara, but after months of contemplation, and watching the film again, I understand why.  I related too much to the film's narrative story and I felt as though my own personal life was invaded for privacy and placed raw onto film. A true tearjerker for any mother to see, and a must see for everyone.


4. Nightcrawler

Lou and Rick film a triple wreck.

Have you ever wondered how the news agencies get the random snippets of blood and guts footage for the late night prime time slot? You know, the 'if it bleeds, it leads' type of footage? Well, you can look no further because this film will give you a raw, take-no-prisoners look into the behind-the-scenes arena of freelance videography. Lou Bloom (Jake Gyllenhaal) is a down on his luck, goofball looking for the next quick score on getting rich quickly. He has already made the rounds as a petty thief from construction sites salvaging metals; as well, the local pawn shops are shutting down his racket of pedaling small goods, when he blindly stumbles onto a small two-man crew filming a wreck. Bulbs flash and he decides he too can do this. I know this sounds horribly kitschy, but the movie is absolutely fantastic, dramatic, thrilling and is highly entertaining.


3. Birdman (or the Unexpected Virtue of Ignorance)

Riggan and Mike in one of numerous heated arguments about acting virtue.

What does an old action-movie hero do when he retires from playing the part that made him world-famous? He decides to adapt his favorite author into a stage play and takes on the leading role of the adaptation. This is precisely the premise of Alejandro Iñárritu's hilarious comedy of errors, "Birdman." Riggan Thompson (Michael Keaton) was Birdman, the superhero who saved the world in countess worldwide box-office successes. But at his age, he's tired of being the superhero. He feels it's time to play something of substance. He's already lost his wife, and is in the process of trying to salvage a relationship with his estranged daughter, Sam (Emma Stone).  Why not tackle an off-Broadway production as well? What ensues on screen is a complete farce showing what probably occurs more often than not behind the scenes of major theatrical productions. Melodrama at every turn as each actor attempts to out maneuver the other. Mike Shiner (Edward Norton) plays the perfect antagonist against Riggan. In fact, the over-the-top interactions between them make the movie perfection. It is because of this interchange that Michael Keaton will most likely earn his Academy Award this year. Number three is a low placing for this movie, and I truly struggled with my top three. But here is it's final resting place in my Top Ten.


2. Whiplash

The final scene where Andrew OWNS the stage and Fletcher.

Perhaps the most heavily anticipated movie of the year for me -- AND IT DID NOT DISAPPOINT!! I had wanted to see this film since the early buzz at Sundance in January 2013 when it was simply a short film by a new director, Damien Chazelle. His feature length film released this year is a showstopper that had one helluva beat! Andrew (Miles Teller) is a young man trying to become the next 'great' jazz drummer of our time. He is pushed into unimaginable acts of self torture by an instructor (J.K. Simmons) who is considered to be the best teacher at the elite music school in which Andrew is enrolled. Bullying never looked so refined, and never had such a poignant lesson to be learned about the depths of depravity the human soul can endure if they are chasing what they consider to be their ultimate dream. I loved this film from the first beat in the prelude, to the grand finale at the end. It was truly a struggle to not make this my number one film, and it sat there for a few weeks. Wes Anderson's masterpiece won out in the end.


1. The Grand Budapest Hotel

The Entire Cast of "The Grand Budapest Hotel."

I used to say that "The Royal Tenenbaums" was Wes Anderson's best movie ever, but that was surpassed this year. The eclectic mix of characters and the constantly twisting story line about the goings-on at an old rundown hotel far from it's heyday made for the most unforgettable and utterly entertaining movie of the year. Ralph Fiennes (and the entire cast) were superb.  Of course it doesn't hurt that Edward Norton makes another appearance in my Top Ten List (even with his small two-part cameo, he is unforgettable). The oft tongue-in-cheek humor that is commonplace with all Wes Anderson movies was at its finest in this screenplay. Each of the three times that I have seen this movie, I notice a little trinket of information missed the previous time. Slow paced, yet quick witted, this movie is great fun for an audience of all ages. All I really need to say is, "Bravo, Sir!! Bravo!"


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My Individual Awards are as follows: (not Academy Award Predictions, but my personal choices)

Best Picture of the Year - The Grand Budapest Hotel
Best Director - Alejandro Iñárritu (Birdman)
Best Actress in a Leading Role - Reese Witherspoon (Wild)
Best Actor in a Leading Role - Ralph Fiennes (The Grand Budapest Hotel)
Best Actress in a Supporting Role - Patricia Arquette (Boyhood)
Best Actor in a Supporting Role - J.K. Simmons (Whiplash)
Best Original Screenplay - The Grand Budapest Hotel (Wes Anderson)
Best Adapted Screenplay - Whiplash (Damien Chazelle)

Honorable Mention: (the film that I struggled to include on my list that "almost" made it):

11. The Guardians of the Galaxy
Hey, what can I say. I loved this movie and have watched it as many times as "The Grand Budapest Hotel" and "The LEGO Movie." But was it Top Ten material? For a movie snob like myself, I don't think so. but I am human! If you haven't seen this movie, get it now!

