“Gravity”

WHAT: When their space shuttle is destroyed by hurtling debris from a damaged Russian satellite, U.S. astronauts Ryan Stone (Sandra Bullock) and Matt Kowalsky (George Clooney) are left adrift in space with limited oxygen and a minimal chance of survival.

WHY: It’s been six years since Alfonso Cuarón’s last feature film – the criminally underrated “Children of Men” – but his outer space survival thriller was well worth the wait. “Gravity” is the kind of movie that will likely change the way films are made in the future. From the stunning, single-take opening sequence that lasts more than 12 minutes, to the numerous set pieces throughout, “Gravity” is such a technical marvel that it looks like Cuarón shot the whole damn thing in space. Though the story is ridiculously simple, not a single second of its 91-minute runtime is wasted, extracting so much suspense from the film’s terrifying setup that the brief injections of comedy (courtesy of George Clooney’s easygoing astronaut) are a welcome reprieve from the almost unrelenting intensity. Sandra Bullock delivers one of the best performances of her career as the rookie astronaut caught up in a seemingly impossible situation, but the real star of “Gravity” is Cuarón himself, and he deserves every bit of praise for creating what can only be described as pure movie magic.

EXTRAS: In addition to an excellent, 107-minute making-of featurette, the Blu-ray includes shot breakdowns for five scenes, a short film titled “Aningaaq” from co-writer Jonas Cuaron, and the documentary “Collision Point” narrated by Ed Harris.

FINAL VERDICT: BUY

“Thor: The Dark World”

WHAT: When Jane Foster (Natalie Portman) discovers an ancient power known as the Aether, she unknowingly awakens Malekith the Accursed (Christopher Eccleston), the leader of the Dark Elves who plans to use that power to plunge the world back into darkness. Against his father’s wishes, Thor (Chris Hemsworth) comes to Jane’s rescue in order to stop Malekith before his sinister plan can be completed.

WHY: I’m a really big fan of the first “Thor,” so my expectations were pretty high going into this sequel, and unfortunately, “The Dark World” fails to live up to them. Though there are some really great moments throughout, the movie is weakened by what is easily the worse villain of the Marvel films thus far. Nothing against Christopher Eccleston, but Malekith looks like a C-list “Star Trek” villain with similarly uninspired end-of-the-world ambitions. Additionally, Sif and the Warriors Three are criminally underused – something that will hopefully be remedied should there be a third installment. Most of what does work in the sequel is carried over from its predecessor. Tom Hiddlestone continues to prove why Loki is Marvel’s greatest asset, because as soon as he enters the film, it gets a lot more interesting, thanks in part to his excellent chemistry with Chris Hemsworth. The Earth-based scenes also feature some pretty big laughs, and the final act is a lot of fun. “The Dark World” isn’t quite on the same level as we’ve come to expect from Marvel, but it doesn’t make me want another “Thor” film any less.

EXTRAS: The Blu-ray release is headlined by a new Marvel One-Shot titled “All Hail the King” (with Ben Kingsley reprising his “Iron Man 3” role) and an audio commentary with director Alan Taylor, producer Kevin Feige, co-star Tom Hiddleston and cinematographer Kramer Morgenthau. There’s also a two-part featurette on the relationship between Thor and Loki, a short featurette on composer Brian Tyler’s score, some deleted and extended scenes, and a behind-the-scenes look at “Captain America: The Winter Soldier.”

FINAL VERDICT: RENT

“Blue is the Warmest Color”

WHAT: High school student Adele (Adele Exarchopoulos) doesn’t quite know what she wants out of life, but all that changes when she meets Emma (Lea Seydoux), a blue-haired, free-spirited artist who takes Adele under her wing as she discovers desire, love and, ultimately, loss.

WHY: Three-hour French movies aren’t normally my cup of tea, but director Abdellatif Kechiche’s superb coming-of-age love story is a rare exception. Though the lesbian drama has been mired in controversy since its Cannes premiere, there’s a good reason why “Blue is the Warmest Color” has won just about every major prize for Best Foreign Language Film. (Sadly, it’s ineligible for the Academy Awards due to a silly technicality.) Sure, the poorly edited time jumps in the latter half are a little confusing, and the sex scenes are more gratuitous than they needed to be, but those minor flaws are forgivable when you have a pair of actors as phenomenal as Adele Exarchopoulos and Lea Seydoux steering the ship. The former, in particular, delivers such a fearless but vulnerable and emotionally affecting performance that it’s surprising she wasn’t a bigger part of the Oscar discussion. Exarchopoulous completely pours herself (and then some) into the role, and it’s her star-making turn that makes this unflinchingly honest look at the trials and tribulations of love so captivating.

EXTRAS: Surprising for a Criterion release, the only extra is an illustrated booklet with an essay by critic B. Ruby Rich.

