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Dune (2021)

One of the most hyped films to come out of 2021 was Denis Villeneuve’s Dune which boasted one of the best casts and a huge budget, incorporating plenty of advanced special effects that have given a new sci-fi franchise room to thrive. Dune is based on the 1965 novel of the same name, written by Frank Herbert and was often regarded as “unfilmable” due to the enormous scope of Herbert’s universe. It follows Paul Atreides (Timothée Chalamet), the heir of the House of Atreides, who is gifted with powers bestowed upon him by his mother, Lady Jessica (Rebecca Ferguson), who is a member of the Bene Gesserit, a religious sect that strictly trains the body and mind to achieve things that ordinary people can’t. When the desert planet of Arrakis is under attack by the power-hungry Baron Vladimir Harkonnen (Stellan Skarsgård), Paul must master his powers and team up with the inhabitants of Arrakis, including a young woman called Chani (Zendaya) to overthrow the Baron and restore peace to the planet.

Denis Villeneuve is one of the most talented directors working today and he proves this with Dune. Villeneuve has worked in many other genres in his career but no project has been bigger than Dune. The result is absolutely spectacular despite the many challenges that a story like Dune has. It is a story with many characters and many moving parts, but Villeneuve never overwhelms the viewer with more than they can handle, while also ensuring that enough of the character is brought through. There are lots of star-studded films that feel overwhelmed by the scope of the actors but this isn’t the case with Dune, and this is because of Villeneuve’s impeccable directing. The actors really become their characters and where performances in sci-fi blockbusters are usually grand, the performances in Dune are more subdued and substantial.

Leading the film is Timothée Chalamet. who has proven to be one of the best young actors working today. Ever since his breakthrough performance in the 2017 film, Call Me By Your Name, which brought him an Oscar nomination, Chalamet has been leading all kinds of films from autobiographical dramas (Beautiful Boy) to period dramas (The King) to comedies (The French Dispatch). Dune allows Chalamet to showcase further range within the sci-fi field in the role of the protagonist, Paul Atreides, which he does with ease. What is great about Chalamet’s performance is that he showcases Paul’s struggle to master his powers while also facing pressure as the heir of his house. Despite his young age, there is a lot of responsibility on Paul’s shoulders and Chalamet brings forth Paul’s naivety and flawed nature rather than making him seem like a man who has all the answers. The scene in which Paul is tested by the Reverand Mother of the Bene Gesserit, Gaius Helen Mohiam (Charlotte Rampling), is a masterclass in acting as we feel the physical and mental pain that the character is enduring.

Arguably the most important character in Dune is Chani, the young woman who lives on Arrakis and fights back against those who try to oppress its people. Playing Chani is Zendaya, who is another actor that has proven a huge range at such a young age. The battle for Arrakis is not one that is grounded in power for Chani, but rather the fight for her home and to live a peaceful life. This means that the character’s motives are completely different from the House of Atreides and Paul in particular. However, as events unfold, Chani and Paul find that they have a lot in common and agree to work together in order to overthrow the Baron. The little we see of Zendaya shows a lot of promise for the upcoming films in which Chani has more presence as she showcases the loss that Chani has and her resilience.

In a film as vast and heroic as this, there has to be a villain that steps up to the plate and an excellent performer who can effectively put this across. The role of Baron Vladimir Harkonnen is filled with greed and corruption and is a difficult role to successfully pull off and Villeneuve entrusts none other than the fantastic Stellan Skarsgård to step up to the task. Skarsgård’s performance not only lies in the intimidating physicality of the character, but the unpredictability of his actions and the relentless nature he has in order to get what he wants and successfully reap back the power he believes he wrongly lost. Skarsgård isn’t in the film a lot, but the scenes that include him are among the best in the film, including the scene in which he has captured Duke Leto Atreides (Oscar Isaac). It’s a testament to his performance that his presence is felt throughout the film, even in the scenes that he is not in and it will be exciting to see the Baron and Paul’s eventual standoff in the upcoming films.

Although the film is filled with brilliant performances, the real highlight for me was Hans Zimmer’s score which undeniably contains traces of Zimmer’s signature sounds but also combines a new sound that enhances the overall experience. It’s difficult to pinpoint one track that stands out because the music flows so naturally with the film and works perfectly to highlight the struggles that Paul is facing. What Zimmer has always done brilliantly is incorporating vocals into his tracks, which is what makes the music in Gladiator so entrancing. For Dune, he takes a similar approach with tracks such as “Gom Jabber” boasting aggressive vocals that provide an otherworldly feel, while using instruments such as bagpipes in the track “Arrival on Arrakis” shows the unpredictability and clashing nature that Villeneuve is capturing. Hopefully, Zimmer’s work will get rewarded with a deserved second Oscar win.

It’s difficult to talk about a film like Dune and not discuss the cinematography. What Greig Fraser manages to achieve is astonishing as he captures a world that is vast and seemingly endless, while contrasting it with feelings of entrapment and claustrophobia at the same time. It is thanks to Fraser’s use of the camera that we are able to explore the planet of Arrakis through Paul’s perspective, so it feels as though the audience is on the journey with the protagonist. Despite the abundance of special effects in the film, Fraser makes the landscape seem as natural and real as possible, truly allowing the audience to escape and feel as though Arrakis could be real.

