Welcome to the second part of our look forward to the films of 2013. As regular readers will no doubt be aware, it’s not often that we run such preview pieces, preferring instead to keep a handle on speculation in favour of straight criticism. But alas, tis the season and what not, so here are the rest of the films that we’re excited to see in 2013. The first part can be found by clicking here.
Adieu au langage (Goodbye to Language) – Jean-Luc Godard reached the landmark age of 80 years old just over 12 months ago, but that doesn’t seem to have slowed him down on the experimental front. Adieu au langage marks Godard’s first foray into stereoscopy, with the film shot on a 3D rig that is purportedly homemade, and from a pair of iPhones! As much of the director’s later career has seen him help to define the way in which burgeoning mediums are adopted by the masses (see his work with video, or digital editing units) we can’t wait to see what he’s got up his sleeve with 3D.
Django Unchained – The eighth film from Quentin Tarantino has opened in much of the wider world already, but doesn’t reach UK shores ’til later this month. And we couldn’t be more excited. The film topped year end polls from those earlier markets, and is expected to do very well on the awards circuit. Inglourious Basterds was a defining movie for Hope Lies at 24 Frames Per Second (our review of which remains the site’s most popular article to this day), and we can’t wait to see how this latest film builds upon that. The American/UK divide this awards season sees a multitude of well-received films still to make a bow in the UK this Spring, with the likes of Kathyrn Bigelow’s Zero Dark Thirty, Steven Spielberg’s Lincoln and the intriguing looking adaptation of Les Miserables all set to open in the next couple of weeks.
Leviathan – Further proof that shorthand descriptions of complex films are futile, Lucien Castaing-Taylor and Verena Paravel’s fishing documentary Leviathan was one of the great successes of the 2012 film festival circuit. An innovative, liberal approach to camera technique has resulted in one of the most unique looking films of the digital era.
The Wolf Of Wall Street – Having defined the gangster and petty criminal of the 20th century so well in films like Goodfellas and Mean Streets Martin Scorsese turns to a very modern kind of hoodlum with The Wolf Of Wall Street. The title is named for the tale’s protagonist, Jordan Belfort, a man jailed for fraudulently manipulating the stock market in the late-1990s, and whose attitude towards his industry proved to eerily foreshadow the wider economical crisis that has consumed much of our recent history. The Wolf Of Wall Street sees Scorsese re-teamed with his post-millenial muse Leonardo DiCaprio, who between this, Django Unchained and his leading turn in Baz Luhrmann’s The Great Gatsby looks set to dominate much of the year ahead.
Marvel Phase Two and the post-Dark Knight DC Cinemascape – As satisfying as the Marvel films tend to be it’s difficult to muster any real amount of enthusiasm for them this far out. To be perfectly honest, it’s a problem that is endemic with the Blockbuster cinema: hype rules, and generally leads to disappointment. Alas, giving Marvel the benefit of the doubt (and let’s face it, they’ve earned it), a sequel to Thor, which is probably the best stand-alone film in the series thus far, and a newly re-energised Iron Man (thanks to Shane Black) both appeal very highly. Having been in the minority of a few that celebrated the work of Zack Snyder with Sucker Punch we have to admit to being just as eager to find out what the American filmmaker has done with the Superman property, in this Summer’s Man Of Steel, which itself looks set to launch a Marvel Cinematic Universe style affair for Marvel’s comic-book rivals DC.
I’m So Excited – We’re relatively late converts to the genius of Almodóvar, so this sort of anticipation is new to us. The remarkable The Skin I Live In has placed the Spanish auteur firmly on our radar though, with this aeroplane-set tale of a team of male air stewards certainly looking the height of something (surreality? camp? crass?). A curious 55 second trailer for the film was revealed late in 2012, and gives little clue to anything but the tone Almodóvar has adopted for this latest work.
Inside Llewyn Davis, The Canyons and Her – Not much is known about the Coen Brothers upcoming film, other than it charts the life and times of an obscure folk artist plying his trade in 1960s New York. Oscar Isaac is promoted to leading man, while Carey Mulligan, Garrett Hedlund, John Goodman and Justin Timberlake act as support. Paul Schrader’s The Canyons, a collaboration with Bret Easton-Ellis is similarly illusive, with the Lindsay Lohan, James Deen-starring drama already damned by many hacks. Even less is known about Spike Jonze’s return to feature-filmmaking, the supposedly science-fiction Her, a tale involving robots, Joaquin Phoenix and his The Master co-star Amy Adams.
Star Trek Into Darkness – Never did we see ourselves declaring a Star Trek property to be one of our most anticipated of any year, but such was the quality of 2009s Star Trek redux that this is most definitely the case. An enigmatic teaser launched last month hinted at widescale destruction and little else, although internet speculation ran in to overdrive (is that a Star Trek term?) as to the identity of Benedict Cumberbatch’s villain. Needless to say it’s quite probably the most intriguing looking blockbuster of 2012 at this stage.