FINAL VERDICT: BUY

“Nebraska”

WHAT: Convinced that he’s just won $1 million after he receives a Mega Sweepstakes Marketing prize letter in the mail, booze-addled crank Woody Grant (Bruce Dern) embarks on a road trip with his son David (Will Forte) to Lincoln, Nebraska to collect his prize. After an accident forces them to take a detour through Woody’s childhood hometown, news of his good fortune turns him into a local celebrity, despite David’s insistence that he hasn’t actually won anything.

WHY: Alexander Payne isn’t a very prolific filmmaker, but the movies that he does make are of the highest quality. At least, that was the case before “Nebraska,” which marks the director’s first bad film of his career. Well, not exactly bad per se, but the black-and-white dramedy is surprisingly mediocre for someone whose other movies are counted among the best American-made films of the past 15 years. This is the only time that Payne hasn’t been directly involved in the screenwriting process, and it definitely shows. Bob Nelson’s pedestrian script is either loaded with terrible dialogue or the mostly amateur supporting cast (Payne’s attempt to achieve a sense of Midwestern realism) just makes it sound that way. Whatever the case, it doesn’t work as intended. It also doesn’t help that the film is way too long, because there simply isn’t enough material to warrant its 115-minute runtime. Though the movie features some well-placed laughs and good (but overrated) performances by Bruce Dern and June Squibb, “Nebraska” never really goes anywhere.

EXTRAS: Despite being the only extra on the disc, the included making-of featurette covers a wide variety of topics, including the screenplay, casting, location shooting and the decision to film the movie in black and white.

FINAL VERDICT: RENT

If you haven’t been to the movie theater over the past few months, you’d be forgiven for thinking that 2013 wasn’t a very good year for film. In fact, my own year-end list was looking pretty suspect before October, but as is usually the case, the awards season blitz was jam-packed with enough great movies to fill more than the customary ten spots. That made compiling this year’s best-of list a little more challenging than in years past, especially with so many popular choices relegated to honorable mentions or missing entirely. With that said, after much deliberating, flip-flopping and even revisiting certain films, the following represents what I believe to be the best of 2013.

Check out David Medsker’s 2013 Year-End Movie Review as well for David’s picks.

1. “GRAVITY”

It’s been six years since Alfonso Cuarón’s last feature film – the criminally underrated “Children of Men” – but his outer space survival thriller was well worth the wait. “Gravity” is the kind of movie that will likely change the way films are made in the future. From the stunning, single-take opening sequence that lasts more than 12 minutes, to the numerous set pieces throughout, “Gravity” is such a technical marvel that it looks like Cuarón shot the whole damn thing in space. Though the story is ridiculously simple, not a single second of its 91-minute runtime is wasted, extracting so much suspense from the film’s terrifying setup that the brief injections of comedy (courtesy of George Clooney’s easygoing astronaut) are a welcome reprieve from the almost unrelenting intensity. Sandra Bullock delivers one of the best performances of her career as the rookie astronaut caught up in a seemingly impossible situation, but the real star of “Gravity” is Cuarón himself, and he deserves every bit of praise for creating what can only be described as pure movie magic.

2. “AMERICAN HUSTLE”

David O. Russell has always been a quality filmmaker, but he’s quickly becoming a force to be reckoned with thanks to movies like “The Fighter,” “Silver Linings Playbook” and this farcical con-artist caper. Loosely based on the ABSCAM scandal of the late ‘70s, “American Hustle” is immensely entertaining, impeccably structured and features top-notch acting from the entire cast. Forty pounds heavier and rocking the most elaborate comb-over you’ve ever seen, Christian Bale gives a wonderfully nuanced performance as the straight man of the bunch. His co-stars aren’t quite as committed physically, but they’re just as good. Amy Adams oozes sexiness as Bale’s cunning partner in crime, scene stealer Jennifer Lawrence is an absolute riot as his unpredictable wife, and Bradley Cooper is hilarious as the short-tempered FBI agent in charge of the sting. The whole film is a lot funnier than you’d expect due to Russell and Eric Singer’s darkly comic script, and though some have argued that it’s too long, the characters are so richly developed and crackling with personality that I would have gladly spent another hour in their messed-up world.

3. “ABOUT TIME”

Richard Curtis has written and directed some of the greatest romantic comedies of the past two decades, so it should come as no surprise that his latest movie follows in the same footsteps. Curtis’ films have always been about much more than the superficial meet-cute between boy and girl, and “About Time” is no different, aiming for something a lot deeper and more emotionally rewarding than the typical rom-com. Breakout star Domhnall Gleeson and Rachel McAdams have some fantastic chemistry, but it’s the relationship between Gleeson and Bill Nighy (playing the world’s coolest dad) that best serves the story’s central themes and leaves a more lasting impression, especially for anyone who’s ever lost a member of their family. Equally charming, funny and touching, “About Time” is classic Richard Curtis, through and through. And if the rumors about it being his directorial swan song are true, Curtis can take comfort in knowing that he went out on top, because this is not only his most mature and personal work to date, but it’s just a really beautiful film.

