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The Lighthouse (2019)

Robert Eggers’ follow-up to 2015’s The VVitch is a mind-bending mesh of chaos, insanity and broken masculinity. Starring Robert Pattinson and Willem Dafoe as two lighthouse keepers who are stranded on the island after a storm hits, The Lighthouse shows the men’s mentality break and crumble in a fashion never before seen on film. Co-written by Eggers and his brother Max Eggers and inspired by the unfinished short story “The Light-House” by Edgar Allan Poe, The Lighthouse is a brilliant look into madness and mayhem from the outset as the protagonists drink themselves into oblivion when a storm hits. Distributed by the illustrious A24, the film has become instantly iconic for it’s beautiful cinematography, brilliant screenplay and magnetic performances. It is a film that commands attention from the outset and despite it’s simple plot, it is sublimely complex and groundbreaking. Eggers has proven yet again that he is a filmmaker to watch. More like his contemporary Ari Aster (Hereditary and Midsommar), Eggers is bringing a new perspective on the horror genre. His films are not afraid to be gory and disgusting in a different way while also bringing in dark humour and aspects of magic realism. Incorporating sea folk such as mermaids and sea monsters in a space where they are clearly fantasy to begin with but slowly slip into the reality and getting to the point where their existence could be argued.

Robert Pattinson proves that he is on a promising streak of strong performances following his stellar turn in Claire Denis’ erotic sci-fi High Life (you can read my review here). Pattinson plays Ephraim Winslow, a newbie to the lighthouse keeping game who is put to strenuous tasks by the elder Thomas Wake. When he finds a mermaid ornament hidden in his mattress, Winslow becomes fascinated by the eroticism that the sea has and becomes sexually obsessed to the point where his fantasies and realities collide. Even he doesn’t know what is real by the end of the film. The events in the film act as an awakening for Winslow as well as proving to be his demise. He’s a character who never feels settled and is clearly out of place in the job. His inability to understand why what they do is important and Wake’s reluctance to allow him to see the light actually prove to be motivators for Winslow as he doesn’t allow the job to overwhelm him. Pattinson’s character is manic, quiet and calculating at the same time and I think this film is solid proof of how far he has come from his Twilight days. Considering he found fame in a mainstream franchise and will be starring as the titular character in the new Batman film, I think starring in indie films like The Lighthouse shows Pattinson’s passion and his desire for good characterisation and artistic growth.

Williem Dafoe and Robert Pattinson in director Robert Eggers THE LIGHTHOUSE.

Willem Dafoe gives a flawless performance as is expected. Undoubtedly one of the best working actors today, Dafoe’s portrayal of the elderly Thomas Wake is a revelation. He is boisterous and unafraid to stand his ground, having no trouble delegating all the hard work to his companion. At the same time, there are many moments when Wake will change his stories and claim that the stories haven’t changed at all. It’s a role that requires fearlessness which is something that Dafoe has in spades. Known for his controversial roles and ability to play any character to perfection, Dafoe manages to reach yet another career best which is amazing considering the performances he has pulled off the past few years, particularly his turn in The Florida Project. What differs with his performance in The Lighthouse, however, is that this role feels more fantastical and removed to how we usually see Dafoe and the result is immense. I firmly believe that he was deserving of Supporting Actor nominations through awards season but it wasn’t to be as The Lighthouse was shut out from most categories. I think what Dafoe does brilliantly is challenging himself and showing time and time again just how much range he has as a performer. Wake is a despicable man who takes advantage of his protegee and yet he is captivating, incomprehensible and misunderstood.

The score by Mark Korven marks his second collaboration with Eggers after providing the eerily fantastic music for The VVitch. Created in a similar vein to the aforementioned, the score for The Lighthouse is clearly inspired by old maritime songs and merged with traditional horror tones. The result is a suspense filled mesh of mayhem that stands out clearly against the black and white backdrop of the film. It feels timeless and yet not suited for any time with its standoffish tone. There are many jarring string pieces that are like the tempting siren but then contrasting with the stormy surrounding and building tension as the relationship between the protagonists becomes more unbearable. Looking back, this has been a fantastic year for movie scores and even among all the best soundtracks, The Lighthouse proves to be equally simple yet effective, heightening the viewing experience.

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I think this is a film that has the potential to go down as a horror classic. It feels experimental and brave, pushing the boundaries on film-making through the use of its contrast between simplicity and complexity. It’s a horror in many ways from its gore to its mental abusive nature and the inability to trust in its lonely characters makes it a nail-biting experience. I think it’s a real shame this was locked out of almost all categories but glad that Jarin Blaschke was recognised for his phenomenal cinematography. The Lighthouse has proven to be a marmite film among film lovers but it is a deeply rewarding experience and the vision is executed beautifully. It’s a film that I look forward to viewing again and again as I think I’ll notice even more elements that I admire. It makes me keen to see where Eggers’ career will take him next and eager to see if he continues with his great collaborations.

