5 Films the Academy Ignored: 2014’s Hidden Gems (Part 2)

The second title is a relatively small, American independent picture called Blue Ruin. Director Jeremy Saulnier has created an incredibly effective, low-key revenge thriller about Dwight Evans, a disheveled, quiet vagrant struggling through life after his parents’ murder. After being informed by the police that the alleged murderer is being released from prison, Dwight sets forth to avenge his lost loved ones. When things turn grim, he must protect his estranged sister from the rival family’s retaliation.

Like Big Bad Wolves, Blue Ruin is simply a hell of a ride. This film’s beauty surfaces in its silence, showing more than it tells. Saulnier expertly builds scenes of tension, emotion and humor, many of which without a word ever spoken. However, when words are delivered, they work. The writing is neither great nor poor, and the performances are not much more than adequate. But the film is built to play its strengths, and Saulnier nails it. In all fairness, the film ends up in far-fetched territory, but if you can suspend your disbelief and take the journey, it’s easy to stomach. Blue Ruin is also available on Netflix, Amazon Instant Video and iTunes.

Next Film >> 
<< Previous Film

For original article, go to The Film Yap.

5 Films the Academy Ignored: 2014’s Hidden Gems (Part 1)

As we approach the 87th annual Academy Awards, and as we distance ourselves from 2014 and acclimate to the new year, I thought it would be beneficial to mention five films from 2014 that had no chance of being Interstellars, American Snipers or Birdmen. Not because they are lesser films, but because they sink below the global cinematic surface and are overshadowed by the towering titans.

It is no secret that the Oscars often have a bias toward formulaic, traditional narratives and scene-stealing performances (hence the phrase “Oscar-bait”), but the Academy also tends to overlook films that don’t have large advertising budgets and/or word-of-mouth hype. Rarely do we get the opportunity to champion a nominee that is truly an independent underdog. Some years have their exceptions; a few years back, Beasts of the Southern Wild (2012) surprised me as a nominee for Best Picture of 2012. So it happens, but those years seem to be more and more infrequent.

In an attempt to stifle my desire to criticize the Oscars for their blind spots and politics, I will move on to the five films I’ve chosen to share with you.