4. “THE WOLF OF WALL STREET”

It’s been a while since Martin Scorsese’s last truly great film, but the director has rebounded in style with “The Wolf of Wall Street,” highlighted by Terrence Winter’s uproarious script and Leonard DiCaprio’s brilliant turn as Jordan Belfort. You’ve never seen the actor quite like this before, and he’s in top form as the notorious stockbroker with what is arguably his finest performance for Scorsese yet. The rest of the cast is terrific as well, especially Jonah Hill in another award-worthy display, up-and-comer Margot Robbie and Matthew McConaughey in a short but memorable cameo. Loud, flashy and totally obscene, the movie is like a private tour through Belfort’s excessive, hard-partying lifestyle, including what is easily one of the greatest sequences of the year. (Hint: it involves a highly potent strain of Quaaludes.) Though it’s a little too long for its own good, the characters are so magnetic and the dialogue so fast and funny that “The Wolf of Wall Street” is hard not to enjoy. It’s Scorsese’s best film in years, and one that will only get better with time.

5. “CAPTAIN PHILLIPS”

Based on the true story of the 2009 hijacking of an American-flagged cargo ship by Somali pirates, “Captain Phillips” is a gripping hostage thriller that boasts some outstanding performances. Director Paul Greengrass has a knack for dramatizing real-life events (as evidenced in “Bloody Sunday” and the excellent “United 93”), and that success continues here, throwing the audience right into the middle of the action docudrama-style in order to fully capture the intensity of the situation. But while Greengrass excels at creating a sense of claustrophobic tension (especially once the story moves into the lifeboat, where he really ratchets up the suspense), it’s the acting that makes “Captain Phillips” such a pleasure to watch unfold. Newcomer Barkhad Abdi is particularly impressive as the leader of the pirates, while Tom Hanks delivers his strongest performance in over a decade as the title character. The final five minutes alone pack such an emotional wallop that it practically guarantees him another Oscar nomination, and his work throughout is a stark reminder why he’s one of the most revered actors in the business.

6. “BLUE IS THE WARMEST COLOR”

Three-hour French movies aren’t normally my cup of tea, but director Abdellatif Kechiche’s superb coming-of-age love story is a rare exception. Though the lesbian drama has been mired in controversy since its Cannes premiere, there’s a good reason why “Blue is the Warmest Color” has won just about every major prize for Best Foreign Language Film. (Sadly, it’s ineligible for the Academy Awards due to a silly technicality.) Sure, the poorly edited time jumps in the latter half are a little confusing, and the sex scenes are more gratuitous than they needed to be, but those minor flaws are forgivable when you have a pair of actors as phenomenal as Adele Exarchopoulos and Lea Seydoux steering the ship. The former, in particular, is a revelation, delivering such a fearlessly vulnerable and emotionally affecting performance that it’s surprising she hasn’t been a bigger part of the Oscar discussion. Exarchopoulos completely pours herself (snot and all) into the role, and it’s her star-making turn that makes this unflinchingly honest look at the trials and tribulations of love so engrossing.

7. “THE WAY, WAY BACK”

Though it lacks the “wow” factor to be a serious awards contender, “The Way, Way Back” is still a really enjoyable film thanks to its winning script and talented cast. Youngster Liam James holds his own against some great actors as the perpetually awkward wallflower, while Steve Carell plays against type in a role that proves he may be a stronger dramatic actor than a comedian. However, it’s Sam Rockwell who shines the brightest as the fast-talking king of the water park. Channeling Bill Murray from “Meatballs,” Rockwell’s Owen is the kind of guy that people naturally gravitate towards, and it’s easy to see why on account of the actor’s immensely charming and hilarious performance. Writers/directors Nat Faxon and Jim Rash (who won an Oscar for penning the 2011 tragicomedy “The Descendants”) also deserve a lot of credit for writing a movie that’s as smart, funny and sweet as it is incredibly heartbreaking at times, because although their coming-of-age story follows an all-too-familiar path, they manage to make it feel like an entirely fresh experience.

8. “THE HUNGER GAMES: CATCHING FIRE”

As far as book sequels go, “Catching Fire” isn’t exactly the most original, which is why I was pleasantly surprised by the film adaptation. Under the assured direction of Francis Lawrence, “Catching Fire” doesn’t just improve upon Suzanne Collins’ novel, but is superior to the first movie in just about every way, including more spirited performances from its two leads and better development for the supporting characters. Philip Seymour Hoffman, Jeffrey Wright and Jena Malone – actors you wouldn’t normally associate with a big budget franchise like this – are just a few of the notable additions to the already impressive cast, and there’s not a weak link among them. The script by Oscar-winning screenwriters Simon Beaufoy and Michael Arndt is also crucial to the movie’s success, removing a lot of the unnecessary filler while raising the stakes to create a smarter and more focused adaptation that’s extremely well-paced for its 146 minute runtime. “Catching Fire” is everything you could want from a sequel without many of the usual failings, and it’s a prime example of a tentpole film that offers both style and substance.

