As Birdman and Boyhood continue to rack up accolades en route to what is increasingly looking like an Oscar showdown in the making, it’s important to remember there were a ton of films this year that aren’t getting anywhere near the same kind of awards season buzz (and probably won’t), but still deserve a fair amount of love. With that in mind, we’ve put together a list of RT staff favorites that have either been largely forgotten or will pass through awards season with little to no fanfare. Read on for our off-the-radar recommendations of 2014!


Alan Partridge 87%

Alex Vo, Editor

Self-absorbed and misanthropic radio DJ Alan Partridge is Steve Coogan’s most popular creation in his home country and virtually unknown in the United States. This fact makes an Alan Partridge movie a tough sell here, especially since the character has been around for well over 20 years. For example, how much awareness of the character does one need coming into the movie? Fortunately, none! Alan Partridge more than stands on its own, with a barrage of hilarious jokes and scenarios rising out of the absurd “radio station gets held hostage” plot. Great tunes pepper the soundtrack, too, culminating with a memorable tribute to Sparks’ 1979 disco track, “#1 Song in Heaven.”

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The Babadook 98%

Jeff Giles, Associate Editor

If you’ve heard anything about The Babadook, you’ve probably heard that it’s one of the scarier horror films of the year, and for good reason. Debuting writer-director Jennifer Kent envelops the viewer in a steadily encroaching atmosphere of cold, isolating dread, ratcheting up the tension so effectively that — as with many of the best entries in the genre — the movie’s titular villain hardly needs any screen time to establish his malevolent presence. But The Babadook isn’t just scary; in fact, it works just as effectively as a wrenchingly honest (and, in the end, almost sweet) examination of the ways in which unprocessed grief can draw us into darkness. Watch it for the icy chills, but don’t be surprised if The Babadook lingers long after you’ve stopped looking over your shoulder at night — and definitely be on the lookout for more from Kent.

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Blue Ruin 96%

Grae Drake, Senior Editor

The idea of the revenge flick has been around for a loooong time. I imagine that the first one came out right after the Lumiere Brothers’ The Arrival of a Train, and featured a disgruntled passenger who had missed the train at the last stop. So now, in a cinematic landscape overflowing with recycled ideas, the revenge flick has to travel far from the beaten path to make a splash. Blue Ruin, directed and written by newcomer Jeremy Saulnier, is just such a film. Quiet and frantic, Blue Ruin slowly reveals the story of Dwight, who appears to be a lonely drifter with nothing but garbage dinners to keep him shuffling through life. Beneath the surface, however, lies a warrior who has suffered a great loss, and whose only desire in life is to restore balance through violence. One of the many problems Dwight has is that he is completely incompetent as an assassin, but where there’s a will, there’s a (messy) way. Dwight is the kind of samurai that I think I would be — full of enthusiasm and righteousness, but lacking in actual skill or know-how. Saulnier’s film never strays into slapstick territory, as the subject matter and Dwight’s life is too bleak to allow for lightheartedness. Somehow this movie manages to be poignant without being heavy-handed, and brutal without being judgmental.

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A Girl Walks Home Alone at Night 96%

Tim Ryan, Senior Editor

Plenty of movies can be described as “more style than substance.” A Girl Walks Home Alone At Night, on the other hand, is something else altogether: a movie whose style is so striking that it becomes the substance. Describing the plot of A Girl Walks Home Alone At Night makes it sound utterly generic (lovelorn vampire seeks companionship) and its unofficial tagline (“It’s the best Iranian feminist vampire Western ever made!”) makes it seem like some kind of campy stunt. But A Girl Walks Home Alone At Night emits a weird vibe that’s hard to shake, from its haunting black-and-white cinematography to its pulsing soundtrack. Every once in a while, I’ll see something that feels so unique and fresh that I want to tell everyone I know to see it now! This year, A Girl Walks Home Alone At Night was that movie.