Dune is one of those books that has always proven to be difficult to film, but what Villeneuve does is enhance the grittiness and realism of the story and uses the special effects fantastically to transport us to Arrakis. It’s no surprise that Dune has received so many award nominations and it is certain to swipe the technical categories thanks to the immersive experience. Dune: Part Two is sure to be just as exciting and thrilling as the first installment as it will explore Chani’s character more and follow Paul’s improvements. A star-studded spectacle that works beautifully and showcases blockbusters at their very best.

What did you think of Dune? Let me know in the comments below!

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Earwig and the Witch (2020)

The latest film by Studio Ghibli is Earwig and the Witch, which has been the subject of controversy among Ghibli fans due to the computer animated style of the film which differs a lot from the signature 2D anime style that the company has become known and lived for. With Hayao Miyazaki’s son, Goro, taking the helm of this Diana Wynne Jones novel, it seems that Earwig and the Witch is seeing how Studio Ghibli does in the computer animated landscape which has dominated animation for the last decade. The film follows orphan Earwig (who is promptly renamed Erica by the orphanage matron) who is adopted by Bella Yaga, a Witch, and the Mandrake, a mysterious man who keeps himself to himself.

Please bear in mind that this review is in regards to the English language version as the Japanese language with subtitles was not an option at the cinema.

The film is directed by Goro Miyazaki, whose previous films with Ghibli include Tales from Earthsea and From Up On Poppy Hill. With his father bring Hayao Miyazaki who is not only one of the founders of Studio Ghibli but is a titan of animation, it’s easy to immediately compare Goro’s work to that of his father’s. Although his efforts have been proven to be hit and miss, there is something about Goro’s vision where you can tell he is wanting to push boundaries in animation. From the Universe building spectacle of Tales from Earthsea to his latest integration of computer animation in Earwig and the Witch. It is no secret, the computer animation does look out of place in the Studio Ghiblu catalogue but it isn’t too distracting with some scenes looking impressive such as the opening car chase. However, it does seem that the world would have looked even better and more detailed if it was done in the traditional hand drawn way. When watching the English dubs of other Ghibli films, it’s not too obvious, however, the computer animation makes the dubbing distracting at times. A comparison that could be made is that Goro has adapted a Diana Wynne Jones novel which reflects his father’s 2004 adaptation of Jones’ novel, Howl’s Moving Castle which is often ranked as many people’s favourite Ghibli film. When compared to Howl’s Moving Castle and Diana Wynne Jones’ universe as a whole, the holes and odd pacing of Earwig and the Witch are evident. With an extremely short running time of 90 minutes, the film ends abruptly and feels as though there is a scene missing.

The leading role of Earwig is voiced by newcomer Taylor Paige Henderson who brings a stubbornness and hardness that would be expected of a young girl with Earwig’s background. The character of Earwig is much like other Ghibli heroines in that she thinks she knows the ways of the world but she has a lot to learn. However, bearing in mind she is likely younger than the fiercest protagonists such as Nauiscaa and San, Earwig is a little rough around the edges in terms of her character. Henderson does a good job at portraying Earwig’s unapologetic nature. Vanessa Marshall on the other hand does a stellar job as Bella Yaga, the witch who takes Earwig into her care. Even when not on screen, we feel Bella Yaga’s presence. Much like the witches of Ghibli (think Yubaba and Witch of the Waste), Bella Yaga is focused on herself and on the surface, doesn’t wish to subscribe as a role model for the younger characters. Also like the aforementioned characters, Bella Yaga appears to be mean and unreasonable but actually has a kind side and does appear to care for Earwig.

In support, Richard E. Grant pulls off a fun performance as the mysterious Mandrake, a tall and lurking figure of little words who quickly becomes subject of Earwig’s curiosities. As Earwig settles into her new family life, we see the bond between her and the Mandrake grow stronger. However, the strongest bond with Earwig is the family cat, Thomas, voiced by Dan Stevens, who acts as Earwig’s companion and mentor to the world of magic as our protago is struggles to fit into this new world.

Overall, Earwig and the Witch is by no means a top tier Studio Ghibli film and it does have its flaws, especially the script which doesn’t feel entirely finished, but it should be applauded for trying something new. Although there is nothing necessarily broken about Studio Ghibli’s output, there are some eye-catching sequences and with a great song, “Don’t Disturb Me” sung by Kacey Musgraves which will get stuck in your head long after the credits roll, Earwig and the Witch is definitely worth a watch.

What did you think of Earwig and the Witch? Let me know in the comments below!

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The Dig (2021)

As awards season lingers on the horizon, more and more films are being released with the hopes that they will be successful come trophy time. One such film that has snuck onto the scene and made a big impact is Simon Stone’s period drama The Dig. Based on the 2007 novel of the same name by John Preston with a script written by Moira Buffini, The Dig follows the 1939 excavation at Sutton Hoo which is often regarded as one of the most significant excavations in history. Taking place on land owned by Edith Pretty (Carey Mulligan) and with a team led by archaeologist Basil Brown (Ralph Fiennes), the discovery of an Anglo-Saxon ship filled with gold and other precious items brings hope to the community contrasting with the context that Britain will soon be at war.