9. “HER”

Leave it to Spike Jonze to create one of the more unique love stories in cinematic history. Set in a near future that feels remarkably authentic (well, except for the high-waisted pants that dominate the fashion), “Her” is a subtle but effective commentary on the role that technology plays in our increasingly anti-social lives; one where we’re more connected to our gadgets than the people around us. Joaquin Phoenix is excellent as a man so desperate to connect with someone that he doesn’t care that they’re not real, but none of it would work without Scarlett Johansson. While it’s unlikely that the actress will receive the awards recognition that she deserves, Johansson is the heart of the movie, providing a sweet, soulful and fully rounded vocal performance that makes it seem like she’s actually there. That’s harder said than done, resulting in a relationship that not only feels more real than most of the films this year, but plays a big part in its success as a romantic dramedy and an enchanting piece of science fiction.

10. “STOKER”

Korean director Park Chan-wook’s English-language debut plays like one giant homage to Alfred Hitchcock (particularly his 1943 film “Shadow of a Doubt”), but with a decidedly unique and erotic twist that’s every bit as perverse as his previous work – the kind of movie that gets under your skin and stays there for days. To call the film a slow burn would be putting it lightly, but it’s entirely compelling in the way that it patiently seduces the audience into an almost dreamlike trance. You simply can’t look away, and that’s thanks mostly to the stylish combination of Chung Chung-hoon’s rich cinematography and Nicholas de Toth’s playful editing. Though it would be easy to criticize the movie for favoring style over substance, there’s a lot more going on behind the sumptuous visuals, including some excellent performances by Mia Wasikowska, Matthew Goode and Nicole Kidman. “Stoker” isn’t for everyone, but fans of Park’s Vengeance Trilogy won’t be disappointed by his latest offbeat, psychosexual thriller.

“12 YEARS A SLAVE”
“DRUG WAR”
“THE HOBBIT: THE DESOLATION OF SMAUG”
“INSIDE LLEWYN DAVIS”
“PHILOMENA”
“PRISONERS”
“SHORT TERM 12”
“THE SPECTACULAR NOW”
“WHAT MAISIE KNEW”
“THE WORLD’S END”

It is not gross hyperbole to suggest that, box office be damned, the last couple of years have not been Hollywood’s finest. With all due respect to “The Artist” and “Argo,” the previous two Best Picture winners and fine movies, neither of them would have won had they been released in 2010. In fact, “The Artist” wouldn’t have even made my Top 10 list that year, while “Argo” would have slotted slightly ahead of “The King’s Speech” (that year’s Best Picture winner, by the way), which means it would have ranked as the sixth best movie that year. Yes, 2010 was that good, and everything since has been, as far as I’m concerned, a great disappointment.

Enter 2013, and the first time since 2010 that a movie truly excited me, to the point where I wanted to stay and watch it again the second it ended. Then I felt sad because Roger Ebert hadn’t lived long enough to see it. I’m really going to miss him. He was a damned fine writer.

Sadly, I still don’t have enough movies to make a top ten list. This is a combination of two things: missing some daytime screenings (stupid day job), and being rather underwhelmed by some movies with big time buzz, including the one that will likely win Best Picture. That won’t be a travesty along the lines of “Crash” taking the trophy in 2005, but unworthy of the honor just the same.

Check out Jason Zingale’s 2013 Year-End Movie Review as well for Jason’s picks.

1. “GRAVITY”

Only one movie comes even close to this one. I was thrilled when Alfonso Cuaron’s 2006 film “Children of Men” won my local film critics group’s award for Movie of the Year, and what he does here dwarves that in terms of technical achievement, while Sandra Bullock delivers as raw a performance as she’s ever given in her life. Even better, the movie is a mere 91 minutes long. Showing people something they’ve never seen before, while showing respect for the audience’s time: now that is my idea of a modern-day filmmaker.

2. “AMERICAN HUSTLE”

This is one of those ‘little moments’ movies, where the story is thoroughly engaging, but it’s the little bits that will stick in your head, and each of the leads has one. Bradley Cooper impersonating Louis C.K. towards the end. Christian Bale letting it all hang out at the party while listening to Duke Ellington. Jennifer Lawrence and the “science oven.” (Lawrence actually has two, if you include her lip sync of “Live and Let Die.”) Jeremy Renner explaining all of the different things you can heat in a science oven (all Italian foods). Amy Adams introducing Lady Greensly. “American Hustle” has a gonzo spirit, but it’s a smoke screen to distract you from the fact that at least one of the characters at any point in time is already thinking two moves ahead. Brilliant stuff.

