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You Were Never Really Here (2017)

Lynne Ramsay’s You Were Never Really Here follows hitman Joe who specialises in retrieving young girls from the clutches of underground paedophiles and trafficking. He is tasked by a New York senator to retrieve his daughter, Nina (Ekaterina Samsonov), who has been kidnapped and to eliminate those who took her by the most violent means possible. The film premiered in the main competition at Cannes FIlm Festival in 2017 where it became one of the most widely discussed films and won two awards for Best Screenplay for Ramsay and Best Actor for Phoenix. It’s rare to see a film win more than one award at Cannes so the hype for the film was huge. From the offset, the film doesn’t hold back in its themes and violence.

The direction is executed with a cat and mouse feel. The camera trailing through Joe’s eyes as he hunts for the perpetrators and their accomplices. What Ramsay does so well is being able to use the protagonist’s perspective as the audience’s entry into the film. Even in scenes when Joe is doing menial tasks like cleaning or singing with his elderly mother, we get a glimpse into the two different lives he has. Ramsay’s screenplay is incredible and tight, managing to create a fully realised character in its 90 minute runtime. The screenplay is written around the character of Joe and the outside context such as politics is only touched on lightly when introduced to joe in an organic way. Despite using multiple locations, the film still has that claustophobic tone throughout. Like previous films by Ramsay, the film heavily relies on its imagery rather than dialogue to tell the story. This works particularly well for You Were Never Really Here as a lot of the scenes only contain Joe and so scenes filled with dialogue would result in an unnatural and jarring experience. 

Phoenix’s performance as anticipated is more than deserving of the praise received. Joe is unapologetically violent, trauamtised from childhood and yet he displays affection, especially towards his mother and Nina. Joe’s troubled state of mind is displayed from the beginning as we see him self-suffocating with a plastic bag in order to cope with the flashbacks and trauma in his life. Throughout the film, Ramsay gives us brief glimpses into Joe’s backstory but doesn’t overdo it in a way that the film is anchored down by it. Phoenix’s performance is subtly expressive and he allows himself to go to a place that is uncomfortable and disconcerting, resulting in a character that is highly unpredictable and yet so commanding of the audience’s attention. In my previous post where I discuss my top 5 performances by Phoenix (which you can read here), I have included You Were Never Really Here because I think it is one of the prime examples where the actor truly emcompasses everything about the character.For the score, Ramsay recruits Jonny Greenwood for the second time after her 2011 film We Need to Talk About Kevin. Like Joe’s character, the score flits between intense pieces with a strong and consistent beat which are usually played when he is on the job and more natural and flowing pieces which provide a backing track for scenes with Nina and his mother. The track, “Tree Strings”, which is played as Joe buries his mother is such a poignant moment and the music elevates the scene by assisting in his ephiphany to rescue Nina from her kidnappers. Greenwood is more widely known for his collaborations with Paul Thomas Anderson but his scores for both We Need to Talk About Kevin and You Were Never Really Here assist in elevating and excuting Ramsay’s vision to perfection.

Ramsay is one of the best female directors working in the industry today. She consistently brings out performances that are career-defining such as Phoenix in You Were Never Really Here and Tilda Swinton in We Need to Talk About Kevin. She has a clear vision and isn’t afraid to delve into any topic, particularly those centred around children. The ending to You Were Never Really Here isn’t the all-rounded happy ending you would want from a film that explores child sex trafficking, but Ramsay’s choice to give it the ending that it does have highlights the reality that these children face. Ramsay’s ability to write strong characters is in another league. Her characters aren’t particularly likeable but that doesn’t matter. The characters are the driving force of the film and the fact that they aren’t completely relatable or likeable only serves to add another layer of depth. I think because of this that this makes You Were Never Really Here an outstanding inclusion in Ramsay’s filmography and why it was so successful upon release.

What do you think of You Were Never Really Here? Let me know in the comments below!

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Top 5 Jim Carrey Performances

Jim Carrey is an actor who time and time again demonstrates the range that he has, despite his solidified reputation as a brilliant comedian. He has been playing leading roles since his meteoric rise to fame in the 90s that have become classics such as Ace Ventura and The Mask. There is a reason why he was Hollywood’s highest paid actor at one point, he has such charisma that his films are incredibly fun to watch. It is unbelievable to think that he has never been nominated for an Academy Award despite winning two Golden Globes and showing that he is capable of pulling off performances that are memorable and impactful.

Carrey was one of my favourite actors growing up. I loved watching his films thanks to his larger than life characters and his hilarious physical comedy, particularly his dramatic expressions. What has been wonderful about Carrey’s career is seeing him evolve and taking part in a variety of differing roles from his mid-90s expressive comedy to his more serious roles in the late 90s and early 2000s. Like marmite, people tend to either love or hate Carrey’s work and I am definitely in the former.