The Guardians break out of prison in style!!

Trevor's Top 10 Films of 2014

by Trevor Kirkendall

Back in June, I remember having a conversation with a couple people that presented the following realization: if the quality of films doesn't improve throughout the second half of 2014, I might not even have 10 films to put on a list. But then, with the year winding down, everything finally started to come together. For the second year in a row, I wracked my brain trying to put this list together because of the overwhelming quality of films.

The good news is that I am able to single out 10 films for my list. The bad news is that only one studio picture from Hollywood is represented on this list. Only one. Is that because the quality of films coming from outside the studio system is so strong? That's part of the reason, but I think the bigger reason - or rather, the bigger issue - is that the studios have completely opted out of producing films with quality stories in favor of films that play more like bloated commercials for multi-million dollar enterprises. There are rare exceptions to this notion, including one on my list below. I enjoyed "Guardians of the Galaxy" despite it being yet another installment into a billion dollar franchise, but the Marvel films in particular aren't films that contain any further substance. They're nothing more than flash and pizzazz. I can see why people love it, but I don't ever walk away feeling satisfied.

While the studios choose to release a mostly subpar product, the independent filmmakers are hard at work crafting the stories and films that the majority of people largely crave, despite their continued patronization of the studio tentpoles. There's nothing wrong with a fun summer movie, but I do believe people as a whole want more out of their moviegoing experience than watching things exploding on the screen left and right for two-and-a-half very long hours. There needs to be more focus on original visions.

And that seems to be the theme of my list year: original vision. With so many great films this year, something had to separate the best from the rest. There was a distinct voice of originality that resonated throughout the year, from filmmakers who have been perfecting their craft for years to filmmakers who are only now emerging onto the scene. Here now are 10 films from 2014 that I think represent the year's best and also the most original.


10. Life Itself

I don’t normally make sentimental picks for my Top Ten List, but "Life Itself" will be one of them. There are two film critics who have made a significant impact on me as a film critic. The first was Dan Craft, the film critic of my childhood newspaper in Bloomington-Normal, IL The Pantagraph. (I would read his reviews when they ran twice a week and modeled all my early reviews at that time off his.) The second is Roger Ebert. Bloomington-Normal was only about two hours away from Chicago, so Ebert’s syndicated reviews and TV show with Gene Siskel made it to my area relatively quickly. I never missed an episode of At The Movies. That was the public side of Ebert. Steve ("Hoop Dreams") James’ remarkable documentary “Life Itself” shows the Pulitzer Prize winning film critic’s private life. With filming taking place only a few months before Ebert’s 2013 death, James was given unprecedented access to the final days of his life. The film comes complete with heartwarming and heartbreaking accounts from filmmakers Martin Scorsese, Errol Morris, Ana DuVernay, Werner Herzog and Ramin Bahrani. Then there’s the first hand accounts from Ebert’s beloved wife Chaz, all of which are moving and tear jerking. I wouldn’t be writing movie reviews and obsessing over films the way I do had it not been for Roger Ebert. James’ documentary is more than a well-crafted film, but a celebration to the life of a man who had a such profound impact on this entire industry.

9. The Lego Movie

When I first saw the teaser trailer for “The Lego Movie,” I thought it was a joke. It looked like it would be a lackadaisical effort better suited for pre-school hour on PBS. Upon watching it, I could not have been more wrong. The animated adventure from directors Phil Lord and Christopher Miller is an absolute riot. It’s highly entertaining from the moment the film gets started and never lets up. It’s one of the most inventive screenplays I’ve seen from an animated film is years. I loved everything about the way the story evolved throughout the movie. The villain isn’t a clichéd animated antagonist; he’s even able to justify his actions. It’s a welcoming surprise to find the year’s best original screenplay coming from such a screwy and random animated movie meant for kids. Despite who the intended audience is, this is entertaining film for everyone. And even though this could be perceived as a massive commercial for Legos, it never feels like unwelcome product placement. It’s exceptionally well made, even with its quirky and peculiar tendencies.

8. Snowpiercer

“Snowpiercer” will be the only film adapted from a comic/graphic novel on my list this year. If Hollywood is so hell bent on adapting comic books and graphic novels, there are plenty to choose from that aren’t marketed by Marvel and DC. “Snowpiercer” comes to us from Korean filmmaker Bong Joon Ho and is set in a post-apocalyptic world. Unlike most films that occur during this fictional time, “Snowpiercer” is set entirely on a speeding train, separated by social class. The film contains a career best performance from Chris Evans, who proves that he’s more than Captain America. The film’s top performance comes from none other than Tilda Swinton who is both twisted and maniacal. The film doesn’t make any sort of profound statement – even though the script tells us the world has been destroyed due to our attempts to reverse the effects of climate change – but it does showcase enormous amounts of originality. This originality comes from the mind of the visionary filmmaker, the setting and the characters. There is nothing typical or familiar about this movie. Despite the source material's medium, you won't find anything like this coming from a Hollywood studio these days. 

