It has begun. The end is nigh and numerous groups want lists and polls of all shapes and sizes.
One organisation might ask for a list to be based upon US release dates, while others may go via the UK schedule. Some allow movies that have screened at festivals, or on television, as is the case of Beyond The Candelabra, a film that’s causing much controversy in certain quarters this awards season due to the lack of a US theatrical run. Some combine “performances” in to gender-split groupings, while others offer the option of selecting ones five favourite performances, void of sex. Some ask for a a ranked list, others for points to be deemed upon each and every film nominated.
It is, putting it dramatically, exhausting.
And as such theres a certain inconsistency with my end of year lists.
The definitive one is the one that will feature on this site in the coming weeks. It will be limited to just ten films, with the one rule being, to use a horrible cliche, there are no rules. If a film is “new” and I’ve seen it in 2013, be it at a festival, theatrically or home video, as is the case with a number of films yet to be released in the UK but offered up for my consideration via the US studios re-OFCS and CriticWire activity, then it counts. Alternative lists by me can be found elsewhere, but this is the one that I’m holding up as definitive.
Sight And Sound film critic Anton Bitel recently referred to one’s year-end list as being a “critic’s biography”, which is a term I like a great deal, and one in which the spirit of which the Hope Lies top ten was produced.
Adam Batty – Editor-In-Chief
Further Reading – The Sight & Sound Best Of 2013.
This Week’s Criticwire Survey – On Family Movie Memories.