New York. 1981. The Big Apple drenched with a sickly green tinge. The crime rate is sky high. Murder, rape; you name it. This world is no longer the safe haven it once was. Our protagonist is Abel Morales played with total role commitment by Oscar Isaac. He tells us that "I spent my whole life trying not to be a gangster". An Anti -'Goodfellas' if you will. Morales must maintain his oil company. But that is becoming increasingly harder to do as crime reaches its peak and the police are weaker. He has to find new means of transporting his goods or will be faced with life or death consequences. His reputation is far from the only thing on the line.

What makes 'A Most Violent Year' work so well is its ability to thrill viewers, even if the title is somewhat misleading. There are dashes of murder here and there by nothing overtly violent. It pulls the viewer in, into its world of crime, deceit and death. This is largely due to its two stars Oscar Isaac and Jessica Chastain. It's like they were always destined to be an on screen duo. You buy that they are in love, that they are a couple, that they will do what is necessary to stay alive.

Isaac brings sophistication, confidence and ferocity to his character and fully immerses himself within it; a role completely different to that of 'Inside Llewyn Davis'. He relishes every second that he is in frame and is vastly becoming my favourite actor working today. If he engages in roles similar to the past few then there is no stopping his character defining roles. It is not hard to imagine him as a certain double o agent.

Chastain likewise impresses as Anna; a role that I had dismissed and was wrong to do so. She challenges anyone she sees as a potential threat even if it is her husband. Strong willed and minded; she knows better than anyone the danger of NY City. This is reflected perfectly in a scene where she discovers her daughter has possession of a handgun. She is shocked and her resolve hardens.

The script by J. C. Chandor who also directed the picture, completely understands character development and its importance in shaping otherwise forgettable cardboard cut-outs into life like people we care about as if we have known them our entire life. Engaging and multi layered character interplay is the key of a film such as this, that centres on many different characters with their own individual traits.

It goes without saying that these are some of the best characters from 2014; developed so well, that in fact I could watch them all day. They seem to leap off of the screen and inhabit characteristics that are not bound by the normal conventions of film and scriptwriting. It is a crime that this film was forgotten about at the Oscars and not just the performances and the script are perfection.

When you praise a film for its cinematography and many others, people mistake the praise for blandness. Not here. I have not seen a more sublime picture since 'Boyhood', consider that high praise indeed. Every shot is punctuated by cool blues and ugly greens bordering on illness. The composition is exquisite and carried out with precise attention to detail. How the Academy overlooked this factor is beyond me.

It can be that little elements in the film make it all the better and this is certainly the case here. The eighties as a time period works wonders and you can tell that the production team had fun. Everything from the art décor to the music has a historic feel to it and makes the film all the more unique.

Furthermore, the ominous music builds up as the tension increases; making it difficult for the fittest audience member to draw breath. Little factors such as these reap rewards for avid film-goers and no doubt will make the film even more majestic on repeat viewings.

A final factor that would be murder not to state is the editing. Low-key for the most part, later in the film it draws attention to itself and in one of the most impactful scenes. Two oil truck drivers are given separate jobs. We see them simultaneously and flit between the two. It becomes clear that matters are about to get bloody and I could not tear my eyes away from the screen. I have not seen editing as great as this since the baptism scene in 'The Godfather'.

It is slightly disappointing that the film can be too meandering at times. I feel that fifteen minutes would have tightened the picture and made it more impressive. But this is a minor flaw in an otherwise flawless film.

'A Most Violent Year delivers and splendidly. The film may not be for everyone, the impatient in particular. But for fans of intriguing storytelling, screen-defying characters and killer cinematography it most certainly is. I for one cannot wait to see what film J. C. Chandor works magic with next.