Stone’s direction is beautiful and poetic, making the most of the natural landscape that encapsulates the film. Immersing itself in the surrounding countryside, we never really leave the estate grounds with the exception of Pretty visiting a doctor in the city and Brown going home. Just as the group’s obsession with their findings begins to physically and emotionally change the land, the audience becomes equally familiarised as we see the progression of their work. Stone isn’t interested in the actual treasures found but the people who find them and how they are changed by their experience.

The script written by Moira Buffini takes a while to find its feet but once it is grounded, it begins to flow nicely. The first 20 minutes see a lot of seemingly significant events that lead up to the initial discovery of the ship without really getting to know the characters. However, it is actually through excavating the ship that we see the characters challenged and tested beyond their capabilities. There has been some controversy regarding the portrayal of the female characters which is worth noting. At the time of the film’s events, Edith Pretty was around 56 years old whereas Mulligan is two decades younger. However, I am glad that they didn’t attempt to make her look older through make up as that would have been too distracting. The main issue is with the characterisation of archaeologist Peggy Piggott (Lily James). Piggott is portrayed as clumsy and aloof with no real expertise of archeology, however, she was a respected member of the archeology community at the time of the film’s events. I am not sure why the decision was made to make Peggy like this or why a fictional love affair was written in but it would have been better if Buffini had stuck to a more factual portrayal.

Ralph Fiennes is fantastic as excavater Basil Brown. A quiet and observant man, Brown is clearly passionate about his work and although he does fight for better pay, it is clear that he does not request a huge financial reward for his findings. As can be expected, Fiennes is brilliant and the film is lifted on his shoulders. His performance stops the film from becoming generic and boring as his character is the audience’s way in to this world of affluence and exclusivity. Whereas the curators who work in the museums only care about the treasure and getting the credit and profit, Brown wants to ensure the integrity of the excavation process itself. Coming from humble beginnings and trained by his own father, archeology and excavation is something that Brown had an incredible affinity for. Even though Fiennes isn’t onscreen a lot of the time, especially in the second half of the film, his presence is always felt because of the influence he had over finding the ship.

It’s clear that this is Carey Mulligan’s time to really shine as she delivers a wonderful performance as Edith Pretty. Although Pretty was two decades Mulligan’s senior at the time of the film’s events, Mulligan makes the most of the role and really shows Pretty’s struggle in a way that feels completely believable. Within moments, you forget about the age indiscrepancy. Through the duration of the film, it becomes clear that Pretty is suffering from an unknown illness that can cause issues with her heart should she find herself in overwhelmingly stressful situations. As the excavation begins to unearth the treasures in the land, Pretty’s illness becomes more severe and debilitating as though she is part of the land herself. I would have loved to have seen even more scenes with Pretty in her role as a landowner and the pressures she faced from the museum curators but Mulligan still pulls it off. Naturally she is garnering more attention for Promising Young Woman which is by far her standout performance and career best but her turn in The Dig is not one to be missed.

The score by Stefan Gregory is impeccable and provides a beautiful and classic backdrop to the film. Not overshadowing the onscreen activity, the score is subtle and quiet but once you notice it, you can’t help but pay completely attention to it. Simple and peaceful, the score captures the serenity that the countryside brings despite the war that is looming in the distance. The final scene in which we see Brown and his team filling the mound feels more prominent thanks to the reflective music that highlights the trials and tribulations of the excavation.

Filled with a flurry of familiar faces of the big and small screens, The Dig takes on a lot of storylines which can be overwhelming at times but the beautiful direction and incredible performances, particularly by Fiennes, keeps you drawn in. With beautiful production and costume design, The Dig may appear as generic on the surface but you simply have to look a little deeper to really find the beauty in the characterisation and production beyond the script. Stone clearly has an affinity for creating films in a natural environment that feel huge in scope so it will be exciting to see what he does next.

What did you think of The Dig? Let me know in the comments below!

The Dig is available to watch on Netflix now!

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The Queen’s Gambit

The show that everyone has been talking about at the minute is a series that revolves around chess. The Queen’s Gambit follows female chess player, Beth Harmon, and her quest to become the world’s best chess player period. The show was created by Scott Frank and Allan Scott and based on the 1983 novel of the same name by Walter Tevis. A lot of people have commented that the show has made a boring subject amazing but I beg to differ. I think it’s a brilliant show enhanced by an interesting and unexpected topic. As someone who used to play chess when they were little, it is an understatement to say that the competitions were very much male-dominated and there was more anticipation for the male categories than the females. Beth is subject to much belittlement and astonishment from her male peers. Even when at the top of her game, she is looked down upon by the grandmasters and champions.

To assume that the show is just about chess is to undermine it completely. Beneath the surface, we encounter themes of gender inequality, gender roles, alcoholism, drug addiction and loss among many more. In a way, all of these issues are brought to the light through chess and specifically Beth’s journey in the game. From the very beginning, Beth is an outsider as she doesn’t enjoy the same activities to her counterparts. The moment she sees the orphanage custodian, Mr Shaibel (Bill Camp), playing chess in the basement, she is curious and eager to learn. This curiosity then turns into an obsession fueled by tranquilliser drugs the orphanage controversially gives its pupils. Beth becomes a product of a traumatic childhood and her inability to lose gracefully and overanalyse hinders her at important moments in her career. Because of her reluctance to conform to societal ideals, she is often reclusive and isolated but all the more determined to climb her way to the top. The shows structure does a great job at presenting her challenges and obstacles.

