Mary Queen of Scots (2019)

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“Orf with their heads”. This Queen of Hearts decree is an violent literary line and an unpleasant truth for real life figure, Mary Stuart. The lucid hijinks of Lewis Carroll’s creation may not be there but the duelling nature of power and the cartoon characters’ behaviour based on Mary’s temperament most certainly is.

After returning home to Scotland in 1561, Mary Stuart (Saoirse Ronan) takes over royal duties from her half-brother. Due to her blood line she has rightful claim to the throne in England, but that is taken by Queen Elizabeth (Margot Robbie). As the years pass by, the arguments of men tip the balance between the sisters and an heir borne by Mary could help her claim what she believes is rightfully hers.

Josie Rourke takes charge of this period drama and her theatre background is evident. She has been artistic director of London’s Donmar Warehouse since 2012 and her stage know-how helps give the film a theatrical buzz, something akin to that sensation you get when watching a live show. The shifting powers within the story are ones you could easily picture being acted out on stage, though for a film, there are times that the theatrical element feels like it’s a movie just ticking off each historical chapter like a scene in a play.

Rourke does show she has a great handle on the back and forth dramas of this politically laden period piece but at a few spots it feels like the director’s reins are slipping ever so slightly, as if the film is slowing down too much. Adding to Rourke’s confident handle on drama and actor management are some stunning visuals from John Mathieson; his work reflects the royal production value, with both England and Scotland looking gorgeous on screen. All in all, ‘Mary Queen of Scots’ is a glorious film to look at.

The costume and make up deserve our endless curtsies. The detail to be seen throughout this film is incredible, from jewellery to ruffled accessories, dresses, armour and hair pieces, the film is a marvel of fashion and 16th century period vision. It isn’t only the look of the people that stirs a pleasing response, the see-sawing political alignments between Protestant and Catholic, Scotland and England and Mary and Elizabeth are fascinating to watch on the most part. Shadowy whisperings in privy counsels are explored well, the way these men attempt to puppeteer the forces of the women they seek to serve are fleshed out nicely. On that note, this film is a tale for the ages which sits neatly within the current climate of power between women and men. Mary’s boldness is a trait we should respect and Elizabeth’s compassion and ailments are virtuous trademarks.

Ronan and Robbie are thoroughly compelling, their turns as rival women in charge are spellbinding, yet neither steals the show or feels like a person to root for over the other. It’s a film that sees them both somehow lost in a time of great heartache and civil unrest. Come their one and only scene together you can’t help but be truly lost in their performances, which makes their meeting amongst some hanging linen that much more resoundingly effective.

‘Mary Queen of Scots’ knows how to swirl together conspiracy, words of war and consequent bloodshed. If its story isn’t altogether cinematic and solidly formed you can rely on the talents of the two actors to get you through a turbulent time in history.

7/10

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Beautiful Boy (2019)

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Based on two memoirs; one from a father and the other from the son, this biographical film focuses on the uncertainty and pain of raising a child who has become severely dependent on drugs. If you consider the powerful content you’ll quickly realise how lacking ‘Beautiful Boy’ is, in terms of emotional heft.

All through their lives, David Sheff (Steve Carell) and his son Nic (Timothee Chalamet) have had a great father-son bond but with Nic now in his teens and putting off college, David’s worst fears are realised when he comes to understand Nic is taking a cocktail of different drugs to get through life and has become increasingly addicted to crystal meth. David hopes to learn more about the effects of meth and regain his son’s affections but he could end up losing Nic completely.

Felix Van Groeningen, in his first English feature as director, manages to capture some better moments in an otherwise disengaging film, these stem from the strains of family drama and the times we see Nic by himself, struggling to keep his face straight and wishing to escape a life he sees as black and grey. On the most part though this is a movie that doesn’t grip you at all and is far to carefully put together. The sheen of it all is not what a movie concerning this drug fuelled subject matter should possess.

Oh boy, there are some beautiful shots in this film but whereas they’d normally be a good quality for a feature, they become a glistening distraction from a story that needs to look and feel much grittier. Who would be standing out in the mist on a bend in the road under some perfectly crooked trees, what mum would be situated neatly in front of an oval gap on a balcony overlooking a neat skyline when discussing the tragic downward spiral of their son. It all looks to pristine, as if the film doesn’t know how to make itself grimier and more alarming to sit up and pay attention to.

