Very rarely does a film so authentically capture the bittersweet, infuriating, and most private moments of a relationship. Joe Swanberg’s ”Drinking Buddies” accomplishes this feat with flying, albeit, melancholic colours through the observation and dissection of multiple, interweaving bodies. Perhaps what’s even more disconcerting than the film industry’s inability to steadily and genuinely recreate films that display such universal emotions, is its refusal to acknowledge and rigorously promote the ones that do. Regardless, “Drinking Buddies” is poignant, funny, and adamant in its portrayal of disheartening, yet rewarding bonds. Tossed in alongside Swanberg’s swift, structural direction and marvellous performances from the entire cast. This whimsical, visceral romantic comedy has overcome its limited release and every obstacle thrown to steal even the most critical cinephiles heart.

Kate (Wilde) and Luke (Johnson) are good friends and co-workers and at a Chicago brewery. The two spend their days working and the nights drinking with their co-workers and significant others. And even though the two are very flirtatious with one another, they are very devoted and in love with their other halves. Kate is with Chris (Livingston) and Luke is with Jill (Kendrick). While Jill and Luke occasionally discuss marriage, they both agree the timing is not right. Soon, the two couples paths cross and they eventually become good friends. Having planned a weekend at a cottage together, the couples prepare for a night amongst the wilderness, but are soon faced with difficult, life-altering decisions and situations. Trust me, it’s not what you think.

Granted, there isn’t anything overly unique about the themes or settings, and the story is nothing we haven’t heard before. That being said, much like another dramatic rom-com released earlier this year entitled “The Way Way Back.” The familiarity and well-intended cliches sprinkled, intentionally throughout “Drinking Buddies” are overrun by subtle quips, endearing circumstances, and situational laughs carried out by enthralling, relatable characters and heavy, yet luminescent direction. Writer and director Joe Swanberg is superlative both behind the camera and on paper. This results in his most mature, complete offering to date, which is without question, his best. “Drinking Buddies” might come off a bit bland, appear uneventful, and the ending a little too ambiguous for those diluted by the horrid, hackneyed mainstream rom-coms. Nonetheless, to those who can handle the reality of looking in a mirror, “Drinking Buddies” is nothing short of spectacular.

What I find to be the most original and well-utilized aspect of “Drinking Buddies” is Swanberg’s ability to poke fun at our vulnerability and stupidity as we succumb to this illusive, complex, intangible cohesiveness called love. Which, by the way, Swanberg portrays effectively and genuinely. I mean, he isn’t simply degrading what ultimately gives our life meaning without direction or purpose. The hilarity throughout “Drinking Buddies” has definition and is a ”funny because it’s true” type of humour. While openly mocking our most weak, honest selves might seem a tad cruel. This film and its easily accessed connectivity is a much needed release, I’d even go as far as to brand it a muse. Although not out-loud, body-aching knee-slappers. Swanberg’s comedic prowess evokes an array of reaction and emotion that bewilders, uplifts, and saddens.

Speaking of cohesiveness, it is something Swanberg and his brilliant cast ooze with. Starring the striking Olivia Wilde and graceful Anna Kendrick alongside the flexible, yet formidable duo of Ron Livingston and Jake Johnson. “Drinking Buddies” has performers and performances that radiate with talent and believability.

Undeniably, Olivia Wilde steals the show. She’s funny, smart, beautiful, heartbreaking, just to name a few off the top of my head. I hate to sound like I’m firing off a list of cliched personality traits used in every romantic comedy ever, but I can’t deprive you of the truth. Jake Johnson is nearly as impressive as Wilde, but is outdone, minimally albeit. His performance bursts with the wonder and yearning of a kid in love, mid free-fall. Everything about him is relatable, truthful, hilarious, and empathetic. Anna Kendrick is massively effective in her supporting role. No matter how enraged and disappointed you feel towards her character, she always lures you back into understanding and leaves you completely smitten. Livingston, although the least used, arguably provokes the most diverse reactions. He gives a phenomenal, thorough performance without hesitation or regret.

Sweet, honest, and utterly entrancing. Joe Swanberg’s “Drinking Buddies” is the sleeper hit of 2013.

Drinking Buddies: 9 out of 10.

It wasn’t the first, nor will it be the last time this frequently treaded fable gets a slightly altered, cinematic treatment. Nevertheless, James Wan’s “The Conjuring” is a tension-filled, unrelentingly terrifying spook-fest that trades in buckets of gore and excessive violence for old-fashion scares that effectively and completely paralyze the viewer in fear. Complimented by a cast that fully invest in their characters and give it their all. “The Conjuring” is a devilishly authentic, heart-stopping haunted house story that is surprisingly and thankfully refreshing. While it may not be a universally acclaimed instant classic, it’s pretty damn close. There is no denying its solidness or steady stream of constsnt fright, nor the fact that Wan is one of the best in the genre currently and is heading in the right direction. “The Conjuring” is the creepy thought you try to forget, but can never quite shake.