Anya Taylor-Joy’s performance as Beth is nothing short of revolutionary. She is so captivating that every expression and word leaves the audience waiting with anticipation. Beth is one of the most complex female characters that TV has seen in a while. Academically brilliant and naturally talented at chess, she also struggles with drug and drink addiction as well as an unhealthy obsession with the game. Chronicling her life from her time in an orphanage after her mother’s tragic suicide to her adulthood in which she travels the world playing grandmasters in a bid to become one herself, The Queen’s Gambit is the most exciting and riveting TV show to air this year. From a curious novice to a strategic professional, Beth’s story is one of aspiration and tragedy as her career’s incline also results in an inner downwards spiral. Despite her flaws, the audience still roots for Beth and that’s mainly due to Taylor-Joy’s ability to really dig deep in her characterisation.

In support, Marielle Heller does a stunning performance as Beth’s adoptive mother, Alma Wheatley. Alma is a sickly woman who quickly gages onto Beth’s potential as a chess prodigy and assists her in her first bout of tournaments. I am very familiar with Heller’s work as a director (you can read my previous post on her films here) but haven’t encountered her in an acting role before. An important character in the first half of the series, Alma is just as flawed as her daughter. Leaving Beth to her own devices most of the time as she succumbs to frequent sickness and alcoholism, Alma is both a friend and mother, although the latter comes later as Beth begins to succeed in professional chess. Watching the intense moments between Beth and Alma makes for some of the highlights in the show as well as Alma’s ability to bring out the more human side of Beth.

In a year full of unfortunate events piled on more unfortunate events, The Queen’s Gambit is the show we all need for a good dose of quality television. I predict that Taylor-Joy will be the one to beat at the Golden Globes and hopefully will even receive Emma recognition as well. The fact that it has received overwhelming praise from female chess players, including grandmaster Jennifer Shahade, is only proof of the impeccable details and emotion that has been poured into every second. Without a doubt, The Queen’s Gambit is my favourite new show of the year and I don’t think it will be beaten.

The Queen’s Gambit is available to watch on Netflix and I strongly recommend you catch it if you haven’t seen it yet.

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Judy (2019)

Based on the last years and concerts of Judy Garland’s life, Judy is one of the most talked about films going into this awards season thanks to the starring turn by Renée Zellweger in the titular role. Biopics have always been a popular go-to for actors who want to subvert casting types and show their range and this seems to be no exception for Zellweger who foregoes her famed reputation as the comedic gem in Bridget Jones. As an avid fan of Judy Garland, I was really interested to see whether Zellweger pulls it off and it truly is a film that revolves around the performance and acts as an Oscar lull for the actress who has mainly stayed out of the spotlight for years. Directed by Rupert Goold, a director renowned for his theatre work with a script written by Tom Edge based on the musical The End of the Rainbow by Peter Quilter, Judy is the heartbreaking reality of a faded star who longs to stay in the spotlight but is plighted by a lifetime of abuse which finally catches up with her in the form drug and alcohol abuse. Flashbacks to her youth which see Darci Shaw play a young Garland (superbly I might add) in which she is constantly berated for her appearance whilst also experiencing harassment, forced drug use and general anxieties in terms of how she must eat and act at all times.

Goold’s direction is intensely focused on its star. When we see Judy perform for the first time, the camera never leaves her, instead focusing on each movement and mannerism that Zellweger conjures up. There is a distinct use of palette used in the film as the Hollywood scenes of Judy’s youth are bright and playful whereas the London setting for her concerts in the present day is darker and drearier. The illusion of fame has long since faded which Goold brings across. The decision to bring in events that didn’t happen in real life is something that I am unsure about. A life as eventful as Judy Garland’s isn’t in need of any fictionalisation and I feel that the inclusion of these scenes detracts from the film. The main fictionalised event was the inclusion of gay couple, Dan (Andy Nyman) and Stan (Daniel Cerqueira) who wait for Judy at the stage door and have dinner with her in their flat. I understand the inclusion of these characters as it is a way to show Judy’s support for the gay community and the performances from Nyman and Cerqueira are heartfelt and sincere. My only concern is the ending scene in which they start a singalong to “Over the Rainbow” when Judy breaks down on stage. This event didn’t happen and the effect that it had as the theatre audience all joined in made it a bit cringey to watch, knowing that this didn’t happen in reality. Judy’s longing to be remembered and her final lines do pack a punch though as you feel the impending fate that awaits her as she dies 6 months after the concerts. There are plenty of moments in the film, particularly the Hollywood scenes, that are fantastically shot and Goold’s experience as a theatre director comes into play. His focus on the character’s expressions and use of light and shade is phenomenal and it’s exciting to see what he picks as his next cinematic project.

