10 Movies you need to see not titled Hobbit, Hunger, or Horrible

I was trying to come up with a good title, and didn't want to exclude the two blockbusters and one comedy that will likely rule the winter box office. Here are 10 films you need to see between now and January 1st, and why.

Fury - David Ayer is a hit or miss writer/director with such films as End of Watch, Training Day, Harsh Times, Sabotage, SWAT, and Dark Blue under his belt. See a trend? He takes his wheelhouse to a whole new level with the help of what appears to be a stellar cast, led by Brad Pitt. A World War II tank crew find themselves stranded in Nazi Germany and have to fight their way out. His films have a way of killing off main characters/protagonists pretty frequently, so expect the unexpected as it comes to a conclusion. There hasn't been a good tank action film in awhile (ever?), and Pitt was exceptional in Tarantino's Inglorious Basterds, so it should be a very entertaining film.

Whiplash - I'm hearing a lot of buzz about Whiplash. Particularly the acting of Miles Teller as the drumming protege, and JK Simmons as the angry mentor. The director, Damien Chazelle is new, but this is a very intriguing character study and relationship around the pursuit of musical perfection. It's something different, but likely will garner some awards talk.

Birdman - Alejandro Gonzalez Inarritu is a fantastic director, part of the trio of Hispanics who hit the scene hard in 2006 with his film Babel (Guillermo Del Toro's Pan's Labrynth and Alfonso Cuaron's Children of Men were the other 2). Michael Keaton plays an aging former film star whose Birdman hits very close to home in its verisimilitude. Keaton played Batman all those years ago, and although he's had a successful career, there are more than a few parallels from what I hear. The fascinating thing about Birdman however, is Inarritu's decision to film it seamlessly. The sequences are in some cases up to 10 minutes long, and the whole film appears as one long take. It was a big deal when Brian De Palma did an extended opening sequence with Snake Eyes, and it's been attempted in the past, but with technology, it just might work. Either way, I'm excited.

Nightcrawler - Jake Gyllenhaal continues to make great choices, and Nightcrawler just might be a vehicle good enough to get him a Best Actor nomination. He's due, and playing a gaunt, aspiring crime journalist who gets a bit too involved in his scenes, this might be the film to get him into the top 5. The film has potential to lose audiences due to content, and director Dan Gilroy's inexperience (he's married to Rene Russo, also starring in the film). Look for a strong performance nonetheless.

Interstellar - Anything Christopher Nolan touches turns to gold, and this just might be the second coming of 2001. His vision has no limitations, and with an A list cast, good word of mouth, and an astronomical budget, this will be THE sci-fi film of the year. Of course, it's one of the only sci-fi films of the year, but that doesn't matter. It's one of the most difficult genres to do well, but Nolan is the master. This will be a must-see. Probably in IMAX and/or 3D to achieve maximum enjoyment.

Foxcatcher - Oscar nominee Steve Carrell. Yep, it's going to happen. This film has been on the shelf for over a year, but Bennett Miller (Moneyball) is carving a niche as the dramatic sports biopic champion. Carrell, in heavy makeup, plays John DuPont, the millionaire heir who sponsors the Schultz brothers (Channing Tatum and Mark Ruffalo) to train for Olympic wrestling. There is murder, deception, and the truth is stranger than fiction, but one thing is for certain; Steve will have at minimum a Best Actor Academy Award nomination.

Wild - Who was the biggest snub last year? There are arguments, but I would say Dallas Buyer's Club director Jean Marc-Vallee. He champions two actors to Oscars and isn't nominated himself. Shame. Anyhow, he might be the next David O. Russell, and this time his film follows Reese Witherspoon as a woman on an 1,100 mile solo hiking journey to find herself. Sounds very Kerouac, but reminds me of Krakauer's Sean Penn adaptation Into the Wild (Emile Hirsch was robbed). It seems to be one of the only noticeable strong female performances slated at this point, but we will see.

Inherent Vice - Paul Thomas Anderson films are mesmerizing. They are so deliberate and noir that you are sucked into the setting and just plain captivated by the performances. His use of music, and sucking the best possible characters out of his actors is unmatched in the industry. Joaquin Phoenix headlines his latest concoction, playing a seedy detective in 1970's LA. It's not likely to be accepted by the masses as PT Anderson normally isn't, but it will surely be admired.

American Sniper - Films aren't often moved up into December from January, but American Sniper is gaining some attention for its performance by Bradley Cooper. Clint Eastwood is one of the greatest directors in the game, and this biopic is a little bit Hurt Locker and a little bit Lone Survivor as Navy SEAL sniper Chris Kyle recounts his tours in Iraq and Afghanistan over a ten year period. He came to be known as "The Devil" by his enemy, and was respected among his military brethren capturing the honor of having the most confirmed combat kills in American history. Heavy stuff, and a great biography. Sadly and ironically, Kyle was killed a few years ago at a gun range in his hometown in Texas. After retirement and documenting his story, he took to helping soldiers deal with their PTSD by taking them to his gun range. One of them turned a gun on him, killing Kyle. Bradley Cooper will certainly receive a nomination for his performance.

Unbroken - The true story of Louis Zamperini, underdog survivor of childhood delinquency, athletic competition, WWII combat, survival at sea, and an extended stay in a Japanese POW camp. Unbroken is based on the novel by Laura Hillenbrand and is directed by Angelina Jolie. The screenplay was written by the Coen Brothers, which is a very exciting prospect for me. They are one of my favorite film making teams. The cast isn't headlined by anyone recognizable, but Jack O'Connell might become the next big thing if everything works out for him. This could be the film to beat for Best Picture, making Angelina Jolie a front-runner for Best Director right off the bat.