7. Nightcrawler

This may be one of the most overlooked movies of the year. Sure, "Nightcrawler" did snag some nominations and recognition from some of the awards shows this season, but I'm not sure anyone went to go see this. Dan Gilroy's directorial debut is a masterwork in all aspects of the film. From his technical prowess, his razor sharp screenplay and the sensational performances from both Jake Gyllenhaal and Rene Russo. Gyllenhaal is the film's anti-hero. He's a driven and ambitious entrepreneur to the point where he's stepping over all those in his way on his journey to the top. "If you want to win the lottery, you have to make the money to buy a ticket," he says. I love that line. It might be one of my favorites of the year, especially after you get to learn who his character really is. On one hand, the film addresses the ever-watchful eye of the news media and the public's insatiable appetite for blood and destruction on television. But on the other, I think the movie also explores a darker side of capitalism. Gyllenhaal's character is a compelling and complex man, but he's also a bit of a sociopath. What happens when he turns himself loose in a world where everyone and everything is fair game? This is the key question raised in "Nightcrawler" which makes it one of the most compelling films of the year.

6. Ida

The attention span if the average moviegoer is rapidly fading. Running times are coming down, which I'm appreciating, but there are still big name movies that run over two-and-a-half hours in length. What have filmmakers done to keep people's attention with that kind of run time? Massive amounts of special effects and rapid editing, which has brought the average shot length of a film down to something like 4 seconds. Pavel Pawlikowski's "Ida" turns this current paradigm on its head with a relatively short feature length film (only 82 minutes) and an average shot length of about 18 seconds (according to Cinemetrics). By comparison, "Guardians of the Galaxy" clocks in with an average shot length of 3.8 seconds. See what I mean? "Ida" is refreshing from this stand point. It lets the script and the characters do all the storytelling for you. What a novel concept. Not only that, it's filmed on breathtaking black-and-white with many shots deliberately framed to put the actors toward to bottom of the frame. This isn't only a technical marvel, but Pawlikowski's story is both dark and emotional. The film is anchored by triumphant performances by veteran Agata Kulesza and newcomer Agata Trzebuchowska. The simple story - about a young nun in 1960s Poland who discovers she's actually Jewish when she finally meets her only living relative - is a captivating film to watch unfold. And the final moments will leave you shocked. It's not all that uplifting, but it is masterfully done.

5. Under the Skin

There isn't much of a story that goes along with Jonathan Glazer's twisted and beautiful "Under the Skin." The loose premise is that Scarlett Johansson is an alien sent to earth in order to lure men with her sexuality and then devour them. Or something. The film plays more like a painting in motion, or some kind of hair-raising nightmare. I'm reminded of films by David Lynch or Stanley Kubrick while watching this. Usually, I'll knock a film for it's lack of a solid story, but I can't do that here. There isn't much to this screenplay at all, but the success of the film comes more from Glazer's vision. There are many haunting images put on film here that have stuck with me throughout the entire year. The film's tone is accentuated by an absolutely bone-chilling score by Mica Levi, which is hands down the best score of the year. The movie features very little in the way of dialogue. Johansson only has a handful of lines, but she's utterly spectacular in her performance. She performs the whole film with a minimalist tone, and a facial expression that rarely changes. All emotion is projected from her eyes, which isn't easy to do. This is a challenging film that will not be for everyone. Those who are able to accept it for what it is - a strictly visual presentation - will probably be moved by its enormously dark undertones. This is a fascinating and unapologetic movie. Films like this are a constant reminder of cinema's limitless possibilities when filmmakers dare to push the boundaries as far as they can.

4. Birdman

In a year full of stunning originality, "Birdman" stands out as the most original and innovative of them all. Director Alejandro González Iñárritu could have taken his script and set up cameras, filmed it and edited it like everything else out there nowadays, but he wanted to make sure this film was special. He's already proven himself to be innovative with unique plots in his earlier works "Amores Perros" and "21 Grams." The only way to continue to stay relevant year in and year out is to take chances. This easily could have been another throwaway film, but you can feel the love for this work from all those involved. This is far and away the best cast assembled in a film this year. Everyone turns in one of their best performances ever, from Edward Norton to Emma Stone and even Zach Galifianakis. But this is Michael Keaton's starring role and he makes the most out of it. The amount of emotion he channels through this role is remarkable. I hope he didn't have to go too far into the dark corners of his mind to pull out this character. If he did, then bravo for being so fearless to put this character out there for everyone to see. It's almost insulting to put this movie at number four on my list. It really is one of the most spectacular examples of original vision I've seen in a many years.