Here are my top 5 Jim Carrey performances in chronological order:

Ace Ventura: When Nature Calls (1995)

One of those rare instances where I enjoy the sequel much more than the original, Carrey reprises his role as the titular pet detective which sees Ventura recruited for a mission to retrieve a rare white bat that belongs to the native Wachati tribe. The film is an explosion of signature Carrey jokes and the film is my personal highlight of the mid-90s period where Carrey was all the rage. His unpredictability still remains the main point of attention for audiences as we watch him knock out a man and wear him on his shoulders to make a point on the fur trade as well as numerous musical moments including a hilarious rendition of “Chitty Chitty Bang Bang”. My personal highlight, however, is the seen in which he encounters the bats for the first time bringing us great lines such as “take that, you winged spawn of Satan” and “die, devil bird”. His filmography at thie point in his career wasn’t for everyone as it is so over the top but personally, I love it and it’s interesting watching this film back and watching it from an animal rights point of view.

The Truman Show (1998)

The film that showed an entirely different side to Carrey’s range, The Truman Show sees Carrey play Truman, a man who believes he is living a regular suburban life when in fact it is a reality show filled with actors that is broadcast to the world. Truman begins to suspect that something isn’t quite right and tries to escape the edge of his town where he hasn’t been before. It’s a poignant film about identity and finding that sense of belonging. Truman’s life has always unknowingly been synonomous with a global audience who share his journey. Truman has always been controlled by the show’s creator, Christoph (Ed Harris) who acts like the puppet master. He adds in drama and conflict if Truman’s life is going swimmingly. Carrey’s performance is a true tour de force thanks to his naive and subtle approach to the role. He is able to detract from the typecast view that he has created in his filmography thus far. It is because of his ability to switch between ranges so well that won him a Golden Globe for his troubles.

Man on the Moon (1999)

Following on from his critical and commercial success as Truman in The Truman Show, Carrey knocks it out of the park again in this biopic that seems him play Andy Kaufman, a man who redefined comedy in the 1970s. This film sees Carrey join forces with the brillint director Milos Forman and gives him the chance to show that The Truman Show performance wasn’t a stroke of luck. His portrayal of Kaufman is fantastic as we follow his rise in comedy and his stints on Saturday Night Live as well as the TV show Taxi which he starred in. The film overall isn’t the best but usually biopics allow for the actor portraying the subject to really standout as Carrey does here. He is the major draw and highlight but this isn’t a bad thing because he has such command on the role. Also hearing how he stayed in character offset shows his commitment and dedication to getting his performance right shows that he does take his roles seriously. His impersonation strikes the right tone, it is never over the top in classic Jim Carrey style and eventually the audience forgets that we are watching an actor rather than Kaufman himself.

Eternal Sunshine of the Spotless Mind (2004)

My favourite Jim Carrey performance comes in the form of this career-defining film following Joel (Carrey), a man unhappy with his life who finds out that his ex-girlfriend Clementine (Kate Winslet) has had her memory wiped off him by the mysterious Lacuna Incorporated and shows him undergoing the same treatment to get rid of his memories of Clementine. Charlie Kaufman’s script is fantastic and won him a well-deserved Oscar that has redefined original screenplay writing in the 21st century. The concept is so bizarre and yet the humour is subdued within a darker context making way for the film to focus on the drama within Joel and Clementine’s relationship. Carrey’s performance should have garnered him an Academy Award nomination but sadly it wasn’t to be. His portrayal of Joel is tinged with sadness throughout. The idea of not being with Clementine initially to the realisation that he will lose all memories of her while he is being forced to relive the memories during his procedure. It’s a heartbreaking film about the breakdown of a relationship and is made real by the strength of Carrey and WInslet’s performance.

Lemony Snicket’s A Series of Unfortunate Events (2004)

2004 was a resounding success for Carrey who made an unforgettable appearance in this popular adaptation of the best-selling series of the same name. Playing the villainous Count Olaf, Carrey channels his signature overtly expressive humour as his figuratively and literally towers over the three bauldelaire orphans who are subject to his care after the tragic death of their parents. The film is littered with stars including Joan Cusack, Timothy Spall and Meryl Streep but it is Carrey who shines the most. His performance was exactly how I envisioned Count Olaf would be when reading the books. The film overall strikes a completely different tone but Carrey’s performance is overly dramatic, unapologetically obnoxious and loud but most importantly, he has charisma which is crucial for the role. The film does have its flaws but Carrey’s performance is definitely not one. He is clearly having fun being in such a menacing role and it makes the film enjoyable to watch.