3. “HER”

If “American Hustle” is a ‘little moments’ movie, “Her” is the one that will lead people to have book club-type conversations after seeing it. If the idea of someone developing feelings for an operating system seems odd on the surface, it won’t once you see Theodore (Joaquin Phoenix) give up people for Samantha (Scarlett Johansson), who satisfies him in ways that real women can’t. Johannson will probably be overlooked by the Academy for the same reasons that motion capture master Andy Serkis has been shunned (only her voice appears in the movie), but she delivers a heartbreaking and utterly believable performance as the zeroes-and-ones Samantha.

4. “THE WAY, WAY BACK”

Fox Searchlight chose not to push this movie for awards consideration, and I’m disappointed they didn’t give this more support. A sweet coming-of-age story about an awkward teen trying to find himself while stuck at a vacation house with his mom and her overbearing new boyfriend, “The Way, Way Back” does a fantastic job weaving ‘80s-era hallmarks into a modern-day environment, and features great work from a top-notch cast, notably Steve Carell as the jerk boyfriend and Sam Rockwell as the manager of a nearby water park. This is in Redbox right now, and I can’t recommend it highly enough.

5. “BLACKFISH”

If a child murdered one of his instructors, would they let him back in school? They might, if the child’s ability as a performer helped make the school a lot of money. That’s the argument that drives “Blackfish,” a documentary about a killer whale named Tilikum who was allowed to continue performing at Sea World parks even after maiming and killing multiple trainers. There is 30-year-old video of Sea World trapping a young Tilikum in the Atlantic Ocean and taking him from his family, who watches helplessly. It is one of the most heartbreaking things you will ever see.

6. “NEBRASKA”

A bit gun shy after Alexander Payne’s last film, the star-studded but emotionally cold “The Descendants,” I approached “Nebraska” with a fair amount of trepidation, and it lasted about five minutes. “Nebraska” is a kissing cousin of “About Schmidt,” in that older, damaged men embark on a road trip in the hopes that they will find what ails them at the end. That they don’t find what they’re looking for is beside the point; it’s the journey that matters, and “Nebraska” is a fun trip through one of the most desolate corridors of the Midwest as one is likely to find. Bonus points to former “SNL” cast member Will Forte for flexing some impressive dramatic acting chops.

7. “FROZEN”

Not ‘Critics Top 10’ material, I admit, but I don’t care. Between Kristoff’s “conversations” with his reindeer Sven, the fantastic off-camera gag involving Olaf the talking snowman, the stunning animation, and the unexpected climax, it was great to see Disney try to right some of the wrongs they’ve perpetuated regarding gender roles. It confused the hell out of my 4-year-old daughter, though, but I’m guessing she’ll appreciate it when she’s a little older.

You will see these films on 80 percent of the critics’ lists you read this year, but not mine. Make no mistake, I liked these films, but I did not love them. It takes love to make the Top 10.

“INSIDE LLEWYN DAVIS”

Great soundtrack – the in-movie recording of the song “Please Mr. Kennedy” is the movie’s finest moment – but there isn’t a lot of meat here. Your mileage may vary, though, depending on how long you can watch someone make bad decision after bad decision. It’s an entertaining film, for sure, but the Coen brothers have done better, and even they know it.

“12 YEARS A SLAVE”

My boy Jason Zingale took some heat for his review of Steve McQueen’s latest film, but I wholeheartedly agree with his take on it. Slavery was a dark, terrible part of our history, and no film to date, not even this one, has explored the depths of the atrocities that took place in that time. (If they did, they’d get an NC-17 rating.) I appreciate what the makers of “12 Years a Slave” were trying to accomplish, which was to make the viewer feel as helpless and hopeless as the people who appear in this movie in chains, and they did just that. The movie’s problem is something that handicaps many stories as they make the jump from book to screen: some books simply do not make for great movies (take, for example, the latest remake of “The Great Gatsby”). We’re supposed to have our hearts broken when Solomon finally starts singing along with the other slaves, but that moment rang hollow to me, like someone trying too hard to tug the heartstrings.

Now here is where I potentially break the internet.

There is another aspect to the critical acclaim of “12 Years a Slave” that bothers me, and it’s this: I think some critics are afraid of speaking ill of this movie out of fear that they will have the perception of being racist. To many, critiquing a movie about slavery is the same as being pro-slavery (it’s not, by the way), and movie critics, generally progressive in nature, are loath to draw that comparison, for obvious reasons. It doesn’t matter if your objections are purely from a story structure standpoint, or perhaps that you saw “Roots” when it made its television premiere, understood at an early age the hell that slaves went through and are therefore less traumatized or horrified than others by the events that take place here. What matters is that you’re a white person saying unflattering things about a movie about slavery, and the trolls go wild.