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Now onto the star of the show. Renée Zellweger is nothing less than stellar as Judy. The Judy she plays is one that looks back on past fame and fortune whilst dealing with the reality that she does not have the same financial luxury or influence she once did. The only way she is able to keep herself financially afloat is by performing in London where her fan base is loyal. Garland is a character with many layers and Zellweger manages to communicate this with a melancholy glance. The physicality of the role may not seem demanding at first but particularly when performing, you see the physical struggles Judy has. Zellweger’s Judy is one who cares about her impact and legacy, wanting to ensure that she will be remembered. Her motivation is ensuring financial security so she can spend time with her children who are living in the US with their father, Judy’s ex-husband Sidney Luft (Rufus Sewell). There are so many scenes that are captivating and it’s mainly when she is on stage. The passion that Zellweger throws into the role is spilled out heart and soul into the songs. Offstage, Judy is disabled by her mental health and increased alcohol consumption. Her anxiety overrides everything causing a huge lack of confidence and yet she longs for validation and the applause. Her refusal to allow her younger children to enter the world of showbiz only demonstrates the hatred for her own upbringing and eventual rise to stardom. She longs for the normal life but can never truly have one now.

The supporting cast is led by Michael Gambon and Jessie Buckley as theatre owner, Bernard Delfont and assistant Rosalyn Wilder, respectively. It’s always nice to see veteran actors acting alongside rising stars and both do a wonderful job. At the end of the day, their roles are to support Zellweger’s starring turn. This is a film that has an intense focus on Judy. There are very few scenes that don’t have Judy in them meaning that this makes it hard for other people to truly shine because she does grab the attention. But as I said, in a film like this, we’re not meant to focus on these supporting roles. That being said, there is a scene between Judy and Rosalyn that is particularly fiery when the latter tries to encourage the former to go onstage. Judy lashes out and claims that Rosalyn doesn’t care about her which to an extent is true. She may seem that she does care but at the end of the day, Judy’s wellbeing comes second to her concerts. Rosalyn’s job is to ensure that Judy makes the concerts on time.

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Judy is a film with its flaws but much like the film’s subject, it certainly puts on a show. Zellweger has made herself a serious contender this awards season and definitely could walk away with Oscar number two. I think it’s a film worth watching just for the performance but the direction should not be overlooked either. In a post #metoo world, it’s horrific and tragic to see how Judy was treated from a young age as she was verbally and physically abused and forced to fit an ideal that she did not naturally conform to. She clearly despised and reviled any attempts to change her and yet was forced to hate her background. Comparing the two Judys we see in the film, we see that culmination of abuse from all angles in Zellweger’s.

What did you think of Judy? Let me know in the comments below!

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Top 5 Andrew Garfield Performances

Andrew Garfield is one of the most exciting millennial actors out there with a huge resume under his belt that boasts film, theatre and television. Since his breakout role in David Fincher’s The Social Network, Garfield’s talents have gone from strength to strength and his career has brought him an Academy Award nomination, two BAFTA nominations and a Tony Award for his performance in the Broadway production of Angels in America. He’s a fearless actor and clearly wants to stretch himself and show off the range he has.

His filmography isn’t as extensive as his television and stage work but this proves the care that he takes in selecting his roles. One his earlier roles that I absolutely adore is The Imaginarium of Doctor Parnassus (2009) which in true Terry Gilliam style is utterly bonkers but Garfield is wonderful as troupe member, Anton. The fact that that performance doesn’t even make the top 5 just shows his skill as an actor.

Without further ado, here are my top 5 Andrew Garfield performances in chronological order:

The Social Network (2010)

The one that gave him his big breakout into the mainstream, Garfield plays Harvard student, Eduardo Saverin a seed investor for Thefacebook, a website created by fellow student and friend, Mark Zuckerberg (Jesse Eisenberg). In this biopic following the founding of the world’s biggest social media platform, we see Garfield in a significant supporting role in which sees him as a crucial part of Facebook’s inception and then ultimately his ownership is reduced and his profit is minimal. Bolstered by a stellar script by Aaron Sorkin and brilliant direction by Fincher, the part of Saverin is already a meaty role but Garfield goes the extra mile and makes the most of his limited screen time. Even when he is not on the screen, his impact is felt throughout the film. It shows that even at the early stages of his film career, Garfield is looking for risky roles. Not to mention the perfect delivery of the line: Sorry! My Prada’s at the cleaners! Along with my hoodie and my ‘fuck you’ flip-flops, you pretentious douchebag!

Never Let Me Go (2010)

Based on the novel of the same name by Nobel prize winner Kazao Ishiguro, Never Let Me Go is a nostalgic dystopic story about unknowing clones who are raised and brought up to be harvested for their organs. Following the three protagonists Kathy H (Carey Mulligan), Ruth C (Keira Knightley) and Tommy D (Garfield) who are three donors. We watch their journey from their innocent childhood to fully aware adults and the deterioration of their friendships and their lives as they are forced to donate their organs and start dying in the process. Garfield holds his own against this starry cast which also features Charlotte Rampling and Sally Hawkins to name a few. Tommy D is such a complex character as he begins to express his feelings through art in the hope that this will save him and Kathy H. At the start of the film, Tommy is an angry young boy who doesn’t know where to project his frustration but the adult Tommy is more restrained. You can see the tension bubbling to the service with Garfield’s performance and the climactic scene in which he breaks down is heart-breaking to watch. Watching the desperation as Tommy accumulates years and years of art in which his love is expressed and ultimately rejected makes for one of the best performances of the year that was sadly overlooked.