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Rob the Mob 81%

Kerr Lordygan, Review Aggregator

The true story of small-time crooks Tommy and Rosie Uva is a pretty incredible one, and it’s brought to vivid life in the little-seen Rob the Mob. Written by Jonathan Fernandez and directed by Raymond De Felitta (City Island, Booker’s Place: A Mississippi Story), the film is funny in its portrayal of a couple with enough chutzpah to steal from the mafia, but it’s touching, too; Tommy (Michael Pitt) and Rosie (Nina Arianda) love each other so much, they’ll do whatever is necessary to keep their passion alive. Struggling to pay the bills, they pull mini-heists to stay afloat, but after Tommy serves a stint in prison, he decides to try robbing private clubs owned by the Mafia, and Rosie is forced to go along for the ride. With a cast that includes solid pros like Ray Romano, Andy Garcia, and Griffin Dunne, the film is sure to entertain while pushing a few buttons. And tickling your funny bone. The actors are spot-on, commanding an unlikely empathy through their performances and making this modern day Bonnie and Clyde story worth more than just a glance.

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The Skeleton Twins 86%

Beki Lane, Editorial Coordinator

A surprisingly heartfelt drama starring well-known comedians Bill Hader and Kristen Wiig, The Skeleton Twins is a soft-spoken success. I was amazed to find such simple and clear acting by two people who are usually known for over-the-top comedic performances. This story of estranged twins is easy to relate to and you get the distinct impression that you are peeking in on everyday lives in progress. It is also a study of depression, and the struggle of those who fight to live in the face of it. The Skeleton Twins is Certified Fresh at 87% on the Tomatometer, and is worthy of diving into.

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Snowpiercer 94%

Catherine Pricci, Review Aggregator

Considering it came in at number two on our Summer Movie Scorecard — Certified Fresh at 95 percent, no less — it’s hard to believe so few people have heard of Snowpiercer, let alone seen it. Imagine a frozen, post-apocalyptic Earth whose only survivors are living on a train that perpetually circles the globe, and all of the train’s inhabitants are divided by class. Curtis (Chris Evans) and a ragtag bunch of his fellow
proletarians are fed up and plan a forward assault to the front of the train in an attempt to secure better living conditions. As they progress through each car, they discover increasingly shocking things. There are extremely dark tones in this film that will resonate with most and the morals they live by. Snowpiercer is a rock-solid action film, but it’s hard to miss its allegorical concerns, especially at a time when economic hardship is a reality for so many of us.

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Teenage 77%

Marya E. Gates, Social Media Specialist

Writer/Director Matt Wolf’s documentary adaptation of Jon Savage’s book, Teenage: The Prehistory of Youth Culture: 1875-1945, is more of a visual collage than a traditional documentary. Certified Fresh at 74 percent, Teenage uses archival footage and filmed recreations to tell the true story of four teenagers in the years building up to World War II. Narrators (including Ben Whishaw and Jena Malone) read excerpts from Savage’s book — much of which was taken from diaries and newspaper articles — to bring these four examples to life. A haunting musical score by Atlas Sound ties everything together, and the film ends with a montage of archival footage from post-1945 that celebrates the exuberance, despair, passion, and hope that comes during those tumultuous teenage years. While Teenage might not be for everyone, it’s definitely not like any other documentary you’re going to see this year.

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Under the Skin 84%

Sarah Ricard, TV Editor

At the same time that she was kicking supervillain ass as Black Widow in Marvel’s blockbuster Captain America: The Winter Soldier, Scarlett Johansson was also quietly burrowing her way into the gloomy outskirts of Glasgow, Scotland as a mysterious, beautiful, and dangerous stranger in Jonathan Glazer’s Under the Skin. Laura, whose name is easy to miss, drives a van through town seducing male strangers into coming home with her. While the men can’t believe their luck, they ought to remember that some things are too good to be true. Going home with a gorgeous woman, only to find that her apartment is actually an infinite quagmire of black goo, should be something of a real red flag. Under the Skin may frustrate many on account of its equally gooey pace and almost-too-subtle plot, but Johansson’s performance is at once beguiling and creepy, leaving you with two questions by this mesmerizing and shocking film’s end: What the heck did I just see? And when can I see it again?

