The Worst Best Movies of 2014

The most “overrated” movies of 2014, from “Nymphomaniac” to “Locke” to “The Double”.

There are critics, and then there are trolls. A troll is someone who enjoys raining on the parade, to take a beloved classic and tell you everything you thought you enjoyed about it was wrong. The troll only hates something because everyone else enjoys it, and the troll wants to define himself or herself by blazing their own path and forming an interesting, provocative opinion that challenges the status quo of their peers.

I’d hate to think that my opinion on an individual movie would completely define my own personality or my taste in film. That’s because each year, a number of highly critically acclaimed films come out, and not every critic can reasonably get behind all of them. In fact, some critics find a handful of films in this bunch downright bad, and they struggle to explain what all the fuss is about. It happens every year, with just about every movie. Yes, even “Boyhood.”

And yet each year, there are angry commenters who shun the first critic to break the 100 percent Rotten Tomatoes score, and there are people who aim to invalidate a critic’s entire reputation by saying, “How could you hate X and yet give a good review to Y?”

This year I found myself on the far end of a few of these critical spectrums; that doesn’t change the fact that I absolutely loved loved LOVED so many of the other critical darlings and cultural hits from 2014. Yes, that one too.

So take this list with a grain of salt. It’s not meant to be contrarian or say these movies are overrated. Just know that much as I disliked this small batch of films, they’re each admirable, ambitious and memorable in a way you could very well love. Just don’t hold it against me.

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CIFF Review: The Missing Picture

Rithy Panh’s documentary is a harrowing artistic statement but is without an emotional core.

“The Missing Picture” screened as a part of the Chicago International Film Festival. This early review is merely an impression of the version screened. It does not yet have an American release.

For Rithy Panh, the memories that haunt his mind belong only to him, not to history. The images he sees exists nowhere else, and in order to be rid of them, he needs to create them, throw them to the wall and display them for the world.

In his documentary “The Missing Picture” it is noble that he’s done so. Panh’s film is harrowing and artistic, but the medium in which he has chosen to convey his message is impersonal and cold. “The Missing Picture,” the winner of the Un Certain Regard prize at this year’s Cannes film festival, has grand ambitions, but it is a dreary slog without an emotional core to grasp.

Panh lived through the Khmer Rouge era in Cambodia in which hundreds were killed in a genocide because of the Communist government’s social ideas. They operated on the ideology that a shared agricultural system complete of rice pickers would eliminate class, corruption and poverty in their utopian society. The reality was famine, drought, a lack of medicine or resources and deaths throughout the region.

But the images that exist from this period are largely propaganda films. The images do not match up with the history, and Panh’s memories are merely figments. What he’s done with his film then is acknowledge that what he remembers is unique, that there is no truth, “there is only cinema,” he says. Continue reading “CIFF Review: The Missing Picture”