There are so many performances that could have been included in this list such as How the Grinch Stole Christmas (2000) and Bruce Almighty (2003) but I think that the films I have listed above really demonstrate Carrey at his best. Although he hasn’t done many major roles in recent years, i hope he does make a comeback because it’ll be interesting to see what kinds of roles he would take on.

Do you agree with the films I have picked? Which Jim Carrey performance and/or film is your favourite? Let me know in the comments below!

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Top 5 Michael Fassbender Performances

One of the best actors working today without a doubt is Michael Fassbender. Born in Germany and raised in Ireland, Fassbender’s career has gone strength to strength showcasing his range from small-budget indies to massive blockbuster franchises. Garnering critical and commercial acclaim winning a slew of awards including the Venice Film Festival’s Volpi Cup for Best Actor (for Shame) as well as two Academy Award nominations for Best Actor in a Leading Role and Best Actor in a Supporting Role (for Steve Jobs and 12 Years a Slave, respectively). Fassbender never fails to push the bar and standout in whatever film he is. He has worked with a variety of huge directors such as Steve McQueen, Quentin Tarantino, Ridley Scott and Danny Boyle to name a few and is currently working on Taika Waititi’s new film Next Goal Wins.

There are so many performances that I could list but I managed to compile a list of my top favourite performances which I think are the best of the best. Hopefully if anything, this list will demonstrate the range that Fassbender displays from an Irish activist on a hunger strike to an English soldier in World War II to an American billionaire. He has really established himself as one of the most exciting method actors working in Hollywood today.

Without further ado, here are my top 5 Michael Fassbender performances in chronological order:

Hunger (2008)

The role that catapulted Fassbender to the A List is not one to be overlooked. The first collaboration between Fassbender and  Steve McQueen already shows the fearlessness that they both have in their filmmaking and the roles that Fassbender chooses to take on. Fassbender plays IRA member Bobby Sands who takes part in a hunger strike for 66 days and also participates in a no-wash strike. The film also marks McQueen’s feature debut and won him the Camera d’Or at Cannes Film Festival. McQueen’s minimalist direction combined with a character driven script includes an incredible 17 minute shot in which Bobby is challenged to end his protest by Father Moran (Liam Cunningham). What Fassbender does so well in this film and his subsequent performances is his ability to pull off performances that are memorable but not over the top. What Hunger does is allow the focus to be on the performances of the actors because the film doesn’t have bells and whistles and special effects. Fassbender’s performance earned him a British Independent Film Award for Best Leading Actor and it’s easy to see why. His preparation for the role is evident in his dramatic weightloss pre-production. Hunger proves to be a great start when looking at the filmography for Fassbender as it shows his willingness to pick good roles and his dedication to method acting.  

Inglourious Basterds (2009)

Following his stellar lead in Hunger, Fassbender starred in Quentin Tarantino’s fantastic revenge thriller Inglourious Basterds which is a fictional retelling of Nazi-occupied France during the peak of the War. The cast is led by Brad Pitt as Aldo Raine, the leader of the Basterds and stars Christoph Waltz in an Oscar-winning dazzling supporting turn as SS Officer Hans Landa, the latter of which was the major talking point for critics and audiences alike and with good reason. ANother brilliant aspect that comes from this film is Michael Fassbender’s small role as Leiutenant Archie Hicox, an English soldier drafted to France to assist the Basterds with their plan. His role is only short-lived in the film but what he lacks in screentime, he makes up for with charisma. Fassbender is memorable as the quick-witted soldier as he struggles to fit in with the others who are hellbent on revenge. The scene in the underground bar remains one of the best Tarantino moments and it’s largely thanks to Fassbender’s control of the character. As expected in a Tarantino film, the characters are larger than life and it’s clear that Fassbender is enjoying playing Hicox. As mentioned before, this is only a small role but it is a rewarding point in Fassbender’s career as it shows he can standout in a star-studded cast.