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We Are the Best! 96%

Ryan Fujitani, Editor

Coming-of-age films are a dime a dozen these days, but the vast majority of them — even the comedies — seem intent on filtering adolescence through the adult lens of wistful, melancholy nostalgia. This is one of the reasons why Lukas Moodysson’s We Are the Best! feels so refreshing, even as its themes ring familiar. Set in the early 1980s but never cloyingly era-specific, the film follows a trio of outcast middle-school girls in Stockholm who come together to form a punk band, and it never devolves into the dire melodrama or awkward sexual awakenings of its genre kin. Instead, We Are the Best! embraces the joyful, devil-may-care rebellion of youth in all its ephemeral glory, best illustrated by the scene when the girls panhandle for change to pay for a new guitar, only to spend all their money on a candy and ice cream binge. There are some ups and downs in the movie, to be sure, but Moodysson’s affection for raucous Klara, sheepish Bobo, and demure Hedvig is so clearly on display that I’m inclined to declare you heartless if you don’t at least crack a smile when the girls finally break out into the titular chant.

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Whiplash 94%

Matt Atchity, Editor in Chief

It’s easy to understand why Whiplash got a little bit lost when it was released in October; it was a small film overshadowed by wider releases, and its leads (Miles Teller and J.K. Simmons) aren’t exactly box office draws on their own. But this film absolutely deserves all of the accolades its received so far, including the Grand Jury Award at the 2014 Sundance Film Festival. Miles Teller plays a talented drummer studying at a New York music conservatory who falls under the sway of a tyrannical bandleader, played by J.K. Simmons. The movie explores artistic achievement and obsession in a way that will have you on the edge of your seat, as Simmons and Teller repeatedly face off on the bandstand. The movie features an especially chilling performance from Simmons, balancing charm and abuse in equal measure. Sure, the movie takes a bit of license with jazz history, but the tense and thrilling climax will stick with you long after the film is over.

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This week on streaming video, we’ve got Bryan Singer’s return to the X-Men franchise, an underseen animated film, an indie comedy, an acclaimed coming-of-age film from Sweden, and a retro space drama currently in theaters. Then we’ve got some new additions to Netflix, including a Star Trek film and a John Grisham thriller starring Tom Cruise. Read on for details:


X-Men: Days of Future Past
90%

This time out, Wolverine (Hugh Jackman) goes back in time to prevent an assassination that, if it’s carried out, will lead to the creation of a new weapons system that threatens the existence of the X-Men — and potentially, all of humanity.

Available now on: Amazon, iTunes, Vudu


Mr. Peabody & Sherman
81%

Canine genius Mr. Peabody (voiced by Ty Burrell) and his adopted charge Sherman (Max Charles) use the WABAC machine to travel back in time and ensure that history’s greatest moments happen as they should. However, when Sherman takes the machine for a joyride to impress a classmate, it’s up to his doggie guardian to rescue him.

Available now on: Amazon, iTunes, Vudu


We Are the Best!
96%

This Certified Fresh dramedy is the tale of three Swedish teenagers who start a punk band.

Available now on: Amazon, iTunes, Vudu


Obvious Child
90%

Jenny Slate, Gaby Hoffman, and David Cross star in this Certified Fresh comedy about a stand-up comedian who discovers she’s pregnant just as she loses her job and her boyfriend.

Available now on: Amazon, iTunes, Vudu


Space Station 76
68%

Patrick Wilson and Liv Tyler star in this dramedy about romantic and professional entanglements among the crew of a retro spacecraft.

Available now on: Amazon, iTunes, Vudu


Star Trek IV: The Voyage Home
82%

The crew of the Enterprise explores contemporary San Francisco and talks to whales in on of the lightest and most enjoyable of the Star Trek films.

Available now on: Netflix


The Firm
75%

Tom Cruise, Jeanne Tripplehorn, and Gene Hackman star in this adaptation of John Grisham’s novel about an ambitious young attorney who discovers that his firm is involved in a bunch of shady dealings.