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99 Homes (2014)

Now for my favourite Garfield performance. Fresh off the back from starring as Peter Parker in The Amazing Spider-Man and it’s subsequent sequel, you’d be forgiven for thinking that Garfield would be starring in blockbuster after blockbuster. However, he not only starred but also co-produced his next film 99 Homes, an indie following construction worker, Dennis Nash (Garfield) and his struggle to keep a job which leads to his family being evicted from their home. The eviction is led by the ruthless Rick Carver (Michael Shannon) who Nash starts to work for and begins to be led down a rabbit hole of corruption and deceit. It shows the desperation to survive in a failing climate and what people will do in the pursuit of security. Nash commits awful criminal and moral activities but we don’t judge him for it because we know the background behind this and the intentions. When Dennis is forced to carry out an eviction, his reaction is the complete opposite to Rick’s emotionless demeanor. Whereas Shannon thrives portraying impenetrable characters, Garfield’s characters always wear their heart on their sleeve and none more so than Dennis Nash. Shannon definitely dominates the film as a whole and also provides one of his own career bests but Garfield’s performance should not be overlooked because of this. Seeing him play a young, struggling father who is also tasked with taking care of his mother (Laura Dern) demonstrates his range and versatility.

Hacksaw Ridge (2016)

The biggest performance of his career so far and one that cemented him as a reliable leading man, Garfield leads this biopic about Desmond Doss, a pacifist soldier who acts as a doctor during the Battle of Okinawa at Hacksaw Ridge. Doss refuses to engage in any violent act and even goes into battle without a weapon to protect himself. He was renowned for savings the lives of countless soldiers on both sides. The film itself was a bit overrated as a whole in my opinion (it felt like an imitation of Full Metal Jacket in the first half and is overall an oddly paced film) but Garfield shines in the lead role. There are some unbelievably brilliant scenes such as the climb up the Ridge when the soldiers realise that the rope ladders is soaked with blood. The film is definitely worth a watch just for Garfield’s performance alone and was well worth the Oscar nomination it received. The film was met with controversy thanks to Mel Gibson’s involvement as director and his subsequent awards attention. In my opinion, however, I find his direction a bit too indulgent in this film and not one of the highlights. This is a film that Garfield alone elevates, telling the story of a peacemaker’s experience in the eye of a bloody war.

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Silence (2016)

2016 was unarguably a brilliant year for Garfield. His second feature of the year sees him working with Martin Scorsese in an adaptation of Silence as Father Sebastião Rodrigues, a Portuguese priest who ventures to Edo era Japan to seek out fellow priest Cristóvão Ferreira (Liam Neeson). The film is set during the Shimabara Rebellion that sees Christianity outlawed and anyone who refuses to denounce Christ tortured or killed. Accompanied by Father Francisco Garupe (Adam Driver), Sebastião’s faith is tried and tested throughout as this 3 hour epic follows the trials and tribulations of a suppressed community in a land where they are outsiders. The film is a slow burner but it is a deeply layered film with rewardingly textured performances. Both 2016 films see Garfield play devout Christians in war-torn Japan at different eras but the performances couldn’t be further apart. The psychological effects of torture that Sebastião is forced to endure is shown perfectly by Garfield. We feel Sebastião’s inner turmoil as his reluctance to denounce Christ harms not only himself but others around him.

It’s exciting to see an actor unafraid to showcase a diverse range in a multitude of mediums. He has achieved a lot in a relatively short amount of time and it’s exciting to see what projects he takes on next.

Which Andrew Garfield performance is your favourite? Let me know in the comments below!

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The Lord of the Rings Trilogy (2001-2003)

Continuing on in my Favourite Film series, this post looks at the films that opened my eyes to filmmaking and made me realise my passion for film. Based on the huge novel by J.R.R Tolkien, The Lord of the Rings trilogy consists of Fellowship of the Ring, The Two Towers and The Return of the King and follows Frodo Baggins (Elijah Wood), a respected hobbit who lives with his adventurous Uncle Bilbo (Ian Holm) who is forced to carry the One Ring to Mordor where he must destroy it in the fires of Mount Doom before the evil Lord Sauron claims the Ring and uses it to rule over Middle Earth. Frodo is accompanied by the Fellowship that consist of his best friend, Samwise Gamgee (Sean Astin), fellow hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), men Aragorn (Viggo Mortensen) and Boromir (Sean Bean), elf Legolas (Orlando Bloom), dwarf Gimli (John Rhys-Davies) and wizard Gandalf (Ian McKellen), Frodo must resist the lure of the ring and cross Middle Earth in a bid to save mankind from ruin. The trilogy also features a strong supporting cast with Hugo Weaving as elf Lord Elrond, Liv Tyler as his daughter Arwen who is Aragorn’s love interest and Miranda Otto in badass form as Éowyn. I know it seems a bit unfair to cram the whole trilogy in one post but it is impossible not to consider the vast achievement and scope that Peter Jackson has achieved.

It cannot be underestimated how well these films did upon release. The trilogy well surpassed the $1 billion mark and became instantly iconic around the world with masses of people en route to the premieres at their local cinemas. All three won big come award time with Fellowship of the Ring winning four Academy Awards, The Two Towers winning seven and The Return of the King sweeping the board with eleven nominations and eleven wins, tying with Ben-Hur (1959) and Titanic (1997) for the most wins at the Oscars. All three were critical and commercial smashes and boasted a spectacle despite being a film with fairly indie roots. It was different from other mainstream films because of this and I think the story’s message of fighting for good and friendship is one that resonates with a lot of people.