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

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Paul Thomas Anderson: Film Ranking

Paul Thomas Anderson is known for his experimental and fearless quest into exploring characters in ways that are unflinching and at times, uncomfortable.

With the exception of last place (I really struggle with the age-gap in the relationship), I’ve watched these films multiple times and some of them are among my favourite films of all time.

Here’s my ranking for the filmography of Paul Thomas Anderson:

  1. The Master (2012)
  2. There Will Be Blood (2007)
  3. One Battle After Another (2025)
  4. Boogie Nights (1997)
  5. Phantom Thread (2017)
  6. Magnolia (1999)
  7. Inherent Vice (2014)
  8. Punch-Drunk Love (2002)
  9. Hard Eight (1996)
  10. Licorice Pizza (2021)

Which PTA film is your favourite film? Let me know in the comments below!

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Who’s Afraid of Virginia Woolf? (1966)

Based on the Edward Albee stageplay of the same name and marking Mike Nichols’ directorial debut, Who’s Afraid of Virginia Woolf? follows older couple, Martha (Elizabeth Taylor) and George (Richard Burton) as the cracks in their relationship between to crack and crumble with the arrival of newlywed couple Nick (George Segal) and Honey (Sandy Dennis). Very much like the stage production, the film itself is minimalistic and relies on the strength of the actors’ performances which is provided in spades. Elizabeth Taylor who gives her best performance since her Tennesee Williams duo with Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959).

The screenplay is nothing short of amazing. Adapted by Ernest Lehman and there are only minor differences to the film, largely due to location. The Albee play is set only in Martha and George’s house whereas the film gives us a short break in a local roadhouse. It’s not a change that creates any detriment to the film and makes for an opportunity to see how these characters act outside of the comfort of the homely setting. Martha and George’s son is given a name in the film, Nick, in the film adaptation but does not have a name in the play. Again, this is an understandable change as it creates a more emotional charge for the audience as it feels more “real” and relatable when giving him a name. This is similar to the narrator in Truman Capote’s novella Breakfast at Tiffany’s who is given the name, Paul Varjak, which probably makes it easier to confirm especially when protagonist Holly Golightly refers to him as “Fred” after her brother. Changes as small as these don’t compromise the vision of the film and in Lehman’s case, it brings a different dimension to Albee’s play and enhances it in some ways.

Taylor had had her fair share of turbulance with the press and public as her lifestyle and general sexuality was judged and she was seen as a poor role model but this film allows us to see that she isn’t afraid to “deglamourise” and get gritty when needed. She has always been a brilliant actress as previously proven but portraying Martha gives us a chance to see the darker side as Martha manipulates and instigates. She is such an unlikeable character but Taylor has such a presence that it is impossible to feel Martha’s power as she dominates with her physicality. She manipulates the audience into feeling how she wants them to feel, gaining sympathy when needed and repulsion when required. Her performance is nuanced and showed that her career was far from over.

Richard Burton on the other hand plays the oppressed husband waiting to explode as Martha provokes again and again. One of the best actors of the Golden Age of Hollywood, Burton was seriously undervalued during his lifetime and found himself without an Oscar despite seven nominations under his belt. This was indeed one of those performances and despite his brilliance, this really is Taylor’s film. That isn’t to say that his performance isn’t excellent because it is among his best of the best and shows the potential that he was capable of being succombing to alcoholism.

The supporting actors, Segal and Dennis shine as the young couple seemingly in love. The longer they spend time with the miserable elders, they start to see parallels in their own relationship. Sandy Dennis is particularly eyecatching as Honey, the initially subdued housewife who then begins to disagree with her husband. It captured the Academy’s attention as well who award her with the Best Supporting Actress gong. The arrival of the young couple gradually means that the film becomes a game of Chinese whispers as secrets are thrown around to the wrong people and conflicts happen every five minutes. It’s a spiderweb of the complexity of relationship and ultimately seeks to find the foundation of their relationship and destroy it. The ending then leaves the question of what happens next as their years of marriage and lies lay bare in front of them.

The film is a great example that plays can be adapted successfully to the big screen without making big compromises. The film allows the actors to bounce off each other rather than blending into a spectacle. Seeing Taylor and Burton onscreen is always a treat as well and to see such volatile performances makes the film raw and honest. It’s a film that feels enormously progressive for its time as the couple grieve over the death of their son, deal with their bad habits and open up about their tumultuous marriage. The characters are not trying to be likeable because they react as their character would react rather than catering to a Hollywood audience as the big studios would play it.

What do you think of the film? Let me know in the comments below!