Available now on: Netflix


The Suspect

This politically-charged action thriller is the tale of a former North Korean spy who’s framed in the murder of a wealthy businessman.

Available now on: Netflix


The Music Never Stopped
67%

J.K. Simmons and Lou Taylor Pucci star in this drama about a father who attempts to treat his son’s brain ailment with music.

Available now on: Netflix

This week on home video, we’ve got Seth Rogen and Zac Efron facing off in a comedy, Guy Pearce and Robert Pattinson facing off in a post-apocalyptic road film, and Brenton Thwaites and Laurence Fishburne facing off in a sci-fi thriller. Then we’ve got the requisite smaller releases, a ton of recent TV seasons (and one complete collection of a popular sitcom), and three big horror franchise sets. Read on for details:



Neighbors

73%

With hit projects both as director (Forgetting Sarah Marshall, Get Him to the Greek) and writer (the two recent Muppets movies) under his belt, it might be surprising to learn that Nicholas Stoller’s most successful film to date was Neighbors, a raunchy comedy that opened one week after The Amazing Spider-Man 2 and one week before Godzilla. Pitting Seth Rogen against Zac Efron, Neighbors follows a young couple with a newborn baby who find themselves at odds with their new neighbors when a fraternity moves in next door. Most critics found the comedy surprisingly sturdy, if a bit vulgar, and praised its game cast, which included supporting turns from Rose Byrne, Dave Franco, and Christopher Mintz-Plasse. Special features on the disc include the requisite gag reel and deleted scenes, alongside a handful of making-of featurettes.



The Rover

66%

Australian director David Michod’s 2010 film Animal Kingdom was a powerhouse debut, so it wasn’t unreasonable to set expectations high for his follow-up, The Rover, which opened in limited release back in June. While the latter wasn’t quite the critical darling its predecessor was, it still managed to impress critics to the tune of 66 percent on the Tomatometer. Utilizing the Australian landscape as a post-apocalyptic backdrop, The Rover stars Guy Pearce as Eric, a lone drifter who gets carjacked by a gang of combative thieves. In search of leads, Eric runs into Rey (Robert Pattinson), the brother of one of the thieves, and the pair set out across the desolate landscape to locate Eric’s car, encountering trouble along the way. Moody and violent, The Rover struck most critics as a stylish exercise in ambiguity, with a relatively thin story held aloft almost entirely by its stars’ compelling performances. Only one bonus feature comes with the disc, and it’s a 45-minute making-of doc.



The Signal

61%

Films that rely on sustained tension in service of a big final payoff are difficult to craft; sometimes, they’re more confusing than they need to be, and sometimes the anticipated twist is underwhelming. Unfortunately, there were enough critics who found both to be true for The Signal that the film mustered only a mediocre 55 percent on the Tomatometer. The story revolves around a trio of MIT students (Brenton Thwaites, Olivia Cooke, Beau Knapp) driving across the Southwest whose road trip takes a detour when they begin to receive taunting messages from an MIT hacker. Before they are able to confront their nemesis, however, they black out and find themselves trapped in a mysterious research facility, unable to explain what happened. Critics found The Signal ambitious and initially intriguing, but felt it could have used a lot more narrative finesse to deliver its climactic reveals. The film comes with a feature commentary with the director and writers, some deleted, extended, and alternate scenes, and a behind-the-scenes doc.

