Still to Come: 15 Films to Look Out for During the Remainder of 2013

2013 is, in my eyes, almost over. Awards season has (sadly, oh god I miss it so much) been and gone, and we're gradually leaving the Summer Blockbuster period and edging into Autumn. Which, in my eyes, is only a good thing. Aside from being the best season, Autumn always offers two distinctive types of film - nice little indies and big, heavy Oscar contenders. While of course there are many, many films still to be released throughout the remainder of the year, existing in many different genres, here are a few of the gems you can look out for in your local cinema in the months to come.

About Time - 4th September

For some reason, I feel like I should apologize about wanting to see this, and I'm not sure why. Richard Curtis, director of two of my ultimate guilty pleasure films, gives us his third offering, a nice, cute little English film about a man who can time-travel and (obviously) uses it to manipulate his lovelife. I'm not saying that this is a mindblowing film, far from it in fact, but it looks sweet and the trailer makes me laugh, and sometimes that's all I look for in a film.

Ain't Them Bodies Saints - 6th September 

I'm a little wary about this one, for one reason and one reason only - the Terrance Malick comparisons. Ever since this film previewed at Sundance, it's been laden down with comparisons to Malick, man of the trees. As long as they're not comparing to it To the Wonder, which was absolutely dire, I'm sure I'll get along just fine with it. And judging by the film's trailer, it certainly seems to have a lot more in common with Malick's debut film, Badlands, which as we all know, is a beautiful film about a young couple on the run. And, on the plus side, there aren't too many trees in it. Rooney Mara and Casey Affleck play this film's star-crossed lovers, cruelly separated after a run-in with the law. Years later, Affleck's character, Bob, has escaped from prison, eager to be reunited with his wife and infant daughter that she was carrying when he was arrested. Even if this isn't up to scratch plot-wise, it looks absolutely stunning, and, more importantly, has a really really good title.

Blue Jasmine - 29th September

Ah, Woody Allen. Once king of films about the bourgeoisie white American, your crown is certainly slipped in recent years. (Although I will defend Midnight in Paris to my grave if I have to) Yet here, perhaps, is a chance for a comeback. Starring Cate Blanchett (so you at least know the acting will be good) as the titular Jasmine, a washed-up and depressed woman whose husband has just been sent to prison for fraud and so ends up living with her estranged half-sister and husband in San Francisco whilst sinking into an ever-deeper funk. So far, so Streetcar Named Desire, but according to critics, this is Allen's return to the A-game, so I'm willing to give it a try. Plus, the cast is so utterly eclectic and bizarre that I'm intrigued to see if he can pull it off.

The To-Do List - 4th October

This may not be the most sophisticated film in the world, but let's appreciate it for what it is - a rare Cumming of Age (sorry sorry sorry sorry) tale told from a female point of view. DIRECTED BY A WOMAN. Starring Aubrey Plaza, Donald Glover and Alia Shawkat. Set in the 90s for some reason. No matter how bad this film is, I am already sold. From this point in the list, things start to get a bit heavy, so let's all savour this cheery film before we sit down to watch three hour long French lesbian dramas, (no matter how amazing they may sound/look) okay?

How I Live Now - 4th October

Ah, the first film about incest in our list. (Never mind) Meg Rossoff's Coming of Age tale has been one beloved to my heart ever since I read it at an really inappropriately young age, so naturally, I have reservations about this one. But, on the plus side, this film has several things working in its favour. Kevin McDonald is actually quite a good director, just look Last King of Scotland for an example. Saoirse Ronan is always pretty fabulous, no matter what she's in. And, on a more personal level, this was filmed at my friend's grandparent's house, which is pretty cool! This could easily be another dull dystopian lovestory or it could be a lot more than that. Purleeease let this be the latter.

Prince Avalanche - 4th October

I didn't realise that David Gordon Green was the guy who did Pineapple Express and Your Highness, what a bizarrely eclectic list of films to have directed. Here he seems to go a bit more back to his roots (his first film, George Washington, looks a lot more mediative and serene rather than loud and focused on weed-smokers) with this charming tale of two men in the 80s left alone in the wilderness to paint roads. Like a less homoerotic Brokeback Mountain, with Paul Rudd doing fishing. What more do you want, really?

Short Term 12 - 1st November

Okay, NOW we are getting into potential Oscar territory, so one might hope anyway. I only watched this trailer recently but it looks like a proper film, one that doesn't deliberately attempt to manipulate a viewer's emotions in order to pack a punch and win awards (like, say, the films of Lee Daniels) but manages to evoke emotions in a more natural and cathartic way. To put it simply, this looks like the sort of film that will make me cry. Brie Larson looks absolutely wonderful in this, and absolutely unrecognizable from more gimmicky projects such as Scott Pilgrim and 21 Jump Street. This definitely looks like it could be her chance for recognition, and maybe even some awards, but then again people said that about Mary Elizabeth Winstead in Smashed last year and that kinda really didn't happen. So who knows.

Gravity - 8th November

I really want to see this film, but god, just the trailer for this scares the bejesus out of me. And not just because of Sandra Bullock's grunting. So basically, George Clooney and Sandra Bullock are lost in space. That's pretty much it, but who cares because look how cool it looks! The opening shot in this film is supposed to be out of this world, (sorry) one veeeery long take, or so I'm told. Plot-wise it looks a bit thin, but hopefully it's all being held under-wraps, and if not, I'm sure the amazing visuals will at least keep people entertained.