‘Beautiful Boy’ is extremely lacking in emotional substance, call me cold-hearted but I just never found the film struck a chord with me. Usually a film with this sort of content would make me tear up, if not at least get misty eyed but instead without warning my eyelids wanted to rest and there was utterly no gut-wrenching impact from it. I doubt it’s my stony nature because I weep at more and more things, it’s likely because this film is a saccharine trip of melodrama with songs appearing almost every 5 minutes doing little to connect and more to guffaw at the attempt to elicit a sad response.

Chalamet is the biggest positive within the movie. It’s like only he knows the mood of the piece he’s involved in and he plays this troubled figure with a captivating touch. The trauma of addiction is felt every time he turns up on screen whereas the likes of Carell, Amy Ryan and Maura Tierney just can’t quite to reach the power of their young cohort.

‘Beautiful Boy’ is a film that is too clean for a worrying account on drug addiction. It is also one trying to be emotionally manipulative but when it cannot even manipulate to feel any emotion, that can never be good.

5/10

 

Black Mirror: Bandersnatch (2018)

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A Bandersnatch is a character cooked up by Lewis Carroll and is never explicitly detailed but it is meant to be a ferocious creature with snapping jaws. This Black Mirror film definitely reflects those fierce jaws with a snappy interactive feature carefully woven into the disturbing tapestry, of which you come to expect from Charlie Brooker’s dark look at technology.

July 1984 and Stefan Butler (Fionn Whitehead) is desperately hoping to program a video game based around a choose your own adventure book which he owns. He calls his creation ‘Bandersnatch’ and it’s modelled after the many different paths the user can take in building their own story through the game. As he works, Stefan has to deal with anxiety, past trauma, a deadline and the inescapable feeling that he’s not in control.

The ‘Black Mirror’ series is a crackling anthology; one with little in the way of weaknesses, only to be found in the later seasons. This is the first full length film to come out of the world mastered by Brooker. This time around he’s upped the anti and taken inspiration from those choose your adventure stories and during this movie you are presented with 2 options, what you pick could determine Stefan’s fate. It’s a movie with so many directions that your chosen film experience could last 40-90 minutes, as there are around 150 minutes of footage that could be selected depending on your choices.

This easily could have been a cheap gimmick with no substance but this built-in interactive design works because the 80’s set story is interesting enough to sustain interest. Granted it does take a while to get into the film and with choices being fired at you quite quickly it can feel a little bit longer to get going but in the latter stages, of course depending on where your story goes, it gets twisted and fuelled with worrying paranoia.

As a film it doesn’t quite work, there’s something missing because of the choices offered up. You can’t quite get lost in the plot, the immersion factor is lost because you have those stressful 10 seconds to mull over what you want the character to say/do. In terms of a psychological test though it is exceptional. The complicity of us an audience is greatly utilised; our participation in Stefan’s life becomes a game and it isn’t long until you could be gleefully making deadly actions occur. The films talk of free will and the paths you can go down in life is greatly scripted, so either from choosing a cereal or whether to fight your therapist, this interactive design greatly says more about its user than the film.

Though there are times when the film shuttles backwards because a decision you made leaves you with no option but to revisit the past. This kind of works because it happens in choose your own adventure books but after a while of being presented with just one option, because your earlier choice was wrong, it starts making you lose interest.

So whilst ‘Bandersnatch’ may not be the most smooth running narrative to get lost in, there’s enough bleak humour and game-inspired tricks to choose from and re-choose again.

7/10

Stan and Ollie (2019)

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Double acts are a common thing to come by but not many of them have become as instantly recognisable in the same way that Laurel & Hardy did. Just from their bowler hats alone, you’d have to be living under a rock not to know who is underneath the famous head wear, so it’s surprising it’s taken this long to get a biopic about them but it’s worth the wait.

