GP G.S. Perno

A Most Violent Year is this year's big Oscar snub. Overshadowed by flashier, more direct pictures, this intricate and innovative film is worth a watch.

A Most Violent Year may seem like yet another crime drama, full of violence and gritty thrilling action. In reality, it is none of those things, and because it ends up being contrary to expectations, it ends up as a pleasant surprise. Here is a film that counters the current trend of using more violence and/or nostalgia as a way to get its point across. Instead, it puts its characters in a constantly restricting box, and because the audience is able to connect with those characters, they also feel the pressure. As the intensity builds, the film approaches several moments where that intensity could be released in catastrophic fashion, yet it restrains itself. There is no release like we’ve been accustomed to in recent drama films. This decision against all hell not breaking loose is perhaps the biggest aspect of the film that many people may have a difficult time accepting, yet it is also what makes it unique and intriguing.

The intrigue is that A Most Violent Year is an anti-crime drama. It doesn’t revel in the moments where it features people breaking the law. Instead, it languishes in them. It frames its main character as someone who doesn’t really want to break the law, but due to circumstances, he has to. It preaches the old fashioned American dream, yet there’s a wink in its eye. It never really commits to revealing if the main character is truthful or not, leaving that aspect of the story up to the audience to decide based on their own interpretation of the events that unfold onscreen. This lack of commitment to black or white feels very refreshing. Here is a film that doesn’t define its character based on what he does. It defines that character based on what he doesn’t do. That is an important and common theme that can be expanded to describe the film’s brilliance overall. A Most Violent Year is impressive because it doesn’t allow its audience an easy out. It holds you captive and makes you find that way out.



Entertainment Value: Unlike a typical thriller, there isn’t much action or adventure to keep you at the edge of the seat. Instead the film builds suspense through tension, it's a slow burner through and through. As the film progresses, the tension just keeps piling up. This makes the film feel constricting, but that isn’t necessarily a bad thing. Because the audience also feels the pressure along with the characters, the film is engaging when those characters are fighting back against what is happening to them. On top of the atypical plot of the film, the performances in the film make it fun to watch. It is because of the performances that the audience roots for the main characters, even if they’re not sure they should be. Good (3.5/5)

Story: The story may be mostly devoid of action, but that doesn’t make it boring. In fact, the film stands out because its story is not necessarily what you would expect. It doesn’t need to go to those ultra-violent or ultra-dark places in order to make its point. Instead, it is a tale of survival upon which everyone can connect to. The plot is straightforward, and from a singular perspective, which makes it easy to follow, but not easy to predict. The dialogue is handled well in order to allow the audience to understand what the characters are thinking, which is important because so much of the plot evolves from ideas turned into plans of action. The film’s message of remaining true to yourself no matter the circumstances is important and different for your typical crime drama. Good (4.0/5)



Acting: Oscar Isaac plays the main character Abel Morales, who is featured nearly the entire time. As such, he becomes well known to the audience. Thankfully, Isaac’s performance is up to the task. He makes Morales a consistent and steady presence. As the film’s tension builds, we understand the stress he feels and admire the way he acts in such a difficult time. Jessica Chastain also puts on a great performance as Abel’s wife. She is supportive of her husband, but never afraid to speak her mind. Chastain gives the character both strength and weakness, which makes her feel like a real person. David Oyelowo plays an articulate DA in a way that is between crooked cop and local hero, which is impressive and fits the tone of the film perfectly. The rest of the cast is also very good, including Albert Brooks in a surprisingly dramatic role. Good (4.5/5)

Direction: J.C. Chandor is an up and coming filmmaker that I think more people should be taking notice of. With A Most Violent Year he proves yet again that he is an able writer, as well as, innovative director. For A Most Violent Year, Chandor’s direction is both interesting and meaningful. Throughout the film, he is always focused on his characters, but never so closely or completely that we lose their surroundings, which in this film are very important. One example of adding meaning to the film is a contrast between an early scene in the film and a later one. Early in the film the main character is inspecting a property. The entire time the camera is focused on him with the background blurred, as if to indicate an unknown or uncertain future. Later, when he returns, that background is revealed, and the character’s journey is complete. The film is full of interesting ideas like this that make it more than just a great story. Good (4.5/5)

Production: The film feels complete and cohesive thanks to excellent production. First, there is a lot of detail in the settings, costumes, props, hair and makeup. These things allow the audience to understand when the film takes place, but they also feel natural so they are not too distracting from the story or the characters. Second, the film’s cinematography is well done. It is cast in this almost dingy glow that adds to the tense feeling of the story but also isn’t too stylish to take away from the drama. The film is well constructed overall and keeps the audience engaged even if not a whole lot is going on. A Most Violent Year definitely feels like an Oscar snub. Because it doesn’t go to extremes it may not appeal to some people, but it features a lot of great work that deserves to be recognized. Good (4.5/5)