The cinematic releases see the films lengths at a minimum of 150 minutes per film but the extended editions bring the total running time an amazing 12 hours and what a 12 hours it is. The film achieved critical and commercial success upon release, has dated extremely well and remains one of the best loved franchises in history. Everything about it is perfect to me. I think it is a brilliant adaptation of the books and think the changes and omissions that were made were completely justified for the big screen. I know some people have trouble with the multiple endings at the end of the third film but remember that it is the end of one extremely long epic and that the ends need to be tied nicely. I think it’s a credit to the brilliant screenplays written by Jackson, Fran Walsh and Philippa Boyens that each member of the Fellowship is loved and has their own story. The films are so spectacular and huge that it becomes an immersive experience for the viewer. Jackson contrasts this with moments charged with emotion such as Sam’s speech at the end of The Two Towers which gives the film its heart and separates it from other blockbuster films that have come before it. I couldn’t tell you how many times I have watched these films and I am still noticing new things every time. It’s such a rewarding experience to watch these films and I think Jackson’s direction captures the imagination that Tolkien gives in the novels perfectly.

Sam

The film is cast brilliantly. There are three main storylines when the Fellowship splits with one following Frodo and Sam, another following Merry and Pippin and the third following Aragorn, Legolas and Gimli. Each actor embodies their character personally, particularly Mortensen and McKellen as Aragorn and Gandalf, respectively. Aragorn’s transition from outlaw Strider to the King is amazing as we see him emerge from the shadows and take the lead in the Battle of Helm’s Deep in The Two Towers (I will be discussing Helm’s Deep in further detail soon). On the other hand, we see Gandalf undergo a physical transformation as we shifts from being Gandalf the Grey to Gandalf the White, giving him even stronger powers. Frodo’s development from a hobbit who has never left the Shire to crossing lands and encountering creatures that he would never have seen before. Much like his Uncle Bilbo, Frodo’s sense of what is right helps to combat his fears but his morality is tested when the manipulative Gollum (Andy Serkis) “assists” in helping him reach Mordor. The rapport between the cast offscreen is reflected onscreen and makes for great viewing in scenes such as the Fellowship’s inception and the scenes when they are forced to split up. The intensity of the Fellowship’s bond is so strong and the direction is so intricate that the audience feels as though they are going on the same journey. When watching the climactic scene of The Return of the King unfold, you can’t help but feel relieved when everything is over.

One of the aspects that also makes these films so spectacular are the special effects which are provided by WETA. Led by the amazing Richard Taylor, CGI is only used when an effect is humanly impossible. The behind-the-scenes on the extended editions are fantastic and well worth watching as we watch the creation of Middle Earth unfold. Richard Taylor is the best of the best when it comes to special effects (his multiple Oscars reflect this) and his team are super brilliant and creative. From the intricate details in the designs and the make-up, every single aspect of the film is thought out and executed beautifully. Taylor and his team tie together the make-up, the props and the special effects together that enhances the fantastical elements in the film. Even the effort that goes into collecting short sounds for sound editing and mixing and the process behind it is remarkable to watch. Seeing the passion and the heart that the crew put into the film is touching as everyone has a respect for each other no matter what job they do. Howard Shore’s score for the trilogy is also something that seems revolutionary and new in film. Somehow, he captures the tone perfectly and created that perfect violin solo for “History of the Ring” that is instantly synonymous with the film itself. My favourite piece in the trilogy is “Riders of Rohan” from The Two Towers because it captures that anticipation for battle perfectly and grandeur of marching. The use of delicate strings contrasting with a strong brass sound helps to elevate the film to its epic heights. Shore is one of the best film composers out there and he knocks it out of the park with these scores.

helmsdeep

I don’t think I could justify discussing these films in length and not bring up the brilliance in structure and execution of the major battle scenes. Helm’s Deep in The Two Towers is probably the best battle in film history. Everything about it is remarkable from the set design to the intricate detailing in the costumes and props and then the performances are on top form to boot. It comes at a point in the story where Sauron has managed to accumulate a large 100,000 strong Orc army thanks to the evil Wizard, Saruman (Christopher Lee). The odds are stacked against the soldiers of Rohan but they still vow to battle until the very end. The arrival of the elves from Lothlórien, led by Haldir (Craig Parker), marks a significant shift in the Middle Earth universe as elves infamously refuse to involve themselves in war but the threat of darkness forces them to fight alongside. It makes for an epic battle and one of the most devastating deaths in the trilogy as Haldir meets his end defending Aragorn. Other scenes that are remarkable include Boromir’s death in Fellowship of the Ring which I remember being the first death that I encountered in film and being perplexed that a “good guy” could die in a film. The great thing about The Lord of the Rings trilogy is that it does not patronise the audience but it is suitable for all audiences (maybe not smaller children but from around 6/7 upwards). Even the ending is bittersweet as Frodo sails off for the Undying Lands, leaving the others forever. It isn’t afraid to delve into serious topics while remaining in that fantasy universe and being larger than life.

I would be lying if I said that these films didn’t change my life and my outlook on film. I watch the extended editions every few months and fall in love more and more. There is a strong argument that they are among the greatest films in history and deserve their place one of the most renowned series for its depth and scope. I remember seeing them for the first time in the cinema and being scared and in awe at the same time. I was so captivated that I would watch them on a loop for months on end. It’s amazing to think that these films were such a huge part of my childhood but they are so important to me and I’ll never stop loving them.