Shame (2011)

Fassbender’s second collaboration with Steve McQueen is a deeply explicit look at sex addiction. Fassbender plays Brandon, a high-living bachelor living in New York who is constantly having sex with prostitutes and masturbating in his workplace where he holds an Executive position. Brandon’s addiction is initially his lifestyle. Just like any other addiction, he is subconsciously engaging with sex in any way he can. The film documents the downward spiral Brandon experiences as his lifestyle begins to fall apart with the arrival of his self-harming sister, Sissy (Carey Mulligan) who stays at Brandon’s apartment as she has a few gigs as a lounge singer in the City. Sissy is openly lonely and upset, longing to bridge the broken relationship with her brother who has deluded himself into believing that he is not alone because he is constantly engaging with sex in some way or other. It is the slow-burning realisation that he is alone and that he is incapable of forming “real” connections that make way for Brandon’s downfall. The film earned an NC-17 rating in the US thanks to its explicit scenes which includes Fassbender appearing full-frontal. In an industry where full female nudity has become normalised, there is still a stigma around showing full male nudity. This role is understandably challenging and uncomfortable but Fassbender gives everything to the film. Brandon is deeply flawed and is looking for the puzzle piece that is missing in his life. Fassbender won a second British Independent FIlm Award for Best Lead Actor for his performance. It’s not the lightest film to watch by any means but it is an unafraid look into a common topic that is taboo in a very realist way.

12 Years a Slave (2013)

The third and (to date) latest collaboration between Fassbender and Steve McQueen is an adaptation of the memoir of the same name by Solomon Northup, a New York-born man who is kidnapped and sold into slavery in Louisiana in 1841. Featuring Chiwetel Ejiofor as Northup, Fassbender portrays plantation owner Edwin Epps, a despicable and inhumane person who takes pleasure in beating and raping the slaves who work for him. Fassbender is truly terrifying as Epps and the performance gives goosebumps due to his unpredictability. The scene in which he demands Northup whip Patsey (Lupita Nyong’o) and then proceeds to violently do so himself to a point where she almost dies is horrific to watch and shows a fearlessness in Fassbender’s performance. He is clearly not afraid to go the extra mile and show Epp’s evilness while keeping complete control of the character. This performance shows a different side to Fassbender’s range that we have not seen before, even in his previous antagonist roles. Epps is a man void of compassion and embodies evil incarnate. Thanks to McQueen realist and relentless direction, Fassbender successfully shows this and really gets under the skin of the character and presents this to the audience in a way that no filmmaker has done before. Everyone in the cast does justice to Northup’s story, especially Ejiofor, Nyongo’o and Fassbender, garnering awards attention for each. Fassbender was nominated for his first Academy Award for Best Actor in a Supporting Role.

Steve Jobs (2015)

My favourite Fassbender performances sees him take on the titular character in this Danny Boyle biopic. Fassbender practically becomes the Apple CEO and co-founder as we follow Job’s life from the launch of the Mac that lead to his firing ending with the launch of the iMac which is seen as his Apple comeback. It is such a subtle masterclass of acting that you forget that you are watching an actor. He perfects the accent, the mannerisms and manages to create a deeply complex character that allows the audience to form their on opinions on the man. Aaron Sorkin’s script is a brilliant foundation that Fassbender takes and adds that extra dimension to the film. It is his command of the screen that constantly grabs the audience’s attention and elevates the film to something more than a biopic. The film also features a strong supporting cast led by Kate Winslet, Seth Rogan and Michael Stuhlbarg but it is Fassbender’s lead turn that will leave a lasting imprint long after the film’s ended. The scene in which Jobs and Steve Wozniak (Rogan) argue whether the former should acknowledge the Apple II team in his speech at both computer launches. Jobs is clearly a highly intelligent man but his stubborness and pride hinders him and makes him appear alien and detached from those around him. Fassbender was deservedly nominated for the whole round of major awards and, in my opinion, I think he should have won because the performance is top tier. However, this was the year that Leonardo DiCaprio won all of the awards for his brilliant turn in The Revenant which made the competition one of very high standards.

It’s clear that Fassbender thrives in an environment where he is given challenging and different material. He clearly is wanting to consistently show more range and depth by starring in different genres and working with varying directors and budgets. He is an actor who wants to challenge topical taboos and portray characters who bring discussions among critics and audiences alike. I know that there are tons of performances I could have included such as his performance as Connor in Fish Tank, Magneto in the rebooted X-Men franchise and the titular role in Frank but each of the films I listed are the real standouts in terms of him pushing his range and his charaterisations. I look forward to seeing him in Waititi’s new film and what roles he takes in the future. hopefully this will include a film that sees him sweep the major awards that he is long overdue.

What are your favourite Michael Fassbender performances? Let me know in the comments below!