Slavery sucked. “12 Years a Slave” makes that abundantly clear, but it does so using cliché plot devices and one-note characters to hammer the point home. That doesn’t make me or Jason racist for not loving the film (and again, remember that neither of us said we disliked it, but rather that we didn’t love it) – it just means that we’ve seen thousands of movies between us, and after a while, we recognize patterns. This movie contains several things we’ve seen before, and I don’t give a damn if this one happens to be about slavery: it’s still something I’ve seen before, and I’ve seen it done better. That alone takes it down a notch.

“DALLAS BUYERS CLUB”

I haven’t finished watching this one yet, but while I am loving the performances by Matthew McConaughey and Jared Leto, I can already see this one going off the rails. Spite is an ugly emotion.

Because of the aforementioned day job, I value my time a lot more than I did before, so I won’t waste an evening watching “The Love Guru,” which I once did just to make sure my Worst of the Year list was as accurate as possible. Nope, I have two kids now, and therefore a completely different set of priorities. This year’s list is much, much shorter, and you can count it on one, two, three…

“IDENTITY THIEF”

Everything about this movie rang false. It’s the story of a very smart guy who has to do something incredibly stupid in order for the rest of the movie to happen. There isn’t a single moment in this movie that feels real, and director Seth Gordon’s unwillingness to tame Melissa McCarthy does not help things one bit.

“JACK THE GIANT SLAYER”

Bryan Singer is considered one of the big time directors, but let’s be honest for a second: aside from “The Usual Suspects” and “X2: X-Men United,” has Singer done anything else noteworthy? I’d say not, which means it’s been over a decade since Singer’s last good film. Granted, Singer had his work cut out for him here, but that begs the question: what drew him to the material in the first place? There wasn’t a good movie to be had here; you’d think he would know that, right? Also, don’t look now, but he’s just taken back the reins of the “X-Men” franchise. Uh oh.

“EVIL DEAD”

Grossly overrated, emphasis on the word ‘gross.’ This movie missed the point from the very beginning, going for gore over terror. Yes, it was one of the goriest movies in recent memory, but it wasn’t scary. They call these horror movies, you know, not blood movies – try to make them scary, like “The Conjuring.” That had little to no blood, and was waaaaaay creepier.

There are so many appropriate words to describe “Gravity,” yet none of them seem adequate. To call it intense – and boy, is it intense – puts it in the same company as movies about serial killers and runaway buses. To call it bittersweet and uplifting brings to mind “Steel Magnolias.” (It’s nothing like “Steel Magnolias.”) It’s also mind-bogglingly gorgeous, and yet, it’s more than that as well. So forget those words, and remember this one: the movie is magical. It’s the kind of movie that will inspire a generation of kids to grab cameras and let their imaginations run wild, the proverbial face that launches a thousand ships. At the very least, it will raise the profile of director Alfonso Cuarón (“Harry Potter and the Prisoner of Azkaban”) in a way that his previous film, 2006’s brilliant and criminally overlooked “Children of Men,” should have.

Ryan Stone (Sandra Bullock) is on her first space mission. Matt Kowalsky (George Clooney) is on his last. Stone and Kowalsky are on a spacewalk, the former trying to fix a piece of equipment she helped design, the latter simply trying to set the record for longest spacewalk. Mission Control informs them of debris from a damaged satellite headed their way and orders them to get in the ship. The debris arrives too soon, however, and shreds their space shuttle beyond repair. Ryan and Matt are the sole survivors of the assault, adrift in space, and have limited amounts of oxygen and time to find a nearby, functional spacecraft before the debris makes its way around the earth and bombards them again.

It’s an admittedly simple storyline, and in talking to people about the movie (all of whom haven’t seen it yet), they think that means it has no story. On the contrary, it has exactly as much story as it needs, and to add more would be both unnecessary and a distraction. It’s a survival story; if the narrative isn’t streamlined, they’re doing it wrong.

It would not surprise me in the slightest to discover that this movie was actually shot in space. The movie looks shockingly real, capturing the claustrophobia of life in space (and the peripheral vision limitations that come with wearing a space suit), employing a dizzying amount of zero gravity footage, and rounding things out with some of the most spectacular images ever put on film. Even better, Cuarón doesn’t even draw extra attention to those images, because he knows that the shots will speak for themselves (two words: northern lights). Cuarón also assembles another jaw-dropping tracking shot (fans of “Children of Men” just nodded knowingly), and he receives bonus points for being the first director since James Cameron to effectively employ 3D technology in a live-action movie. You will rarely read these words on this site, but absolutely see this movie in 3D.

The idea of Sandra Bullock in space might sound strange, but she turns out to be a great cast for the part of Ryan. (She’s definitely a better choice than Scarlett Johannson and Blake Lively, both of whom thankfully turned down the role before Bullock accepted.) There is a deep sadness to Ryan, and Bullock manages to keep a lid on Ryan’s emotional range without being too stoical. That’s not as easy as it sounds, and it results in some of Bullock’s finest work to date. Clooney, meanwhile, will likely be overlooked for his performance as the calm, cool and collected space jockey simply because he makes it look so easy. That would be patently unfair; if the Kowalsky character doesn’t work, the movie doesn’t work, which makes Clooney’s performance invaluable. It was also nice to hear Ed Harris back at the helm of Mission Control, 18 years after his role in “Apollo 13.”