In 1937, Stan Laurel (Steve Coogan) and Oliver Hardy (John C. Reilly) were at the top of their game, a pairing known the planet over but this film follows them 16 years later, as they hope to shoot a feature in England but in the meantime they tour small venues across the UK, hoping to retain their sparkle and put aside past differences.

This comedy/drama is directed by Jon S. Baird and it’s definitely a departure from other works he’s been behind. Swept away are the ruder and more adult examples like ‘Filth’ and TV series ‘Babylon’ and bouncing forward is this clean and family friendly film. Baird really captures the sheen of their career highs, managing to present the current UK dreariness of tired music halls and strained tensions as a great opposite to the golden years. That isn’t to say that the director is stating that their later years were less special, if anything, it is more delightful to watch them as they tour, appear for press snapshots and witter away with one another.

‘Stan & Ollie’ may be somewhat gentile and doesn’t completely immerse you at all points; it possesses  that generic TV movie atmosphere but the magical partnership between the lead actors does more than enough to warrant it’s big screen outing. It’s not a story bursting to life and breaking the biopic mould, you know what beats will be hit and when they will happen but a tried and tested model isn’t broken so why fix it, especially when a predictable yet fantastic final showcase does its job in making you well up slightly.

It’s certainly a film that mirrors the charm of Laurel & Hardy; from a sublime tracking shot in the open which initiates the audience into the Hollywood studio lot and the cinematic world of which the comedy duo are so at home in to a good couple of skits which are tame yet visually pleasing to tickle the funny bone and show off their unmistakable chemistry.

John C. Reilly and Steve Coogan are a joy to watch, hitting the highs and lows of their friendship and work-life to glorious effect. The movements and mannerisms they’ve honed not just in dance routines and theatrical set pieces but off stage also, are expertly done and really help you feel like you’re watching the real deal. Shirley Henderson and Nina Arianda are marvellous too, as a back-up double act to their husbands showing their adoration in different ways through emotion and well scripted squabbling.

One word can sum up this film: delightful.

7.5/10

The Favourite (2019)

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One year after his magnificently disturbing ‘The Killing of a Sacred Deer’, Yorgos Lanthimos returns with this historical comedy/drama based on Queen Anne’s life. It’s the first ever film not to be penned by Lanthimos and it faintly shows but the context, acting and absurd re-telling of history are worthy of fanfare.

Queen Anne (Olivia Colman) is suffering with poor health and cannot even seem to sustain interest in politics for her country. The majority of her time and interest is spent on her relationship with Duchess of Marlborough, Sarah Churchill (Rachel Weisz). However, when Sarah’s cousin Abigail Hill (Emma Stone) arrives and Sarah gives her a position it isn’t long until the Queen takes a liking to the new girl and thus a rivalry to be Anne’s favourite begins.

Scripted by Deborah Davis & Tony McNamara, what really solidifies the engagement with this film is the sheer absurdity of it all. The fact that it is all based on real people and true actions of the time only go and make this a more interesting story to behold. If you didn’t know about the triangle of female figures between Anne, Sarah and Abigail you’d be let off for thinking this was a bonkers yet brilliant made up farce.

The Lanthimos trademark of entrancing camera work and aptitudes to building kooky and precise landscapes are utilised to great effect in this film. Robbie Ryan’s stunning English set cinematography and movements of panning cameras coupled with uses of the fisheye lens make ‘The Favourite’ a bold looking film finely textured with regal style.

It can be said that, from a Yorgos feature, this doesn’t go as dark and twisted as you’d imagine but it is instead lit up like a grand palace by touches of theatrical humour and spite. The wiles of women and their strength become a fascinating game to watch. Special mention must also go toward the costuming; the baroque draping of dresses, corsets, ruffles and wigs are positively dripping in luxurious splendour and go a long way to making this tale more pristine and attention-grabbing.

Colman takes the throne and wheelchair as a perfect choice for Queen Anne. She hilariously and alarmingly spits out when prone to raging, alongside these bursts of anger are fantastic moments where Colman shows her knack for emotion and comedic timing. Stone develops the strongest in terms of character, she showcases the most effective change from mud covered servant to lady. Weisz is a formidable performer, the icy bluntness of Sarah reigns supreme and together Stone and she light up the screen with their scheming as they vie for the attentions and affections of a scene-stealing Colman. Nicholas Hoult is note-perfect in this also, he plays an Earl named Robert with exquisite definition of the C-word and further insults.