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Unpicking the Witch: Suzy and Rose in Retrospect

When watching Dario Argento’s horror classic Suspiria (1977) and its thematic sequel Inferno (1980), it’s understandable that the mind would instantly capture the bright cinematography and bloody violence that occurs throughout the film. What Argento doesn’t receive credit for, however, is the portrayal of its female protagonists, Suzy Bannion (Jessica Harper) and Rose Elliot (Irene Miracle). Both characters are artists with Suzy a student a prestigious ballet school and Rose an aspiring poet. Both find themselves living within the confines that house demonic and powerful witches who create darkness and chaos and delight in killing and torture. I love both of these films (I have written reviews on both which you can read here and here) with both leaving a lasting impact on how I view horror films. The writing is fantastic and the cinematography is highly creative but it was the portrayal of these women thrown into impossible circumstance and their determination and strength that stood out to me. Compared with the trend of horror films at the time where we see women portrayed as the damsel in distress and in need of a man to save them, Argento omits men almost entirely in Suspiria and the protagonist, Mark in Inferno is far from the traditional “strong men” that you tend to see in films.

Starting with Suspiria, Argento’s big breakthrough into English-language horror was a technicolour masterpiece filled to the brim with fake blood and guts. Following aspiring dancer Suzy, a new student at a prestigious dance school, as she begins to investigate mysterious disappearances of other students and staff alike. We first see Suzy leaving the airport in Freiberg into a torrential storm. The cuts and use of music when the automatic doors of the exit are opening and closing brings that otherworldly atmosphere to the film. Her introduction to the staff sees her intervene in an interview with the police when they enquire about a missing girl. What transpires is an environment in which Suzy becomes even more of an outsider than before as her bids to fit in make her stand out to the witches that run the academy. Naturally, Suzy is reluctant to believe the stories that her friend Sara tells her but as people begin disappearing one by one, Suzy becomes resourceful and finishes the mission that Sara started. Suspiria only has a handful of male characters with the bulk of the cast being made up of the female staff and students.

Rose Elliot in Inferno is much like Suzy in her ways. The film opens with her reading about The Three Mothers, three witches who use their dark powers to control the world. She is warned off the subject by a male antiquarian but she goes ahead with her investigation regardless. What follows is a fantastic scene in which Rose dives into a pool to retrieve a lost necklace. Upon swimming into a corpse, she is understandably frightened but still pushes on with her investigation and writes to her brother Mark, asking him to return to New York to help her. Rose’s mission doesn’t end happily and Mark ends up getting the credit but his findings are based on his sister’s research without whom he wouldn’t have figured out the mystery. Rose’s contribution to the film can be felt throughout despite her absence in the second half. Her character also seems more developed and intriguing than Mark which is odd for a genre that (at the time) excluded strong women from their narrative.

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Both women are also artistic as discussed before and their talents not only add to their character development but these skills assist them in desperate times. Suzy’s curious nature inspires the witch to attempt a physical injury by inflicting a hemorrhage on her during class causing her to become bedridden. This fails to slow down her investigation, however, and the loss of best friend Sara inspires her to get to the bottom of things. The same could be said of Rose whose love of books and research adds to her observant nature and her ability to attune her focus on figuring out who owns the building.

I really enjoy both performances because the characters don’t come across as reliant even when they ask for help. They are indifferent to the male heroes we see in horror films. Argento also doesn’t sexualise the protagonists  which is refreshing to see as women in horror are usually subject to appearing in demeaning scenes such as unnecessary nudity and rape scenes. There’s a reason why his films are timeless and even watching now they feel current and progressive, showcasing his real talent for filmmaking.

What do you think of Argento as a filmmaker? Which film of his is your favourite? Let me know in the comments below!

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Scanners (1981)

Another film that I watched on a whim on BFI player is one that has been on my list for years. Scanners is a sci-fi horror directed and written by David Cronenberg and follows a sub-species of humans called Scanners, people who can control others with their minds. When one Scanner, Daryl Revok (Michael Ironside), goes rogue and starts to hunt down other Scanners in order to take over the world, security system corporation Consec uses social outcast, Cameron Vale (Stephen Lack), to infiltrate the community to bring Revok down. Assisted by the allusive Dr Paul Ruth (Patrick McGoohan), Cameron must hone his powers in order to face Daryl whose powers are much stronger than the other Scanners. He teams up with the powerful Kim (Jennifer O’Neill) and they work together to bring Daryl down.

The plot itself is linear as Cameron goes from social outcast to leading the fight against Daryl. We see him come out of his shell and become stronger than the Scanners until he is strong enough to fight Daryl. The climactic scene between them is fantastic and unexpected. Relying on the actors’ physicality and strong use of gory special effects, the scene is larger than life but also extremely simple due to its setting and the focus on the actors. Cronenberg knows that he doesn’t have to go above and beyond to create an effective fight scene and therefore brings no distractions. The focus on facial expressions also adds to the intensity of the film. I personally like that the film throws you into the situation and we are introduced to the world of Scanners through Cameron’s own realisation and experience.