Forgive the overuse of first person (it’s generally verboten in any kind of written criticism) for this last paragraph, but it must be done. Critics are always so afraid to give a movie the highest grade on their scale, and I’m no exception. (My theory is that we’re worried about history proving us wrong, which is pretty silly when you think about it.) I’m giving “Gravity” five stars because it provided two unforgettable experiences: the one when I was actually watching the movie, and the other in the days since where the movie is still playing virtually nonstop in my head, and I absolutely cannot wait to see it again. Actually, the movie provided a third unforgettable experience: I couldn’t help but think of how much Roger Ebert would have loved this movie, because of how it taps into the magic of moviemaking. And Roger wouldn’t have thought twice about giving this his highest rating.

Who: Sandra Bullock and George Clooney
What: A medical engineer and an astronaut work together to survive after an accident leaves them adrift in space
When: October 4th
Why: Alfonso Cuaron hasn’t made a feature-length film since 2006’s underrated tour de force “Children of Men,” but if the early buzz surrounding “Gravity” is to be believed, then it was well worth the wait. The sci-fi drama has been in development for what seems like years, and Warner Bros. deserves a lot of credit for taking the chance on such a daring project. It definitely helps when you have actors like Sandra Bullock and George Clooney attached, but with audiences constantly lamenting the lack of originality in the Hollywood system, it’s refreshing to see that studios haven’t completely abandoned this type of filmmaking. “Gravity” probably won’t make a ton of money at the box office, but it should be at the top of everyone’s must-see lists.

Who: Justin Timberlake, Ben Affleck, Gemma Arterton and Anthony Mackie
What: When a poor college student who cracks an online poker game goes bust, he arranges a face-to-face with the man he thinks cheated him.
When: October 4th
Why: If “Runner Runner” sounds like the unofficial sequel to “Rounders,” that’s because it was written by the same duo, Brian Koppelman and David Levien. Obviously, gambling is just the gateway into the world of their latest film, but fans of the 1998 poker thriller should be encouraged by their involvement, because they clearly know their way around the subject. Whether or not they strike gold twice remains to be seen, but “Runner Runner” has a good enough cast to pull it off. Justin Timberlake is a natural entertainer who’s only gotten better with experience, and though Ben Affleck appears to be hamming it up a bit as the villain, he’s proven that he can deliver great work with the right material and director.

Who: Tom Hanks, Catherine Keener and Max Martini
What: The true story of Captain Richard Phillips and the 2009 hijacking by Somali pirates of the US-flagged cargo ship MV Maersk Alabama.
When: October 11th
Why: There’s an inordinate amount of films based on true stories being released this year (even more so than usual), and Tom Hanks stars in two of them. But while moviegoers may be excited at the prospect of seeing the veteran actor play Walt Disney in “Saving Mr. Banks,” the Paul Greengrass-directed “Captain Phillips” is the more intriguing of the pair. Many people don’t know much about the real-life events that inspired the movie, and that’s only going to work in its favor. Add to that Greengrass’ knack for dramatizing true stories (as evidenced in “Bloody Sunday” and “United 93”) and what looks like yet another Oscar-worthy performance by Hanks, and there’s no reason why “Captain Phillips” won’t be part of the conversation come awards time.

Who: Danny Trejo, Jessica Alba, Sofia Vergara, Charlie Sheen and Mel Gibson
What: The U.S. government recruits Machete to battle his way through Mexico in order to take down an arms dealer who wants to launch a weapon into space.
When: October 11th
Why: The first “Machete” wasn’t nearly as entertaining as its gonzo premise suggested, but with Robert Rodriguez taking over full directing duties for the sequel, there’s a part of me that really wants “Machete Kills” to fulfill that potential, especially with a rumored third installment (“Machete Kills Again… In Space!”) already in the works. The sequel looks bigger and better than the original, with a cast that includes Antonio Banderas, Sofia Vergara, Cuba Gooding Jr., Demian Bichir and Charlie Sheen (credited here as Carlos Estevez). And if that wasn’t enough to get you on board, Rodriguez has even managed to enlist Mel Gibson to play the Big Bad. Why his character is dressed like a “Street Fighter” villain is beyond me, but it’s great to see that the actor still has a sense of humor, because it’ll go a long way in repairing his career.