‘The Favourite’ is an absurd delight; what with it’s incredible trio of leading ladies and the sending up of royal and political establishments, this is a film rich with smart asides. It also boasts a dance scene to perhaps rival the memorable moves from Isaac & Mizuno in ‘Ex Machina’ and the dual jiving of Thurman & John in ‘Pulp Fiction’.

7.5/10

Welcome to Marwen (2019)

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Inspired from a 2010 documentary, this plasticky picture has a great visual flair but feels as loosely coherent as one of the figures’ crooked joints.

Mark Hogancamp (Steve Carell) was a great illustrator but after a vicious hate crime, he’s lost his skill of drawing and his memory before being beaten to an inch of his life. In trying to combat his new social flaws and trauma, Mark has crafted a model village inhabited by gun-toting women and a brave WW2 pilot based on the likeness of Mark himself.

From ‘Who Framed Roger Rabbit’ to ‘Polar Express’, director Robert Zemeckis has been behind a selection of iconic family films and this film seems to try going down that route but comes across many stumbling blocks, at least the animations aren’t as dead eyed as the festive affair of Hanks and co. The film is somewhat creepy and trying and it grates to new levels when Zemeckis tosses in movie echoes, seen in the ‘Forrest Gump’-inspired poster and a DeLorean style machine with subsequent flames, these aren’t grin worthy call backs but rather painful, self-congratulatory references.

‘Welcome to Marwen’ can never really shake the feeling that it doesn’t which lane to stay in, it’s a tonal mess; one with an alarming mixture of bumpy Nazi drama, witchy screwiness, hobbling melodrama and unusual narrative developments which could have been emotional but just take you right out of any wish of immersion. Also, the plot seems to be aspiring to be this progressive product but more often than not it tests the patience and Mark’s female-centred dream world and his interactions with neighbour Nicol (Leslie Mann) are less movingly sad but resoundingly awkward.

There are some interesting moments; the film possesses a nice shiny plastic sheen and the majority of the visuals are excellently mastered, with this comes a great level of awesome transitions between doll and human world with the town of Marwen being a lovingly detailed environment to be a part of. The film is sometimes quirky and oddball in a good way but more often, in a manner that’s all over the place with plot points to make you roll your eyes and a heavy coating of cringey dialogue lessening the engaging goal of the story.

Carell is alright to watch in this, he gets the balance between stutteringly awkward Mark and the kindness, artistic simplicity of the man. Though moments of strain and anguish where the actor screams, you can’t help but laugh as you’re reminded of a shouting Brick Tamland in the ‘Anchorman’ movies. The females of the ensemble are all well good, Gwendoline Christie, Janelle Monae, Mann and Eiza Gonzalez are caring characters but they never cross over the line to become interesting, they’re simply there to serve Mark’s interests and it feels too easy that they like and understand all of his Marwenian choices.

This is a strange bag, a Zemeckis movie with his effect of heavy-handed attempts of charm backfiring and getting annoyingly lost in a haze of good visuals and irritatingly ineffective sentimental fodder. This is not a doll Al would want to and box and ship to Tokyo.

5/10

2018 Top 50

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Smile folks, it’s been an absolute blast this year in the cinemas and on streaming services alike. Yes, if you want to jump right in with my top 10 movies, I have already compiled a top ten list which you can find HERE, but if like me, you can’t abide a whole ton of great movies not getting their dues then this is their time to shine as I’ve come up with my first ever Top 50 countdown!

*Disclaimer* – I have not seen certain films like ‘Mandy’ or ‘Leave No Trace’ hence their absence and no ‘Truth or Dare’ doesn’t rock up, though it was a fine comedy. Okay, away we go…

50 – NEXT GEN

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A surprisingly fun and pacy cartoon flick with futuristic ideas and a charming connection between gal and bot.

Review – ‘Next Gen’

49 – MARY POPPINS RETURNS

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Emily Blunt steps into the ten to two shoes of Julie Andrews and does a spiffing job as the prim and proper nanny with magic endlessly pulled from her special bag.