The most iconic scene in this film is definitely the head explosion where we first meet Daryl in which he violently kills a fellow Scanner by causing his head to explode. Very few scenes in films make me jump and this one truly did. The brilliance of the physicality of the Scanning process is highly intense and the build-up in this scene had me on edge the entire time. I also think that the character of Daryl is one of the films highlights for me. He is an interesting character who was clearly distressed and reactive to the environment around him. He is relentless in his quest for world domination, even attempting and succeeding to violently kill other Scanners in order to do so. This contrasts with Cameron who is hugely reluctant to join his cause and has no inner conflict to do so. The two Scanners are polar opposites on the sides of bad and good.

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I really like the style of the film. It’s sci-fi but doesn’t feel like it due to its realistic setting. The Scanners themselves look like regular humans and the Scanning effect is very physical and relies on the actors rather than the special effects which are bring the results. The special effects are one of the strong points and are brilliantly gory. It is not a film for the faint of heart. There are exploding heads, charred bodies and plenty of guts throughout. Even the scenes that don’t have gore are full of horror as we see the affect that the Scanners have on other humans. It doesn’t feel like a horror in the traditional sense, however, because of its sci-fi aspects so it’s a film that sits in its own genre.

Cronenberg’s long time collaborator Howard Shore provides a score that really brings the film to life. The Scanning process is enhanced by Shore’s score with it’s use of futurstic sounds and abnormal tones. Being an avid fan of Peter Jackson’s The Lord of the Rings Trilogy (2001-2003), one of my favourite aspects is Shore’s revolutionary score so listening to this soundtrack made me realise what a great talent he is. He captures the tone and unease of the film perfectly that it seems that the film is shaped by the score at times, particularly those intense scenes when the Scanning is reaching the climactic point.

Overall, Scanners is a film that brings special effects in abundance but also asks a lot of its actors and the result is a great film that revolutionised the horror genre. It’s a film that showcases Cronenberg’s brilliant mind and imagination and his reluctance to follow trends and put himself in a box.

What do you think of Scanners? Let me know in the comments below!

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Top 5 Joaquin Phoenix Performances

Undoubtedly the man of the moment in the film that has the festival circuit buzzing, Joaquin Phoenix is the frontrunner for awards for his titular performance in Todd Phillips’ origin story Joker. During a film climate that seems dominated by superhero films, Joker seems like it is doing something entirely different by twisting the tone and idea of the superhero movie. It feels that after years of playing the underdog in Indie features and his reluctance to entertain the spotlight, the mainstream media has finally caught up. It feels only right that I compile a list of my top 5 performances although it’s very tricky to do so.

Here’s my top 5 in chronological order:

Gladiator (2000)

I never thought Gladiator would be in a top anything list. Truth be told, I find the film overwhelming overall but the one element of it I absolutely love is Joaquin Phoenix’s brilliant performance as the evil Commodus, the power hungry son of Marcus Aurelius who gives power to Maximus (Russell Crowe) until a new empire is formed. His lust for power knows no bounds as he murders his own father and has Maximus arrested. It’s Phoenix’s performance that brings the real depth to this film. He could have easily played this role as a cartoonish villain but instead brings a snakelike presence to the character. His strength comes from the power that others give him rather than strength that he has by himself which comes to fruition in the final fight scene with Maximus.

The Master (2012)

Undoubtedly my favourite Joaquin Phoenix performance, The Master follows ex-marine Freddie Quell (Joaquin Phoenix) as he becomes involved with a cult called The Cause, led by Lancaster Dodd (Philip Seymour Hoffman) and his wife, Peggy (Amy Adams). I won’t dwell too much on this film, mainly because I have written an extensive review for this film (which you can read here). Phoenix brings his A game to his performance and it truly is a career best. The scene where he initially undergoes “Processing” with Lancaster in which his darkest secrets and even darker past are revealed. It’s a brilliantly shot scene that brings together to titans of acting and should have won both Phoenix and Hoffman Academy Awards.

Her (2013)

Spike Jonze’s romantic Her shows a tender side to Phoenix in the role of Theodore Twombly, a depressed soon-to-be divorcé whose job is writing intimate letters for people who are too afraid to do so. He is so emotionally intense and yet detached at the same time as he begins a sexual relationship with his OS (voiced by Scarlett Johansson). Featuring a stellar cast that is rounded off by Amy Adams and Rooney Mara, this was one of the best films of 2013 and brought Spike Jonze a much-deserved Oscar for his screenplay. It’s a saddening portrayal of love and heartbreak in the 21st century. This is a film that easily could have fallen into ridiculous due to its eccentric plot but the sincerity that Phoenix brings to the role allows the audience to become truly invested in the plot.