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A Beautiful Day in the Neighborhood (2019)

Marielle Heller’s third feature A Beautiful Day in the Neighborhood is a poignant glance into the morals of Fred Rogers, known as Mister Rogers, an icon of American children’s television. The film follows Lloyd Vogel (Matthew Rhys), journalist who holds onto the darkness of his past which shapes his pessimistic outlook on life. When tasked with interviewing Mister Rogers (Tom Hanks) for a profile in Esquire magazine. A sharp contrast to her previous films The Diary of a Teenage Girl (2015) and Can You Ever Forgive Me? (2018), A Beautiful Day in the Neighborhood is a wonderful film that allows Heller to incorporate her realist storytelling with hints of art and quirkiness through the use of puppetry. The film marks Tom Hanks first Oscar nomination in 19 years (he was last nominated for Cast Away in the Best Leading Actor category) and features a welcome lead performance from Welsh actor Matthew Rhys who is more known for his TV work. A Beautiful Day in the Neighborhood is a quieter film than its award season competitors but its message on love and forgiveness speaks volumes. What Heller manages to do is bring the softness of Mister Rogers’ personality and apply this to Vogel’s life, creating a friction and discomfort to Vogel’s character. 

During an award season that has seen female filmmakers snubbed in the directing categories, it seems that Heller has yet again been overlooked. When comparing Heller’s vision to some of the contenders in the Best Director category, I do think she is more deserving. Her film seems simultaneously grounded and innovative at the same time bringing an effortless flair. What Heller does so well is drawing out the best from both her lead and supporting actors (see Bel Powley and Kristen Wiig in The Diary of a Teenage Girl and Melissa McCarthy and Richard E. Grant in Can You Ever Forgive Me? as prime examples). I think that Heller has really come into her own and on her third feature, has managed to show us how varied her talent is and her fearlessness in tackling various genres and topics. Despite being overlooked, I think that Heller will continue to wow in her future projects and she’ll only receive more attention and acclaim.Matthew Rhys (Finalized)Performance-wise, the cast is really strong, particularly from Rhys and Hanks. Rhys brings out the protagonist’s inner conflict where the hurt that he feels is overshadowed by the anger. In fact, it seems that Vogel is more of an antagonist in the first act but as he lowers his guard, we begin to understand why he is how he is. It is ultimately a film about forgiveness and acceptance and no revelation is more important than the moment when Vogel accepts himself and his situation. The moment when he confronts his mum is heartbreaking and provides a bittersweet release for him as he allows himself to move forward with his life and enjoy the life that he has. I think that Rhys provides a side of his acting that we have not seen before and although Hanks is undoubtedly the highlight of the film, I think that Rhys will only get better from now on and has managed to successfully break into mainstream films.

In the supporting role, Hanks excels as Mister Rogers and was the big draw for critics and audiences alike and with good reason. From the moment he enters the screen, he is charismatic and gentle and truly becomes Mister Rogers. Admittedly after watching this, Hanks became my favourite for the Best Supporting Actor Oscar, although I completely appreciate that Brad Pitt was nothing short of phenomenal in Once Upon a Time in Hollywood. There was something about Hanks’ performance that harked back to the 90s when he was King of the Silver Screen that is a stark reminder that he is capable of truly captivating performances. I love Hanks in everything he does (I even compiled a top 10 which you can read here) and will admit that I find the Dan Brown adaptations entertaining but A Beautiful Day in the Neighborhood is among his best. 

Another aspect of this film that I adored is the costume design. Simply and quintessentially American, Indian costume designer Arjun Bhasin does a brilliant job at encapsulating the late 90s style and mixing it with a nostalgic 70s feel when it comes to Mister Rogers. Particularly, the standout for the costume department is the iconic Mister Rogers cardigan. As an avid knitter, I was interested in reading about the conception and process of the knitting process for this film. Yasemin Esmek spent nine weeks making each cardigan and the results are amazing. The craftsmanship is so good and the details are beautiful. The costume designs overall are simple but it was important that they get the cardigan correct due to its association with Mister Rogers. I think that the costume team deserved award recognition for their work but it wasn’t to be and hopefully this only continues the interest in handmade knitted costumes in film. Much like the puppetry used for scene transitions, I love the craftsmanship and passion that was brought to the costumes and production design and feel that it is a shame that this wasn’t praised as much as other films were that were less creative. rogers3.0I wasn’t expecting to love A Beautiful Day in the Neighborhood as much as I did as I thought it was going to be run-off-the-mill Oscar bait but I left the cinema feeling a mix of emotions. It was funny, dramatic, heartbreaking and hopeful all rolled into one. Despite being set in the 90s and reminiscent and nostalgic for the 70s, A Beautiful Day in the Neighborhood feels fresh and seems to be a new kind of family film. It isn’t afraid of delving into dark topics while remaining appropriate and light at the same time. It stayed with me long after the credits rolled and is among my favourites of awards season. It is a shame that the film didn’t garner more than its single Oscar nomination because Heller’s direction and Nate Heller’s score are brilliant and deserved the recognition. 

What did you think of A Beautiful Day in the Neighborhood? Let me know in comments below!