Also available this week:

  • Lukas Moodysson’s Certified Fresh Swedish import We Are the Best! (97 percent), about a trio of punk-rockin’ teenage girls growing up in 1980s Stockholm.
  • Claude Lanzmann’s documentary The Last of the Unjust (97 percent), which utilizes archived interviews from 1975 to tell the story of Benjamin Murmelstein, who helped thousands of Jews escape capture by the Nazis.
  • Pawel Pawlikowski’s Certified Fresh Ida (95 percent), about a nun who discovers a dark family secret just before she plans to take her vows.
  • The Calling (50 percent), starring Susan Sarandon and Topher Grace in a thriller about a detective in a small Canadian town tracking down a serial killer with a bizarre trademark.
  • Very Good Girls (17 percent), starring Dakota Fanning and Elizabeth Olsen in a coming-of-age film about a pair of graduating high schoolers who fall for the same boy.
  • Season three of the Emmy-winning drama Scandal (100 percent), starring Kerry Washington as a high-powered fixer.
  • Season two of Nashville (100 percent), starring Hayden Panettiere and Connie Britton as dueling Country music divas.
  • Season two of Defiance (100 percent), SyFy’s action-drama set on Earth in the distant future.
  • The Certified Fresh first season of Brooklyn Nine-Nine (83 percent), starring Andy Samberg and Andre Braugher in a “workplace” comedy set in a police station.
  • The fifth season of Emmy darling Modern Family (83 percent) is out on DVD.
  • Season one of sci-fi series The 100 (72 percent) is available on DVD and Blu-ray.
  • The third season of Comedy Central’s sketch comedy show Key & Peele is available on DVD.
  • We’ve got two new releases from the Criterion Collection this week: Roman Polanski’s 1971 adaptation of MacBeth (84 percent), and Jack Clayton’s 1961 supernatural thriller The Innocents, starring Deborah Kerr in an adaptation of Henry James’s Turn of the Screw.
  • And lastly on this week’s list, we’ve got three horror franchise sets on Blu-ray going on sale. First up is Halloween: The Complete Collection on Blu-ray, which includes all ten films in the series, a collectible booklet, and tons of special features.
  • Next, there’s Saw: The Complete Collection. There isn’t a whole lot of information available on the special features, but the set is only three discs, so there may not be any. That said, it’s selling for $25, which is a great price for seven movies.
  • And last but not least, we have The Exorcist: Complete Anthology. Again, not much info on the bonus features, and sure, the sequels weren’t all that great, but if you’re a collector, this is another good deal at just under $30.
This week at the movies, we’ve got a legendary villainess (Maleficent, starring Angelina Jolie and Elle Fanning) and some silly cowpokes (A Million Ways to Die in the West, starring Seth MacFarlane and Charlize Theron). What do the critics have to say?



Maleficent

54%

In the past few years, audiences have been treated to a tough-as-nails Snow White, an emotionally complex Snow Queen, and, ahem, Hansel & Gretel: Witch Hunters. Maleficent offers a more sympathetic take on the evil fairy queen from Sleeping Beauty, but critics say that an outstanding performance from Angelina Jolie and some striking visuals can’t redeem the movie’s slack narrative and uncertain tone. Maleficent (Jolie), a powerful fairy, is betrayed by a childhood friend, who becomes a king; in turn, she places a curse upon his daughter. As the child grows up, however, Maleficent reconsiders her feelings, even as the king plots her destruction. The pundits say Maleficent deserves credit for putting a feminist spin on an old tale, but the movie can’t quite live up to its thoughtful premise — or Jolie’s inspired work in the title role. (Check out this week’s Total Recall, in which we count down Jolie’s best-reviewed movies, as well as our video interviews with Jolie and other members of the cast.)



A Million Ways to Die in the West

33%

Some comedies fail because they’re short on gags. On the other end of the spectrum, critics say the problem with A Million Ways to Die in the West is that it has too many — writer/director/star Seth MacFarlane packs so many jokes into this Western spoof that the most inventive comic moments are often elbowed aside by scatological smuttiness. MacFarlane stars as Albert, a cowardly rancher in a wild west town who falls for Anna (Charlize Theron), who’s handy with a gun. However, Anna is married to a wanted outlaw, and soon Albert is in his crosshairs. The pundits say A Million Ways to Die in the West has an appealing cast and some really big laughs, but overall, it’s a few notches below its obvious inspiration — Mel BrooksBlazing Saddles. (Flip through our gallery of memorable Western comedies.)

Also opening this week in limited release:

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