The Worst Best Movies of 2014

The most “overrated” movies of 2014, from “Nymphomaniac” to “Locke” to “The Double”.

There are critics, and then there are trolls. A troll is someone who enjoys raining on the parade, to take a beloved classic and tell you everything you thought you enjoyed about it was wrong. The troll only hates something because everyone else enjoys it, and the troll wants to define himself or herself by blazing their own path and forming an interesting, provocative opinion that challenges the status quo of their peers.

I’d hate to think that my opinion on an individual movie would completely define my own personality or my taste in film. That’s because each year, a number of highly critically acclaimed films come out, and not every critic can reasonably get behind all of them. In fact, some critics find a handful of films in this bunch downright bad, and they struggle to explain what all the fuss is about. It happens every year, with just about every movie. Yes, even “Boyhood.”

And yet each year, there are angry commenters who shun the first critic to break the 100 percent Rotten Tomatoes score, and there are people who aim to invalidate a critic’s entire reputation by saying, “How could you hate X and yet give a good review to Y?”

This year I found myself on the far end of a few of these critical spectrums; that doesn’t change the fact that I absolutely loved loved LOVED so many of the other critical darlings and cultural hits from 2014. Yes, that one too.

So take this list with a grain of salt. It’s not meant to be contrarian or say these movies are overrated. Just know that much as I disliked this small batch of films, they’re each admirable, ambitious and memorable in a way you could very well love. Just don’t hold it against me.

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Locke

Tom Hardy gives a fiery but misguided performance in Steven Knight’s minimalist experiment of a drama.

When Roger Ebert wrote that he could watch a Fellini movie on the radio, he meant it as a compliment. Steven Knight’s “Locke” feels like it was designed for one. It’s a labored, 85-minute long experiment in audio-visual (mostly audio) storytelling in which a man gets into a car, takes incessant phone calls, and drives. What aims to be a test of minimal storytelling ends up feeling like one long trailer. The headlights along the road always dance and try to set the mood, but “Locke” ultimately never arrives anywhere.

The man driving the car is Ivan Locke, played by Tom Hardy, and he is the only person who will appear on camera throughout the film’s duration. Upon leaving his job at a construction site as a foreman for pouring concrete, he makes a last minute decision and sets off driving from Birmingham to London, never looking back.

His destination? Locke is traveling to a hospital to visit a woman having his baby. Along the way he will speak with his wife and family waiting for him at home, his boss and colleague freaking out over how he’s abandoned a major job, and his mistress going through labor pains in the hospital. Continue reading “Locke”