Who: Chloë Grace Moretz, Julianne Moore, Judy Greer and Ansel Elgort
What: A shy girl outcast by her peers and sheltered by her deeply religious mother unleashes telekinetic terror on her small town after being pushed too far.
When: October 18th
Why: Fans of the 1976 original will no doubt cry foul over this latest adaptation of the Stephen King novel, but purists will be pleased to learn that the 2013 edition reportedly sticks closer to the book. And if its R rating is any indication, the film won’t be skimping on the violence and gore either, despite the fact that it’s directed by Kimberly “Boys Don’t Cry” Peirce. She’s certainly a unique choice to helm a horror movie, but if nothing else, it proves that the studio is serious about creating the best version possible. That extends to its cast as well – particularly star Chloe Grace Moretz (one of Hollywood’s more exciting young talents, who’s never been afraid to dip her toes in the genre pool) and Julianne Moore as her ultra-religious mother.

Who: Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel and Vincent D’Onofrio
What: When a structural-security authority finds himself incarcerated in a prison he designed, he must put his skills to escape and find out who framed him.
When: October 18th
Why: Before “The Expendables,” moviegoers had to wait decades for the chance to see action stars Sylvester Stallone and Arnold Schwarzenegger side by side on the big screen, but these days, you can’t seem to keep the two apart. It’s a smart move by the actors to piggyback off each other’s popularity, because my interest level probably wouldn’t be quite as high if this was merely a Sly Stallone vehicle. The first two “Expendables” films were nothing more than elaborate teases, but “Escape Plan” feels like the actual dream team-up that action fans were hoping for when Schwarzenegger announced his retirement from politics. Though it looks like he’ll still play a much smaller role compared to Stallone (the part was reportedly beefed up when he signed on to the movie), without Arnie, no one would care.

Who: Chiwetel Ejiofor, Michael Fassbender, Sarah Paulson, Brad Pitt and Paul Giamatti
What: In the antebellum United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery.
When: October 18th
Why: The way people were talking about “12 Years a Slave” at this year’s Toronto International Film Festival, you’d think that the Steve McQueen drama had already won the Oscar for Best Picture. But no matter how effusive the praise may have been, it’s impossible to make those kinds of predictions with several other award contenders still yet to be seen. Nevertheless, “12 Years a Slave” does sound like the quintessential Academy Award movie, from its challenging subject matter (based on a true story, no less) to the incredible ensemble cast. It’s nice to see Chiwetel Ejiofor finally getting the credit he deserves, and between his lead performance and McQueen regular Michael Fassbender’s turn as a villainous slaver owner, it’s easy to see why the film has Oscar gold written all over it.

Who: Benedict Cumberbatch, Daniel Brühl, Carice van Houten and Alicia Vikander
What: The true story of two men’s quest to expose the corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization.
When: October 18th
Why: The story behind WikiLeaks is one that seems tailor-made for the big screen treatment – especially with a protagonist as captivating as the website’s enigmatic founder, Julian Assange – so it’s no surprise that the movie is already drawing comparisons to the likeminded “The Social Network.” Similar to that film, “The Fifth Estate” boasts an intriguing tale about an Internet startup and a fantastic cast led by two of the more exciting rising talents working today. In this case, those actors are Benedict Cumberbatch and Daniel Bruhl, and their involvement alone makes the movie worth seeing. Whether director Bill Condon is able to deliver an experience as fascinating as the real-life story is another question, but based on the mixed reaction from its Toronto premiere, it’s going to depend largely on what side of the debate you fall on.

Who: Robert Redford
What: After a collision with a shipping container at sea, a resourceful sailor finds himself, despite all efforts to the contrary, staring his mortality in the face.
When: October 18th
Why: The talky financial thriller “Margin Call” did a better job of showcasing writer/director J.C. Chandor’s screenwriting skills than his ability behind the camera, but for his sophomore effort, Chandor has bravely removed that variable from the equation. “All Is Lost” is a one-man show in the truest sense, and as such, there’s very little dialogue for Chandor to lean on. Fortunately, he managed to enlist Robert Redford as his leading man, and though the veteran actor hasn’t delivered a noteworthy performance in several years, it would be crazy to think that he won’t earn an Oscar nomination for his work here. The movie was a big hit at this year’s Venice Film Festival, and between its “Life of Pi”-like survival story and Redford’s reportedly triumphant performance, this is one you’ll want to hunt down at your local indie theater.

Who: Michael Fassbender, Cameron Diaz, Brad Pitt, Penelope Cruz and Javier Bardem
What: A lawyer finds himself in over his head when he gets involved in drug trafficking.
When: October 25th
Why: It’s been awhile since Ridley Scott’s last great film, but he never fails to attract the best talent possible. Though frequent collaborator Russell Crowe isn’t involved in the director’s latest project, Scott has nevertheless landed an impressive ensemble cast comprised of two former Oscar winners, an Oscar nominee and two Golden Globe nominees. “The Counselor” has the unfortunate distinction of being released during one of the most competitive awards seasons in recent history, but with an original script by Cormac McCarthy, the potential for this one is still pretty high. In fact, I’m actually looking forward to just sitting back and watching these great actors go toe-to-toe without any preconceived expectations that it has to be award-worthy for it to be any good.