in ,

Film Review: A Most Violent Year (★★★★)

Chandor orchestrates his finest effort, anchored by bravura turns by Oscar Isaac, Jessica Chastain, and Elyes Gabel…

amostviolentyear image

A_Most_Violent_Year_2At the Museum of Modern Art, New York audiences were treated to the “New York Premiere” of J.C. Chandor‘s “A Most Violent Year,” as a part of their Contenders 2014 series.  Chandor’s previous films “Margin Call” and “All is Lost” were also screened there over the years.  The former is a well-told story, which garnered Chandor an Oscar nomination for Best Original Screenplay.  The latter, was well-admired, featuring a beloved turn from Robert Redford, and only managed a single nomination for Best Sound Editing.  Chandor produces his finest effort yet with “A Most Violent Year” featuring two powerhouse performances from Oscar Isaac and Jessica Chastain.

Chandor gets his hands on some of the most talented and undervalued people in the film business for A24’s newest venture.  Cinematographer Bradford Young showed his best Terrence Malick-like aesthetic with his work on “Ain’t Them Bodies Saints,” probably his most recognized work up until now.  He showed his abilities and the depth of his scope with the little seen “Middle of Nowhere” from Ava DuVernay in 2012, and “Pariah” by Dee Rees from 2011.  His visual eye is simply remarkable, and what he captures in Chandor’s newest, is some of the DP’s most calculated and precise efforts.  New York City, 1981, is the backdrop of our film, but along with Young’s camera work, Chandor’s focused direction and storytelling, and an ensemble that resonates profoundly, a new character is created before our eyes.  Young inhabits the soul of that character.  New York, you haven’t felt this alive in cinema in quite sometime.

One year after delivering THE performance of the year with “Inside Llewyn Davis,” and being passed over by the Academy Awards and several major guilds, Oscar Isaac hits another one out of the park with his performance as Abel Morales, a man desperate to achieve the American dream.  Isaac, who is both complex and satisfying, is richly devoted and impeccably raw.  With his work on display, he shoots to the near top of today’s best working actors.  Isaac’s turn is easily one of the year’s most invigorating and most exciting character studies, revealing only real and believable behavior.  Intelligent, well-mannered, and downright fantastic, it’s one of the best performances of the year.

amostviolentyear_imageJessica Chastain sinks her teeth into another meaty role and bites down hard as Anna Morales, Abel’s wife.  Reminiscent of a mixture of Jacki Weaver in “Animal Kingdom” and Laura Linney in “Mystic River,” Chastain constructs an enigmatic woman, a Lady MacBeth-type, but with an authentic style that steals the show.  There are even elements that call back to something like Sharon Stone in “Basic Instinct.”   Definitely alluring, and inhabiting a sexiness you can’t teach in Julliard, Chastain keeps the audience in the dark but with a complete hypnosis.  She fixates on her motives with a terrifying determination, accompanied by a gritty script, and sets the screen ablaze word after word, minute after minute.

The rest of the supporting cast delivers in their brief moments on-screen including Albert Brooks, David Oyelowo, and Alessandro Nivola.  One of the great finds of the year, at least to those who appreciate a layered and bravura performance, is that of Elyes Gabel.  Making a living on CBS’s “Scorpion,” and with some remembering his work on the first two seasons of HBO’s “Game of Thrones,” I have to sadly admit to never hearing of him before (or realizing it was him).  As Julian, Gabel takes on a fully, fleshed out supporting turn, commanding our attention, and earning every second of screen time.  In a just world, we’d be talking about him as a serious Best Supporting Actor contender.  Gabel is a marvel to witness.

Composer Alex Ebert hits another career high with his score and original song titled, “America for Me.”  Ebert channels the tension of the scene within his composition, knowing exactly when to pull back, and hit the accelerator full force.

The film is a slow simmer, ferociously brought to a boil, before unleashing its fury in a third act that is fully engrossing.  Admittedly, it takes some time to wonder if the work is either earned or necessary.  I kept going back to the last few moments, wondering if what I saw was ultimately satisfying.  Days later, it stands out as one of the key scenes in film from the year overall.  There’s a brilliance to what Chandor decides to show and end in those moments.  Unpredictable, and maybe not the note that audience members will want to go out on, but completely guided.

A Most Violent Year” is one of the great modern crime thrillers, ultimately showing itself as one of the most enthralling experiences of the year.  I thoroughly believe that a true Oscar contender is on our hands in several categories.  Visibility, and a love for the movies, are the only requirements to enjoy this gem.  A great piece of art that all should treat themselves to.

Chandor’s film is being distributed by A24 Films and is scheduled to open in theaters on December 31.

Check out the Oscar Predictions and see where ‘A Most Violent Year’ ranks!


What do you think?

268 points
Upvote Downvote
Binge Watcher

Written by Clayton Davis

Clayton Davis is the esteemed Editor and Owner of Born in Bronx, NY to a Puerto Rican mother and Black father, he’s been criticizing film and television for over a decade. Clayton is a member of the Broadcast Film Critics Association where he votes and attends the kick off to the awards season, the Critics Choice Awards. He also founded the Latino Entertainment Journalists Association, the first Latino-based critics’ organization in the United States. He’s also an active member of the African-American Film Critics Association, New York Film Critics Online, International Press Academy, Black Reel Awards, and the Broadcast Television Journalists Association. Clayton has been quoted and appeared in various outlets that include The New York Times,, Variety, Deadline, Los Angeles Times, FOX 5, Bloomberg Television, AOL, Huffington Post, Bloomberg Radio, The Wrap, Slash Film, and the Hollywood Reporter.


Notify of

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Inline Feedbacks
View all comments
Mikael Faleiros de Albuquerque

So… Patricia Arquette at number 1 and Chastain at 2? Do you think there could be an upset?


So is the movie at the bottom still trying to fight for a spot to get in or is it almost a lock or is it too early to tell

Steve Glansberg

Great review! It’s interesting the first thing you go into is the cinematography. Where do you think Bradford Young ranks for a nomination compared to the other top prospects you’ve seen this year? And where does the cinematography rank on your personal list for the year?


Well done, Clayton! This is a great piece. Anyways, do Isaac & Chandor have a better or worse chance compared to last year?

Bruno Teles

With reviews barely mentioning Ejogo and Miller (and even a few negative ones for her), and Coon not campaigning (she’s in south africa and the dist. is not focusing any push on her). I think it’s pretty safe to move them to the bottom of top10, don’t u agree Davis? (I know u haven’t updated it yet)

Jamie Teller

I hope Ebert gets a nomination. He was really screwed over by the Academy (and he WON the Globe!).



Sizing Up 2014: Best Director

The Newsroom

‘The Newsroom’ recap: “Run” S3 Ep2