Trip the Light Fantastic over to my review – ‘Mary Poppins Returns’

48 – ROMA

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Alfonso Cuaron’s black and white semi-biographical tale which hit Netflix is absolutely beautiful to look at but I just can’t quite connect to the majesty that everyone else has seen. There’s a fine story and lovely cinematography but that’s about it, no higher in the list. Don’t @ me.

My review is here – ‘Roma’

47 – BUMBLEBEE

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If someone had told me that a ‘Transformers’ spin-off would have featured higher than a stunning foreign movie lauded for Oscar glory I would have scoffed…a lot. But Travis Knight has captured the fun and nostalgic appeal that Michael Bay could only dream of.

No Decepticons here, this is a good film, my review – ‘Bumblebee’

46 – A STAR IS BORN

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Bradley Cooper dons a stetson and the first-time director title in this fourth telling of ‘A Star is Born’, it has some issues but a mostly great soundtrack and the might of Lady Gaga help this romantic country and western musical come alive.

Step into the Shallow end with my review – ‘A Star is Born’

45 – JOURNEY’S END

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A sombre and reflective WW2 drama, this truly grips you and makes you thoughtful about the dark trench warfare these brave soldiers faced. Sam Claflin and Asa Butterfield are excellent.

The journey begins with my review – ‘Journey’s End’

44 – CAM

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Another Netflix feature that took me by surprise, this has dark and original ideas and a blisteringly brilliant performance from Madeline Brewer makes this tech-thriller/horror a sexy yet smartly creepy film.

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43 – GAME NIGHT

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Jason Bateman & Rachel McAdams are a fun pairing in this entertaining comedic flick but the true MVP and best selling point for the films worth is Jesse Plemmons.

Roll a dice, right foot yellow and review is yours – ‘Game Night’

42 – ISLE OF DOGS

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Another quirky and lovely stop-motion outing from the wonderful Wes Anderson, this poochy plot has moments of rabid darkness but plenty of delightful storytelling.

Woof! My review is out of the kennel – ‘Isle of Dogs’

41 – A SIMPLE FAVOR

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Paul Feig’s latest has definitely divided audiences but I for one thoroughly enjoyed this strange concoction of humour and thrills all tinged with a French cinema flavour.

Only a simple favour to ask but please check out my review – ‘A Simple Favor’

40 – THOROUGHBREDS

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Olivia Cooke and Anya Taylor-Joy are chillingly exceptional in this fairly cold yet entrancing off-beat film. It’s quite simply put, an original film with unsettling music and unpredictable moments.

Give my review a thoroughread – ‘Thoroughbreds’

39 – MOM AND DAD

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Crazy is as crazy does: surely a motto best suited to Nicolas Cage. This frenzied and pacy film may not be a superb film but I had a right good time watching the madness unfold and it knows what it is – a pure delightful crash of crazy.

Read more – ‘Mom and Dad’

38 – THE NIGHT COMES FOR US

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Woah Nelly! This Indonesian action which is on Netflix is a furious and bloody thriller which may be light on plot but is soaring to the heavens with hellish injury detail and electrically charged, fascinating fight choreography.

37 – GHOST STORIES

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Originally a stage show, which is somewhat evident at certain points, what with some theatrical elements and practical frights leading the way, this is a nightmarish and engrossing British horror with clever storytelling.

Boo! My review – ‘Ghost Stories’

36 – TULLY

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This is most certainly a film that goes somewhere a healthy percentage of audiences might not expect but it doesn’t tarnish the previously built maternal plot and Charlize Theron’s stunningly crafted performance, if anything it just makes it a more memorable story.

Don’t dilly dally – ‘Tully’

35 – THE HATE U GIVE

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Upon seeing the trailer I really wasn’t expecting to get anything from this film. Happily it’s much more than a generic YA adaptation, it has emotion, heart and the richest relevance to current world events. Amandla Stenberg & Russell Hornsby are mind-blowingly effective in this.