Inherent Vice (2014)

Phoenix’s second collaboration with Paul Thomas Anderson brings renowned author Thomas Pynchon to the big screen in what is the only adaptation to date. Based on the drug-infused novel, Inherent Vice, we follow Doc Sportello, an alcoholic, drug-loving cop in 1969 as he tries to bring down a drug lord. It’s a hallucinogenic mesh of colour, music and Joanna Newsom who stars as a narrator only Doc can see. The film itself is hugely underrated, possibly due to the fact that it is too bizarre for a lot of people. Being a big fan of Pynchon, I was so excited to see how it would work adapting one of his books into film and it works perfectly. Phoenix is perfect casting and carries off Doc’s happy-go-lucky attitude with ease. He heads up a star-studded cast fantastically and commands the screen whenever he is on it. He brings the perfect amount of slapstick while also keeping the character’s dignity intact. It’s truly a brilliant film that I think is wrongly overlooked.

You Were Never Really Here (2017)

Lynne Ramsay’s gritty New York City based nightmare follows Phoenix as hitman, Joe, who lives and breathes violence and killing all while living with his elderly mother in his childhood home. He specialises in rescuing trafficked girls. He’s a character who’s backstory is stained with violence and abuse and there isn’t much else that he is capable of doing. He is quiet and alone but happy in his loneliness. When tasked with retrieving a Senator’s daughter from traffickers, Joe embarks on his hardest mission yet. The film is bloody and holds no punches. It’s brutal from beginning to end with devastating results. The direction and writing is super tight and brought both Phoenix and Ramsay prizes at Cannes Film Festival in a rare double win.

With the release of Joker, it seems that Phoenix is going to break into the mainstream and he’s the frontrunner come award season. It seems that these awards are long overdue. If it were up to me, he’d have a couple of oscars in his cabinet already but sadly that hasn’t been the case. I’d hope that those who are introduced to phoenix’s talents as the Joker watch him in other films and see his talents beyond that superhero universe.

I’ll be posting a review for Joker as soon as its released and I’m looking forward to seeing whether it would break into my top 5.

What do you think of my list? Do you agree or disagree? Let me know in the comments below!

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Top 5 Kate Winslet Performances

After writing my post on Leonardo DiCaprio (which you can read here), it only makes sense to follow this on with a post on his most famous co-star, Kate Winslet. Following a meteoric rise during the 1990s, she also was nominated for a ton of Academy Awards before finally landing one in 2008. Her extensive resume has seen her play in period pieces, quirky indies and big-budget blockbusters. Winslet has become synonymous with the great British actresses of all time and is certainly among the best actresses working today.

Compiling a list of my top 5 performances was tricky because I knew instantly what they were; however, they come from the rise and peak of career so the last instalment is 2008. That isn’t to say that she hasn’t done good films since (the HBO series Mildred Pierce and Danny Boyle’s 2015 film Steve Jobs are proof of this) but these are the performances that stand out to me.

Here are my top 5 in chronological order:

Heavenly Creatures (1994)

Peter Jackson’s graphic retelling of the controversial Parker-Hulme murders shows the imagination of two teenage friends as they descend into madness and fix fantasy and reality. Melanie Lynskey plays working-class Pauline Parker and Kate Winslet plays the affluent Juliet Hulme. Proving her acting chops at a young age, Winslet commands the screen as sickly Juliet. Winslet is magnetic in her role as a neglected teen, crumbling in the aftermath of her parents’ travelling, her fight with tuberculosis and her parents’ eventual divorce and lack of love for their daughter. She creates a world with working-class Pauline and together the two become completely entwined in their fantasyland known as Borovnia where artists are celebrated and religion is frowned upon. We see the girls become violently inseparable as reality and fantasy become one until the film’s horrific conclusion. The film catapulted Winslet into the public eye and served as a great debut that has made a lasting impact and showed how fearless an actor she is from a young age. Juliet is headstrong and has a brilliant imagination which is underlined with severe manipulation and a cruel nature.

Titanic (1997)

So I have spoken about my love for this film in my Leonardo DiCaprio post and yes, this is the quintessential Winslet performance. James Cameron’s masterpiece sees Winslet stars as aristocrat passenger, Rose Dewitt Bukater, on the doomed 1912 liner. It’s the modern classic blockbuster that brings tears to my eyes every time. Winslet’s performance brought her a second Oscar nomination (the first being for 1995’s Sense and Sensibility) and first for Best Actress in a Leading Role. Winslet is perfect in the role of Rose, a young privileged woman crippled by the expectations of society. She longs for freedom and finds it when she meets the carefree, Jack (DiCaprio), a working-class artist who got his ticket through a lucky game of poker. They go through a lifetime of love within the space of a few days before the ship’s fate is sealed. We see Rose evolve throughout the film as the first act sees her trapped and unhappily engaged to Cal (Billy Zane) to finding love and freedom with Jack (DiCaprio) and the final act sees her lose that love but keeping her freedom. Rose’s evolution to unshackle herself from the expectations of society is a testament to Winslet’s ability to show Rose as more than a damsel in distress.