What do you think of the The Lord of the Rings? Which installment is your favourite? Let me know in the comments below!

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It: Chapter Two (2019)

Set twenty-seven years after the events of the first instalment, It: Chapter Two brings the Loser’s Club back together as they reunite in Derry to defeat It once and for all. Bringing in an ensemble cast led by Jessica Chastain and James McAvoy to play the Losers as adults, It: Chapter Two is just as unexpected as the forms It can take. It’s important to remember that even in the book, the adult segments and teenage segments create an entirely different viewpoint and therefore, this creates an entirely different film. While the first segment brings us that introduction to It (in particular, Pennywise the Dancing Clown), the adults are already familiar to his tricks and aims. By this point, we’re familiar with the individual fears and the gang know how to defeat them; however It isn’t willing to give up that easily as he has been wreaking havoc on Derry. This film is told from the perspective of the insider as outsider as they witness tragedies happen but are unable to do anything about it and question whether they should do anything about it. After all, what has Derry done for them? It’s a film that shows that right and wrong isn’t always black and white.

With the exception of Mike (Isaiah Mustafa), who stayed in Derry, the gang moved away to various locations with their memories of the tragic events blurred the further they live. This may seem like an escape but the members of the club are leading unfulfilled lives. Bill (James McAvoy) is a seemingly successful writer who can’t seem to write a good ending, Beverly (Jessica Chastain) has found herself in another abusive relationship, Richie (Bill Hader) is an alcoholic stand-up comedian, Ben (Jay Ryan) is a dissatisfied architect and Eddie (James Ransone) has married a woman who is just like his mother (a funny touch being that they cast the same actress for extra measure). The only member of the gang who seems to be content is Stanley (Andy Bean) who is happily married and is looking forward to going on holiday. The trauma of the past events slowly piece together for the group as the film goes on but for Stanley, it immediately comes crashing down as soon as he sees the Derry number pop up on his phone. It’s brilliantly cast with Chastain and Hader particularly being my highlights from the Losers. The rapport between them feels as natural as it was in the first instalment.

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The forms that It takes in the first instalment are the fears of the gang members in particular. In this film, the forms become more bizarre and veer on the side of grotesque with baby heads on the bodies of cockroaches as one gruesome example. The scenes when these creatures dominate can tend to go on for too long but the effects are brilliant and it is terrifying to watch. With double the budget, the special effects team have gone to town with making It as disgusting as possible with all sorts of bodily fluids floating around the place.

And now it’s time to talk about It itself. Bill Skarsgård has somehow exceeded the expectations from the first one and manages to bring another level of depth as he uses his emotions to trick the kids of today. One little girl is touched by his story of being a lonely clown with no friends in a scene that sees Pennywise act weirdly human which is unsettling to watch. We see Pennywise become completely unhinged as he is gradually backed into a corner as the gang work together to figure out how to kill It once and for all. He’s cheeky and mischievous as ever but more determined to make the deaths as gory as possible.

Both Andy Mushietti and Gary Dauberman are reliable in the roles of director and screenwriter, respectively and clearly have love and passion for the novel as they are faithful as can be. Even the changes that have been made feel necessary and natural to the progression of the plot and are mainly because of the time difference between the book and films. The brilliance of it ensures that today’s audiences are terrified just as the 80s audience would have been terrified from the book. If the films had followed the timelines in the book then it wouldn’t have the same impact due to how much the world has changed since then. One change that I am uncertain about was that rather than have Ben remain in Derry, they stayed with Mike. Mike is the one in the book who does all the research rather than Ben so naturally that would mean that in the film Ben stays in Derry so that aspect seemed disjointed in the film as we don’t really see Mike’s progression and research into madness from that early age which is done really well in the book. This doesn’t take away from the film but it did make me wonder why they decided to do it this way instead.

pennywise

The younger cast also make welcome appearances in flashbacks from the firsts film as well as additional scenes that were mainly filmed alongside the first film. Seeing the shots of the gang as teenagers against their adult counterparts shows how perfectly cast the film is, particularly Eddie and Beverly.

It’s quite difficult to compare the two films as they have completely different tones and themes. It would be too simple to merely state that it is a “grown-up version” of the first part as the characters have actually struggled to grow-up and remain largely as adult versions of their teenage selves which begs the question of: have they really escaped It? Did It stunt their emotional and mental growth into adulthood? It’s certainly more mature than its predecessor in its themes and especially explicit in its portrayal of abuse with the homophobic attack at the beginning one of the most shocking scenes I have ever seen in a film. It was horrific to read it in the book but on the screen, they didn’t hold back with the brutality and it showed that the greatest monster is actually mankind.

My favourite aspect of the film is a cameo by the brilliant mind behind the book. Yes. Stephen King makes a brilliant cameo as an antique shop owner who extorts Bill when he wants to buy his bike. It’s a great scene to watch and makes the film feel homely. It’s also a nice homage to the works of Stephen King. Let’s not forget that his work has been adapted the most and not always successfully so it’s great to see that this has his seal of approval.

What did you think of the film? Did you enjoy it? Let me know in the comments below!