Don’t let the THUG-life get ya, read my review – ‘The Hate U Give’

34 – THE SHAPE OF WATER

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You can always trust on Guillermo del Toro to make a dark fantasy a totally captivating experience and this time the Academy Awards agreed, gifting this woman-loves-fish story the Best Picture trophy. It’s beautiful, weird and Sally Hawkins is the perfect lead.

The Shape of my Review can be found here – ‘The Shape of Water’

33 – BAD TIMES AT THE EL ROYALE

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A true ensemble piece of cinema and a film noir that almost fully sinks its teeth into you. Aside from a slightly dissatisfying story that takes over, this is a clever, highly original movie and well acted thriller which deserved higher box office.

No bad times with my review – ‘Bad Times at the El Royale’

32 – CRAZY RICH ASIANS

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I openly admit I’m not an advocate for the rom-com genre but this family set story around an impending wedding really bowled me over. The luxurious visuals, stunning locations and more stunning cast balance romance and humour with finesse.

Take a walk down the aisle to my review – ‘Crazy Rich Asians’

31 – YOU WERE NEVER REALLY HERE

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Lynne Ramsay excellently weaves a gritty and immersive city thriller, aided by an astonishing turn from Joaquin Phoenix, this has threads of ‘Taxi Driver’ and is a bold and tense piece of cinematic art.

30 – RALPH BREAKS THE INTERNET

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Fairly bloated with internet bustin’ gags and Disney references, but it’s fun, fast and a well animated sequel with Ralph and Vanellope just as endearing a friendship duo as back in 2012.

It’s good and that’s not bad, my thoughts – ‘Ralph Breaks the Internet’

29 – SORRY TO BOTHER YOU

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Truly original and absurd, two qualities which you can’t complain about in the climate of sequels/prequels and the like. Boots Riley goes all in directing & writing a superb screenplay that links to current affairs and issues in an offbeat, comical and twisted manner.

Giddy up over to my review – ‘Sorry to Bother You’

28 – PHANTOM THREAD

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Possibly Daniel Day-Lewis’ final feature, his role under the direction of Paul Thomas Anderson is sublime, as are Vicky Krieps and Lesley Manville…and a beautifully acted breakfast scene for the ages. This early UK 2018 film looks gorgeous and bursts with spits of spite and comedy.

Sew, a needle, pull and thread – ‘Phantom Thread’

27 – IN THE FADE

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Diane Kruger’s first German feature and one that’s put across the audience in three parts. Not every part is as strong as the other and a finale may be slightly lacking but a gritty opening and glossy, tense court room second act along with Kruger’s formidable performance make this a solid thriller of loss and revenge.

1, 2…Kruger’s coming for you – ‘In the Fade’

26 – BLACK PANTHER

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A massive hit and an even bigger stepping stone for black representation in superhero movies, this Marvel entry deals with spectacle, politics and leadership with detail and thought, fuelled by a great villain expertly handled by Michael B. Jordan, ‘Black Panther’ is a near-perfect comic-book film.

Enter Wakanda – ‘Black Panther’

25 – AMERICAN ANIMALS

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This is a clever spin on the heist genre as director Bart Layton mixes truth and fiction by blending the real life people alongside his actors. As the films plan nears fruition, the gang and audience alike are left unable to back out to culpability.

A review is up for grabs just here, go on, go – ‘American Animals’

24 – THE INCREDIBLES 2

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After 14 years too long, Pixar returned to the Parr family and their mix of city saving powers. The one animated feature deserving of a sequel, this one does not disappoint. Apart from a predictable turn of events and villain, this is a joyous and stunning animation to watch and any return of Edna Mode is a positive in my book.

Dash over to my review – ‘Incredibles 2’

23 – BLACKKKLANSMAN

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This Spike Lee joint is a funny and disturbing tale of KKK infiltration. It makes you laugh but importantly, it’s something which makes you irate, angry and fits nicely against the backdrop of divide so felt nowadays. Style and power rip through this film.

Don’t be a Duke, click my review – ‘BlackKklansman’

22 – THE BALLAD OF BUSTER SCRUGGS

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The Coen Brothers enter the Netflix way of life with this western anthology of six mini stories. The likes of James Franco, Tim Blake Nelson and Zoe Kazan excel in their segments. Sure, not all the tales are great and there may not be a resolute connection between them but it’s masterfully acted and captures the heart…and dust of the western genre.