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Eternal Sunshine of the Spotless Mind (2004)

This film marked a huge turn in Winslet’s resume as she has become known for starring in period films. Charlie Kaufman’s insanely brilliant  Eternal Sunshine of the Spotless Mind follows the hopeless Joel (Jim Carrey) as he becomes enamoured with the mysterious and colourful Clementine (Winslet). When their relationship falls apart, Clementine goes to the controversial Lacuna Incorporated where people have their memories swiped of a specific person to rid . Joel attempts to do the same towards Clementine but tries to resist as he longs to hold onto the memories. The film is quirky, confusing and dazzling. It won the Academy Award for his brilliant screenplay and Winslet gained her third Oscar nomination. Clementine is deeply flawed but she is full of wonder and is a perfect opposite to Joel’s constant pessimism. Whereas Joel’s memory erasure comes out of malice for Clementine, hers came from the sadness of living a life in sadness. She is on a constant push to find belonging and love. I remember seeing this film for the first time and being mesmerised by Winslet’s performance. The character of Clementine is among my favourites of all time (as I discussed in my post on women in film which you can read here).

The Reader (2008)

The film that finally bagged Winslet the Oscar,  The Reader is a World War II period film following a young teenager, Michael (David Kross), as he becomes involved in an affair with an older illiterate woman, Hanna Schmitz (Winslet), who is eventually arrested and tried for her involvement with the Nazi party. The first act of the film shows the affair and then skips straight to the trial as Michael has read about Hanna’s arrest in the paper. As we only hear about Hanna’s crimes rather than seeing them in the film, we see the other guards from the camp coerce her into taking the full blame for signing a document that authorised a mass killing despite the fact that she is illiterate. Her humiliation in being illiterate forces her to accept that it is her signature and she is sentenced to life in prison. It’s a deeply complex performance that shows a human beneath a monster. We see Hanna deteriorate as she truly understands what happened in the camp and it begins to destroy her as she teaches herself to read and write. It’s as though Hanna functioned in her own world which we saw at the beginning of the film and as she learns to read and write, her world opens up and she realises that reality exists and suffers the consequences of her actions. Winslet won the Best Actress in Leading Role for this but I firmly believe that she should have won the Supporting Actress gong for this and the Lead for  Revolutionary Road but sadly her performance in  The Reader was classed as lead for some reason. It’s a supporting role but a bloody good one.

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Revolutionary Road (2008)

Now for the film that should have won Winslet the Leading Actress Oscar, Revolutionary Road reunites Winslet and DiCaprio for the adaptation of the novel that centres on the Wheeler family and their struggle to achieve the American Dream in the 1940s. Winslet plays April Wheeler, the failed actress who is stuck in a life as a stay-at-home mum. This film was among the most hyped of the year as it was also directed by Winslet’s then-husband Sam Mendes as well. The film itself is brilliant and passionate as we’re taken through the couple’s relationship from its hopeful start to its tragic end. The character of April is extremely interesting as she refuses to fit the template of the 1950s housewife. She gets a job as a secretary and saves up money to move to Paris to start a new life. Aside from the two leads, Michael Shannon provides a very intense performance as the Wheelers’ neighbour, John, who has recently been discharged from an asylum and his mother, Helen who is played brilliantly by Kathy Bates. April’s descent into hatred for herself and her life is a distressing one to watch but the performance is breath-taking.

It goes without saying that Winslet is one of my favourite all-time actresses and I am excited to see what future projects she takes part in. She demonstrates time and time again her amazing range and the strong women she chooses to portray.

What do you think? What are your favourite Winslet performances? Let me know in the comments below!

 

 

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Inferno (1980)

Dario Argento’s second feature in his Three Mother’s trilogy transport us from the Freiburg set Suspiria (1977) to New York where a young writer, Rose (Irene Miracle), is suspicious of a curse within her building. After reading an antique book titled The Three Mothers, she finds that the apartment block she lives at was once occupied by one of the Mothers. The Three Mothers rule the world with sorrow (Mater Suspiriorum who lives in Freiburg), tears (Mater Lachrymarum who lives in Rome) and darkness (Mater Tenebrarum who resides in New York). With Mater Suspiriorum meeting her demise in Suspiria, we now see Mater Tenebrarum face off those who rebel against her rule in New York. Tenebrarum is the cruelest of the sisters and the deaths in this film definitely reflect that.