3. Boyhood

If anything, "Boyhood" is a monumental achievement in the history of cinema. By now, everyone knows that this film took 12 years to complete. Richard Linklater is the only filmmaker working today who could have pulled this off. Despite only filming it for one week a year since 2002, the film actually makes sense. A script wasn't in place when filming began. Only Linklater knew the direction he wanted to take this. Eventually, his cast started to contribute to the story, but that was much later in the process. Words cannot accurately describe what it's like to watch these actors age right in front of you throughout this film, especially from the it's young star Ellar Coltrane. The biggest criticism I've heard about this movie is, "nothing really happens." That may be true, to an extent. There are periods of time where the film seems to tread water, but this film is more a snapshot at one child's life. There are many things that happen during his childhood that may or may not have happened during yours. This is a movie about one child dealing with everything in front of him. It's tremendous to see the love and dedication of all this involved. It's asking a lot from the four main actors (Coltrane, Ethan Hawke, Patricia Arquette and Lorelei Linklater) to commit to a project and maintain that commitment for 12 years.  It's an ambitious idea that will never again be matched, at least not to this level of success.

2. The Grand Budapest Hotel

Wes Anderson has been one of my favorite contemporary filmmakers since I first saw "Rushmore." Since then, he's continued to refine his craft and his level of quirkiness. While he still might be a difficult filmmaker for some to understand, "The Grand Budapest Hotel" is probably his most accessible for the mainstream audience to grasp. It's also the best film he's done to date. The film's narrative is presented to us in a very unique way, which Anderson helps to illustrate further by filming the different time periods in different aspect ratios. Ralph Fiennes is at his absolute best. He's done some more light hearted pieces before, but nothing quite like this. He's unrecognizable in his constant state of jubilation. His delivery of Anderson's always odd dialogue is perfect. I can't think of a better performance by a leading actor this year. The film is full of Anderson's signature trademarks. He's able to make a film fit for the mainstream while at the same time staying true to a style that is unmistakably his. There is never a dull moment in this film. It's a side splitting romp from beginning to end, but still full of all the right human emotions to make it so easily relatable. Anderson is at the top of his game with this film, and he's proving to audiences that he's one of the top talents in American cinema.

1. Whiplash

While films by seasoned veterans Anderson, Linklater and Iñárritu earn spots on my list, the year's top movie belongs to a newcomer. Damien Chazelle's "Whiplash" is the best film of 2014. Miles Teller stars as a motivated and dedicated musician enrolled at the nation's top music program where he aspires to be one of the greatest jazz drummers of all time. His band director, played by J.K. Simmons, expects nothing short of perfection from all his students, and goes as far as being both emotionally and physically abusive to them when they fail to achieve it. There are no words or phrases that can sum up the experience of watching this film. Perhaps the beads of sweat falling from my forehead after screening this in a chilly theater might help summarize the experience. Or being completely out of breath by the time the credits roll. The amount of intensity poured into these rolls by Teller and Simmons is a complete revelation. Both actors are at a different points in their careers right now, but these rolls will forever define them. Teller is still on the rise, but everyone will remember him now. Simmons has been around for years, but mostly in distant supporting roles. Anyone who's seen him in something already knows he's a solid actor, but I don't think anyone would have expected him to turn in one of the best performances in history. (I don't say that lightly either.) I also can't believe this film was directed by someone who only recently turned 30. Instead, it feels as though Chazelle has been making films for 30 years. He has remarkable vision, and his screenplay is the year's best. "Whiplash" is a prime example of why we all love the movies so much. This is a film that takes you on the type of journey you want to experience. There's no mind numbing CGI and explosions every 15 seconds, no unnecessary plot points, no watered down one dimensional characters. As moviegoers, this is the type of film we should crave from producers. If you missed this movie, you are missing out on one hell of an experience. And the last 15 minutes of this film might be some of the most remarkable minutes of film in years. Your pulse will pound as fast as Teller's double time swing and you'll be begging for more. More of "Whiplash" but most importantly, more movies with this kind of exhilaration and rapture.

Please, filmmakers, more movies like these!

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Trevor's Individual Awards:

Best Film of the Year: Whiplash

Best Director: Richard Linklater (Boyhood)

Best Actress in a Leading Role: Scarlett Johansson (Under the Skin)
Best Actor in a Leading Role: Ralph Fiennes (The Grand Budapest Hotel)
Best Actress in a Supporting Role: Agata Kulesza (Ida)

Best Actor in a Supporting Role: J.K. Simmons (Whiplash)

Best Original Screenplay: Phil Lord, Christopher Miller (The Lego Movie)

Best Adapted Screenplay: Damien Chazelle (Whiplash)