21 – OVERLORD

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You’d not be wrong in thinking from outside glance this would be a naff horror but it’s in fact so much better than that. A gem of war, thriller and gory zombie effects, this is a brain-splattering delight.

Come on over – ‘Overlord’

20 – WILDLIFE

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Paul Dano & Zoe Kazan create a thing of quiet beauty in this drama about family. The former calls the shots as debut director and this adaptation of a 1990 novel is stunning not to just to look at but to revel in the towering acting from Jake Gyllenhaal and Carey Mulligan. Scenic views, fraught relationships and a teen running home in the snow are tenderly accomplished.

Check out the ‘Wildlife’

19 – THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

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I’ve always enjoyed the writings of Irish playwright and ‘In Bruges’ commander Martin McDonagh, this angry tale of grief and, well anger is no exception. The mix of great comedy and uneasy darkness clouding over Ebbing are thickly coated but don’t outweigh Sam Rockwell and Frances McDormand.

More of my musings – ‘Three Billboards Outside Ebbing, Missouri’

18 – HEREDITARY

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Jinkies, this horror from Ari Aster is a chilling and terrifyingly effective narrative of family tensions. If you took out all the damned creepy moments then this would be a drama on grief and that only highlights the weirder, scarier qualities included by Aster. Toni Collette is absolutely fantastic in this.

Don’t click your tongue, lcckk – ‘Hereditary’

17 – WIDOWS

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Steve McQueen tackles the thriller genre but makes sure to keep his sturdy understanding of character to make this an investing movie, led by four strong women. The moments of heist drama are tense and the more politically angled aspects are wonderfully handled.

Mission: read my review. I’m sure you’ve got the balls to pull this off – ‘Widows’

16 – COCO

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Two Pixar releases for the UK in 2018 and both make my top 50, mostly because their animation is always so delectable but on top of this they’re a studio almost always capturing emotional and captivating stories. ‘Coco’ is no exception, this Day of the Dead inspired animation tugs on the heart strings and incorporates tingling music and colourful visuals.

 Don’t forget to click my review, Remember Me – ‘Coco’

15 – ASSASSINATION NATION

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This is 100% a movie which will split people, I can see why some will dislike the heck out of it but I positively loved the stuffing out of this bold, loud and violent film. It pops with trigger warnings of every nature and the feminine power of the above fearsome foursome are a force to be reckoned with as their town turns on them.

Reveal some more secrets – ‘Assassination Nation’

14 – ANNIHILATION 

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Shamefully Alex Garland’s recent sci-fi didn’t get to UK cinemas but it’s streaming on Netflix and is a sheer masterpiece of visuals and is also a movie which leaves you thinking. Headed by a brave team of females, this mix of science and horror is dreamy, ambiguous and downright superb.

Enter the Shimmer – ‘Annihilation’

13 – UPGRADE

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Rammed to the skies with inventive camera shots and pacy fight scenes, this adrenaline fuelled futuristic flick bursts out of the screen with entertaining energy. On top of this, it has flashes of humour, body-horror and stylish flair.

There’s no need to Upgrade to find my review – ‘Upgrade’

12 – A QUIET PLACE

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This film has magnificent levels of sustained threat, wince-inducing visuals of pain, smart uses of playing around with sound and Emily Blunt on top form as a pregnant wife caught up in a farmhouse of fear. John Krasinski becomes feature director for the first time and really gets to grips with the model of horror building making this one of the most effective cinema experiences I’ve ever been part of.

Ssssh, my review is over here – ‘A Quiet Place’

11 – THE BREADWINNER

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The creators behind ‘Song of the Sea’ have gifted the world another animated gem. This one is less fantastical though and this Middle-Eastern texture only makes the film a much more heart-felt trip, one that’s interspersed with yarns of magic but the plight of a girl stepping up and out to help her family is a powerful and outstanding watch.

My review for #11 is here – ‘The Breadwinner’

There we have it, those were my top 40 films of 2018 and now it’s time to reveal my faves of faves as I collect the big 10.