Directed and written by Argento, Inferno carries on the themes explored in Suspiria but on a seemingly bigger scale. The stronger scenes are those based in the Mother’s domains as their presence can be felt at every corner. Argento’s love for the dramatic is also carried on in this film with lingering suspense and exaggerated deaths. Upon a traumatic discovery in the cellar of her apartment block, Rose writes to her brother, Mark (Leigh McCloskey), who is studying music in Rome and begs him to come and help her solve the mystery. From the moment Rose posts the letter, deaths begin to happen to whomever the siblings come across with Mark dealing with Mater Lachryrum during his time in Rome. Like Susie Banyon (Jessica Harper) in Suspiria, Rose is a strong and independent female character which is refreshing to see in classic horror films. Romani Albani is brought on as cinematographer and does a brilliant job of bringing Argento’s vision to life by bringing contrasts throughout the film from the surreal apartment that Rose’s sickly neighbour, Elise (Daria Nicolodi) lives in to the gritty sewers of Central Park. It feels like visual growth from Suspiria.

The film is filled with suspense from start to finish with a breathtaking scene in the cellar as Rose tries to search for the clues to lead her to the mysterious owner of the building. When her necklace falls into a deep pool, she is forced to dive and founds an underwater ballroom in a scene that sets the tone for the rest of the film. Argento never allows the audience to feel settled and the only scenes that don’t contain scares or violence tend to be those where background story is given in Argento’s signature fairytale way. Even the introduction begins with Rose reading an excerpt from The Three Mothers aloud in a way that makes it seem like an adult fairytale. Much like Suspiria, the experience of Inferno is heightened by the amazing soundtrack with a score composed by Keith Emerson who does a brilliant job. He combines new electronic sounds with dramatic operatic pieces to add to the unbalanced ambience that the film creates. It’s a striking score that I think is overlooked due to the iconic association that Argento has with The Goblins who composed the stellar music for Suspiria. What Emerson does is create an entirely different film with his unique sound.

My favourite scene comes near the beginning of the film when we are first introduced to Mark who is attending a classical music session. As he tries to read Rose’s letter, he is distracted by Mater Lachrymarum who is disguised as a beautiful student (Ania Pieroni). He can see that she is mouthing something at him and he feels pain. It is an intense scene as the wind picks up and he is visibly uncomfortable. When he snaps out the pain, she has mysteriously disappeared and he accidentally leaves the letter behind. It’s a brilliant scene that uses the classical music as the main force of emotion as the gradual crescendo coincides with his building pain.

Although the film overall isn’t as tight as Suspiria, I think it is highly underrated. I think that Suspiria is a stronger film because it focuses on the first witch but Inferno brings in the remaining witches with the first act showing killings in Rome before travelling to New York. I think the short running time of 90 minutes means that we don’t spend much time in either place. On release, this film was critically panned but over the years has developed much love in retrospect. In some ways I find this film more interesting than Suspiria because it brings in the legend of The Three Mothers. Much like Suspiria, the aesthetic of the film is beautiful as well with Argento’s signature use of bright contrasting colours to set the mood of the scene and plenty of gore and blood throughout. There is clearly a lot of passion that was put in this film and it’s a shame that the film did badly on initial release. It’s a horror film that I think will only get better with time.

What do you think of Inferno? Did you like it or loathe it? Let me know in the comments below!

You can my review on Suspiria here!

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Toy Story 4 (2019)

I won’t give away too much of the specific plot away in my review but the basic storyline is new owner Bonnie creates a toy out of trash, Forky, who becomes her favourite toy but he longs to be back with the trash. When the family take a road trip, Forky jumps out the window to become trash meaning Woody has to go collect him and bring him back to Bonnie. The film is then set in a quaint little town that has a travelling carnival visiting and Pixar makes use of this inclusion with aplomb. Pixar studio always said that they would only go ahead with Toy Story 4 if the story was necessary. When they announced that the film was in production (and despite the high quality of each Toy Story film), I couldn’t help doubting whether a fourth installment really was necessary since the third one rounded the franchise off nicely. I am glad to say that there was no need to be in doubt at all. I think that the UK marketing team for Pixar did a brilliant job of not actually giving away too much of the plot which made the film all the more enjoyable to watch and also surprising.

It goes without saying that Tom Hanks and Tim Allen do a fantastic job in their iconic roles as Woody and Buzz, respectively but there are also a great array of new characters that are brought into the fold. My favourite character is the aforementioned Forky. Everything about this little guy is hilarious from how he looks to his physicality to the way he talks and socialises with other toys. He is a fantastic little addition to the Toy Story family and honestly it’s been hilarious seeing how many toys Disney have made of him for extortinate prices despite the fact that his character was literally made from items from a bin. Other characters introduced in this film include Bunny and Ducky, voiced by comedy duo Jordan Peele and Keegan-Michael Key who are also great additions. They are adorable plush teddies who have been waiting three years to be won at the carnival fair. The last toy inclusion to mention is Duke Kaboom, a Canadian action figure voiced by Keanu Reeves. He is a hilarious and sensitive character who speaks passionately about his past owner, Rijon, who got rid of him. We also see the reintroduction of an old toy in this film. Bringing back Bo Peep who has been given a makeover into a strong heroine is a long cry away from her shy, lovestruck self in the first two Toy Story films and has been the cause of complaint to some but rest assured it is done fantastically and subtly to the point where it makes sense with her own storyline. It’s also great for Pixar to show the contextual progression where female characters don’t have to be passive love interests. Bo Peep does a lot of the rescuing in this film and it’s treated no differently to when male characters take action.