The Counselor - 15th November

This is worth seeing for Javier Bardem's latest wacky hairstyle alone, surely? This actually looks great, penned by Cormac McCarthy, bestselling Chick-Lit writer, (author of the books that The Road, There Will Be Blood and No Country for Old Men are based on) Michael Fassbender (getting a chance to really show off his crazy eyes) plays a counselor drawn into lots of danger and explosions and things I don't really understand in order to afford the money to propose to and marry his girlfriend, played by Penelope Cruz. He soon gets involved with Javier Bardem and Brad Pitt's shady characters, and everything kicks off basically. I'm sure it ends well though.

Don Jon - 15th November

Apparently bored of being able to act, write, sing, dance and speak fluent French, (I was a tad obsessed back when 500 Days of Summer came out, I'm afraid) Joseph Gordon-Levitt has now turned his hand to directing. Don Jon, his debut, features JGL as a modern-day Don Juan, who, despite falling madly in love with his new girlfriend, suffers from a hidden porn addiction. Unlike most addiction dramas, especially those veering into the sexual side of things, this doesn't look too heavy, and seems to be offering a fresh and modern perspective into both romance and porn.

Blue is the Warmest Colour - 15th November

Ah, the aforementioned three-hour long French lesbian romance. When I heard about this film before Cannes, I really reeeeally didn't think this would be my cup of tea, but after hearing amazing reviews, it's actually become one of my most-anticipated films of the year. Supposedly made strong by an absolute powerhouse performance from the lead, Adèle Exarchopoulos, (this year's Quevenzhane Wallis in terms of unpronounceable names?) the film could perhaps reach the level of acclaim that Brokeback Mountain has in terms of a deep and meaningful portrayal of a gay couple.

Oldboy - 6th December

This sits on this list more out of pure curiosity than me actually wanting to see it. I was forced to watch the original Oldboy by my drama teacher towards the end of Secondary School (so very very inappropriate) and, after a subsequent viewing, I'm not sure that I like it, but would definitely recommend it to friends as a film that you have to see before you die, for all its tricks and turns. The film is pretty much everything that Spike Lee isn't - subtle, mysterious, horribly violent - but in past years, Lee has experimented more with other genres, so there is a very slim chance that he may pull it off.

Anchorman: The Legend Continues - 20th December

AAAAAAHHHHHHHHHHHHHHH. I literally haven't been able to talk to anyone about this film this year without screaming, no matter how well I know them. I think Anchorman is my most-watched film of all-time, and I am beyond excited. It will probably be shit but still. STILL.

American Hustle - 20th December

Considering Silver Linings Playbook, which was nice and all but not really Oscar-worthy, I am very surprised by how good this looks. I don't know who edits trailers these days, but somebody is doing a fine job. Then again, there is next to no dialogue in this, so all the scenes with actual talking in, may be terrible. But I feel like this will be worth it just for how dramatic it looks/ridiculous beards/fabulous outfits on Amy Adams and Jennifer Lawrence.

August: Osage County - 26th December

This looks like Oscar-bait, pure and simple, but I couldn't really think of anything else to put on this list, and it has Meryl Streep in, so it will at least be vaguely decent, and will probably involve Meryl bringing her A-game acting wise. Do we really need any other reasons to see it?

Grace Barber-Plentie

Review: The Way Way Back

While it may not be the most exciting or even original of films, there is something about a good independent Coming-of-Age film that will always draw me in. From the classics of John Hughes, to Terrance Malick's beautifully haunting Badlands to the more recent The Wackness and Adventureland, these films are able to perfectly capture the highest highs and lowest lows of being a teenager and finally finding your place in the world. 

Following the traditions of this genre, The Way Way Back certainly isn't the most original premise, yet it's held together by a nice script, a brilliant cast, and a feeling, even in its darkest moments, that everything is going to turn out alright. Written and directed by Nat Faxon and Jim Rash, (otherwise known as Community's dressing up fanatic Dean Pelton) who won Best Screenplay at the Oscars for The Descendants, a film which similarly managed to mix sad revelations with moments of pure joy, (although in my humble opinion, The Way Way Back is by far the better film) the film follows 14 year old Duncan as he is dragged on holiday with his mother and her all-round awful new boyfriend (Toni Collette and Steve Carrell, novices of the indie film after Little Miss Sunshine) but manages to find joy through a job in a run-down local water park. If you're thinking that this premise sounds very similar to 2009's Adventureland, then you would not be wrong, however while Jesse Eisenberg and Kristen Stewart's romance is a major plot point in the latter, The Way Way Back puts young love more to one side, choosing instead to focus on Duncan's relationship with the park's boss, Owen.

What really sets this film above others and in the same league as other indie hits such as Little Miss Sunshine and Juno (coincidentally, all three films were released by the same studio) is its cast. Carrell and Collette may be billed above the others, but Sam Rockwell is, as usual, the real star, absolutely stealing every scene he is in, flicking between boyish humour, and a caring, more fatherly side as he takes Duncan under his wing. But that's not to discredit the rest of the cast - Carrell is absolutely loathsome, a rare role for one of Hollywood's leading men, but he plays it well. Toni Collette and Maya Rudolph are likeable and natural as ever in their roles, even when they are forced to nag and whine about the immature men that they are with. And Liam James is so understated and toe-curlingly awkward as Duncan that you begin to wonder whether he is really acting. 

It is unlikely that The Way Way Back will be lauded the best film of the year by critics. Nor does it seem likely that it will be rewarded at next year's Oscars. But regardless of this, it is the sort of film that will undoubtedly go on the live the same kind of legacy as the sunshine-filled, bittersweet indie films that it has been compared to. And quite rightly too.

Grace Barber-Plentie