10 – SEARCHING

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John Cho leads a frenzied hunt for his missing daughter in a screen-set thriller that is anything but a cheap gimmick. The tension is palpable and the story is riveting, as it’s portrayed through calls, Facebook and other social media searches.

No need to search far as the review is here – ‘Searching’

9 – HALLOWEEN

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Michael Myers returned, swiftly and thankfully, slashing away all the sequels, letting this story follow on 40 years after what happened to Laurie Strode that fateful Halloween night. David Gordon Green shows he has a skill for the horror genre and the entire team clearly adore the original which is why this feels like a perfect chilling return to form for the Shape.

Don’t fear the Boogeyman – ‘Halloween’

8 – LADY BIRD

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Greta Gerwig’s directorial debut is a brilliant, humour filled coming of age story about mothers and daughters. There are great pangs of emotion and with perfect performances from Saoirse Ronan and Laurie Metcalf, you feel wrapped up in a comforting blanket watching this film.

It’s the titular role – ‘Lady Bird’

7 – HEARTS BEAT LOUD

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Well, here is a film that utterly bowled me over and completely surpassed my expectations for it being a generically mediocre Sundance indie. What this film is, is pure charm and sunshine, with Offerman and Clemons providing great music as a dad and his daughter. The songs are glorious and I’d be lying if I said I don’t listen to them almost constantly.

Don’t blink, my review isn’t a million miles away – ‘Hearts Beat Loud’

6 – BOHEMIAN RHAPSODY

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I truly don’t care what some filmy types and critics have been saying about this film. I positively adored the majority of this foot-tapping, hand-clapping tale of Queen and its front man, the legendary Freddie Mercury, who is exquisitely played by Rami Malek. The film is fun and the music speaks for itself. A stadium sized biopic that will rock you.

You are the Champions if you give my review a read – ‘Bohemian Rhapsody’

5 – I, TONYA

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Margot Robbie steps onto the ice as Tonya Harding in this fresh and exciting visceral take on an ill-fated moment of Winter Olympics drama. Allison Janney is a great supporting feature as Harding’s mum and throughout we see a story presented in way that’s unreliable but entertaining, which makes the latter emotional moments that more resounding.

Get your skates on to the review – ‘I, Tonya’

4 – REVENGE

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This is a blood soaked film, one which side-steps away from the schlock way of vengeful flicks and becomes an engrossing thriller capably led by bad-ass Matilda Lutz. This is an explosive female led and directed movie from Coralie Fargeat which arrived in May and I haven’t forgotten about in the slightest.

My review won’t put up a fight – ‘Revenge’

3 – AVENGERS: INFINITY WAR

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Snapping its fingers and claiming bronze, this is an epic comic-book celebration that I saw three times and didn’t tire with any minute of it. Unlike repeat viewings of ‘Iron Man’ or ‘Age of Ultron’, this is a blockbuster outing which grows better upon more watches. There’s the purple might of a superb villain, great visuals and a cracking conclusion to ten years of MCU building.

You don’t need to assemble any heroes to locate my review – ‘Infinity War’

2 – SPIDER-MAN: INTO THE SPIDER-VERSE

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Miles Morales swings into the hot spot of silver, in the only animation to feature on my top ten. This is not only one of the most sensational animations I’ve seen but one of the best films, full stop. The styles are incredible, the voice work is perfect and the story is just right for the Spider-Man world.

Sling yourself over to the review – ‘Spider-Man: Into the Spider-Verse’

1 – MISSION: IMPOSSIBLE – FALLOUT

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This is the sixth instalment in the M:I franchise and it is showing no signs of exhaustion, in fact quite the contrary, with action hero Tom Cruise and director Christopher McQuarrie again teaming up to make Ethan Hunt and his globe-trotting, ankle-breaking antics an exhilarating treat to see. The stunts are next level and knowing they are practically executed makes you appreciate the action that much more than a second rate movie filling in set pieces with CGI. Fallout is 100% the real deal and is one of the finest action films I’ve seen…ever.

My review won’t self destruct in 30 seconds – ‘Mission:Impossible – Fallout’