Gone Girl

The latest pop-culture darling novel-turned film pairs Gillian Flynn with master adapter, David Fincher. The novel, Gone Girl has been a runaway success and it was only a matter of time until it was made into a film. Much like the Girl with the Dragon Tattoo, the book isn't all that captivating. I may ruffle some feathers, but I was disappointed in the ending, and didn't find myself wishing for anything but unhappy endings for the two main characters. Perhaps that is the point. Fincher captures that emotional abyss in a way that only he can; The ominous direction, dark settings, and matter-of-fact characters that are all the hallmark of his craft. It's the brave, first serious contender to foray into awards territory this year, which usually is a curse, but I wouldn't be surprised to see a handful of nominations.

Nick (Ben Affleck) and Amy Dunne (Rosamund Pike) are an educated, middle-class married couple transplanted from the busy high life of New York to a slow, Americana-esque town in Missouri. The story follows a short span of time from the day of their 5 year anniversary on a sweltering 4th of July through the summer, in dramatic fashion. Over those long few weeks, Amy mysteriously and under suspicious circumstances disappears. As is customary in missing persons cases, Nick, the husband, is the prime suspect. The story is told in two parts with flashbacks thrown in the mix. It's a he said/she said thriller from start to finish, and the ending is something you might not see coming, but will certainly polarize audiences.

Don't read the book first. If you have, you will be impressed by Fincher's attention to detail and Flynn's seamless adaptation of her own material. If you haven't, you will enjoy a wild psychological thriller that highlights the highs and lows of marriage and showcases the idea that you never really know someone, even if you've been sleeping next to them for years. The book builds to a crescendo, then crawls to the finish line in a lackluster final act. The film makes just enough slight changes at the end to satisfy the viewer in contrast to the written companion. Much like Dragon Tattoo, it's not an ending intended to wrap things up in a nice little bow, but when has Fincher ever shied away from leaving audiences hanging?

David Fincher is the greatest film maker not to have an Academy Award on his mantle. There, I've said it. You might make an argument for Christopher Nolan as a modern day visionary, but Fincher is consistently overlooked in the category best described as dramatic award bait. His two previous nominations are for The Social Network, and The Curious Case of Benjamin Button, and he will likely receive another nomination this year, but unfortunately he won't be celebrated yet again. Here's why. Fincher's films stand alone on a ledge. They are edgy, thrilling, beautifully accompanied by very intentional visuals and sounds, and he teeters on a darkness that is best seen in The Game, Zodiac, and Dragon Tattoo. Hell, Fight Club, Seven, and Alien 3 as well. Gone Girl follows this line moreso than The Social Network or Benjamin Button, and the source material is perfect for his style. His darkness will scare away the awards crowd. He is fearless in where he is willing to go with his films. I liken it to last year's Prisoners. I absolutely loved the film. It was one of the few daring and original films I can recall from 2013, but it got no love because of the graphic and possibly gratuitous nature of the story. Gone Girl and Fincher achieve this level of shock. The film plugs along nicely, a cute thriller about a cute couple, but then it delves into darkness. Not to the extreme of some of his previous films, but there is one particular scene maybe 15-20 minutes from the end that is classic Fincher, and really jumps at the audience out of seemingly nowhere. That scene is what makes this film an R rating, and what will cost him serious consideration. Hollywood loves a rebel, but usually rewards the darling. I think the film is better for it, but it's Fincher's Achilles heel.

Ben Affleck is a good choice for this role mostly because it's not a very complex character. Not to knock Affleck as an actor, but Nick is a bit of an everyman and Affleck fits. He is a more talented director than an actor, but people give him a lot of flack that isn't warranted. As Christian Bale's replacement as Batman in the upcoming Dawn of Justice, and eventually the Justice League, he will make or break his acting career, but with 2016's Live by Night, an epic Dennis Lehane film that may be the next Scarface, Affleck may just move into the directing stratosphere with the greats (if Argo wasn't enough). It's just too bad that he has cast himself as the lead role (should have gone to someone lesser known).

Rosamund Pike is perfectly cast, and steals the show as Amazing Amy. She's a privileged debutante who finds herself miserable despite outward appearances being perfect. Her New Orleans accent could use a little work, but otherwise she gives the performance of her career, and will undoubtedly receive an Oscar nomination, if not a win. It remains to be seen what her competition looks like, but she gets a nomination.

The supporting cast is highlighted by Neil Patrick Harris as the wealthy ex-boyfriend, a spectacular Kim Dickens and understated but very effective Patrick Fugit (where has he been since Almost Famous?) as the police tandem working the case, Tyler Perry as the gregarious and sleazy-chic defense attorney, Tanner Bolt (great sleazeball name), and Carrie Coon as Nick's only supporter, his twin sister Margot Dunne. It's a good choice all around by the casting director, and I was particularly drawn to the police duo's chemistry and banter. I would love to see Patrick Fugit build up his resume as he has grown up since 2000, and has been around Hollywood, but hasn't landed a leading role. He's ripe for something big right now.

The film has its flaws, it isn't perfect, but given the material and my opinion of the book, the production team does an outstanding job. Fincher is amazing as always, and Pike gives the best acting performance by an actress so far this year. Brace yourself for a shocking scene near the end, but otherwise, enjoy the thriller. You might enjoy it more (or less) if you haven't read the book, but it's worth the price of admission. Go see the first award-worthy film of the year. 9/10.