In 1971, the Perron family move into a rickety, depleted farmhouse in Harrisville, Rhode Island. Soon, the family begins to experience strange events like unexplainable bruises, tugging, and the death of their dog. Later, one of the daughters is attacked by a mysterious entity and the Perron’s seek the help of Ed and Lorraine Warren, who are noted paranormal investigators. Upon arriving and searching the grounds, the couple come to the conclusion that there is an evil spirit dwelling inside the Perron family’s house. Now, Ed, Lorraine, and the Perron family must work with a few volunteers to rid their house of this malevolent spirit.

I’ve said it before and I’ll say it again. What makes a horror film genuinely   petrifying is the level of believability and empathy it’s characters are able to evoke from the audience. The more the viewer relates and sympathizes with the tormented, the more chilling, disheartening, and horrifying the tormentor and its results become. Wan has seemingly always understood this well, but it appears that in his most recent efforts such as “Insidious” and now “The Conjuring,” he’s eking closer and closer to perfecting this most necessary genre tactic. With “The Conjuring” Wan encases all his characters with this honest authenticity, even the paranormal entity. And what you’re left with is a complex cocktail of emotion and dread that bores down into the roots of the viewers. Effectively disengaging their ability to differentiate film from reality, ultimately allowing the film to transcend the screen and sincerely scare.

Whether you believe the hoopla surrounding “The Conjuring” to be true or not is basically irrelevant. The film is nightmarish enough on its own, let alone the addition of it possibly being fact. Of course I am talking about the real Ed and Lorraine Warren, their encounters, and the film’s source material. Apparently the film is a dramatic retelling of the Warren’s life-work, in particular the Perron family case. Essentially what I’m driving at is that “The Conjuring” is supposedly based on a true story. I’ve done some research into the couples storied history and their experiences, somewhere between enough to keep me informed and not scared half-to-death for the rest of my existence. And while I’ve never experienced first-hand interactions with the paranormal (I hope I never do). It seems as if they’ve had their fair-share of communication and physical clairvoyance with the paranormal, which is just…terrific. Now “The Conjuring” is even more utterly terrifying and startling. Obviously, research and judge for yourself.

There is a vast difference between being able to create subtlety and explosiveness and knowing how to use these facets to one’s advantage. James Wan is in complete control of his films and “The Conjuring” is no exception. Wan knows when to fluidly open a creaky wooden door and when not to. As simple as it may sound, a lot of filmmakers can’t effectively place even the most played-out and mundane of cinematic tactics, this is not the case with James Wan. His camera work is as swift and seamless as ever. Tossing some sly, simplistic scares into an old, rickety farmhouse with a few unnerving sounds here and there, in addition to a possession that rivals “The Exorcist.” Wan has spawned a haunted-house flick that looks primed to enter the horror canon soon enough.

Atmosphere and horror really do go hand-in-hand. A big reason for this is a mix of visuals with a beautifully ambient, yet unsettling score to accompany it. This is the second collaboration for James Wan and composer Joseph Bishara, who initially teamed up for 2010′s frightening hit “Insidious.” Although Bishara’s original soundtrack for “The Conjuring” isn’t as phantasmagoric or memorable as 2010s “Insidious,” it’s still fairly alarming and intoxicating. Check out all of Bishara’s work if you get the chance, a very talented man.

Of course, what horror film would be complete without its unfortunate victims? Someone to witness the door eerily crack open, hear a repetitive noise down the hallway, or succumb to a shadowy entity. Someone needs to keep the devil company and it surely isn’t me. Luckily “The Conjuring” has found its fair share of talented souls to deal with the paranormal. Starring Patrick Wilson, Vera Farmiga, Ron Livingston, and an unheralded, courageous supporting cast. James Wan and associates appear fortunate enough to have conjured up a cast as crazy and brave as they are. The Perron family, although portrayed well, is sparsely used. That being said, Livingston and his family do an outstanding job making the fear real and pull hard on the viewers heart-strings. Making for a meaningful and frightening ghost story.

It still astounds me how Patrick Wilson continually manages to fly under the radar. After giving brilliant performances in “Watchmen” and “Little Children,” in addition to a plethora of smaller, yet significant roles. You’d think that filmmakers would take notice of his talent and how he makes everything look so effortless. Nonetheless, Wilson gives another firm, heartfelt, and intimidating performance here and will hopefully proceed forward later this year when he teams up once again with James Wan for “Insidious: Chapter 2.” As for the other heavyweight, Vera Farmiga, I feel that she’s still flip-flopping. For an actress who has given immaculate portrayals in “The Departed” and “Source Code,” she still sprinkles an odd choice here and there. Don’t get me wrong, she’s terrific in “The Conjuring,” I’d just like to see a little more consistency.

Gleefully scary and decidedly heartfelt. James Wan’s “The Conjuring” is proof that the genre isn’t dying, even though it may feel like a blast from the past.

The Conjuring: 8.5 out of 10.