It’s easy to imagine that with the addition of so many characters that they don’t have their chance for character growth but the writers have done a great job with balancing this out. Forky and Bo Peep are given the most space for character growth since their stories are central to the plot whereas Ducky, Bunny and Duke are used as comic relief so only their backstories are given. Knowing the importance of the toys in the specific film means that the audience isn’t crammed with too many plotlines that they can’t keep up with. With their being so many new and different characters, it does mean that all of Bonnie’s toys (with the exception of Woody, Buzz and arguably Jessie) may as well have not been brought on the road trip. When Bonnie loses Forky, she doesn’t care that she has numerous other (non-trash made) toys in the RV. They’re just there in the background for the whole film. They didn’t even need to bring in a replacement for Mr. Potatohead as they recycled old lines said by Don Rickles in previous films. This isn’t a bad thing necessarily but it does mean that their importance has been faded out in this (supposedly) final installment. There were many scenes that I enjoyed in this film but if I had to pick one, I would say when Woody and Forky are having their heart to heart after Forky jumps out the RV. Woody tries to make Forky understand the importance of his role as a toy which means Forky has the realisation that he is “Bonnie’s trash”. It’s one of those heart-warming scenes injected with humour which have become synonymous with the Toy Story franchise. Also, any scene with Duke Kaboom in because he is absolutely hilarious and his backstory was heartbreaking to watch.

Another thing to talk about is how amazing the animation is, in particular Bo Peep. The shine and reflective effect of her porcelein is an incredible development from the first film. It makes her look eerie at times but more delicate as well (she is porcelein after all!). When you look back to how she appeared in the first film, the animation doesn’t compare. I’m not dissing the first film because it achieved so much at the time of its release in regards to animation, but celebrating the achievements made since then and seeing that transformation in the span of 24 years is incredible. Also the textures of the plushes and ventriloquist dummies that appear in this film are equally fantastic.

I think that Toy Story 4 was well worth the wait and seemed like the true ending for the franchise. I think it will go on to win the Best Animated Feature at the Oscars next year (to be honest, it’s rare that a Disney film doesn’t win this) and I think it will date well as a film. I think what makes it work so well is that even though it follows on from the trilogy and the franchise, there is a different feel to it altogether because they’re not Andy’s toys anymore. With a new owner comes new changes and this opened up a door for new storylines and motives.

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Pixar Features Ranking: Films 11-15

This period saw the complete acquisition of Pixar by Disney, giving complete control to the Disney board on what projects should go ahead at Disney. Whereas John Lasseter had stopped sequels and remakes previously, Disney did the opposite at Pixar and wanted to capitalise on the loved characters that Pixar had created. Although with Toy Story 2 they had found success, other franchises were not as lucky and the films were met with lukewarm reviews which was pretty unheard of at Pixar but has sadly become more of the norm now.

If you want to read the other Pixar reviews and ranking you can click the links below:

Films 1-5

Films 6-10

Now without further ado, let’s begin with the reviews and rankings for Pixar films 11-15:

11) Toy Story 3 (2010)

The third segment of Toy Story 3 was built with hype in the months leading up to its release and it certainly didn’t disappoint. Following the toys’ adventure in a daycare centre as Andy heads off to college, Woody, Buzz and co face off against the manipulative Lotso and his henchmen who oppress the “weaker” toys. It’s brilliant and sassy, bringing everything we love about the franchise into an even bigger film. My favourite inclusion is Ken and his dream-house with the scene in which he shows Barbie his vintage clothes collection is clearly so well researched with the materials and textures impeccable as always. The scene where Barbie threatens to rip his clothes has me on edge as we see her ripping each individual thread apart is just as horrific as the now-iconic incinerator scene. Although not quite as good as Toy Story 2 in my opinion (although this is no insult), Toy Story 3 won the franchise its first Best Animated Feature Oscar with ease. Bringing in new toys courtesy of the daycare centre as well as Bonnie’s (the daycare assistant’s daughter) collection which features a Totoro and personal favourite, Mr. Pricklepants, a dramatic hedgehog teddy who loves Shakespearean style acting. Passing the toys onto Bonnie at the end seemed like a fitting ending for the franchise so it is exciting to see how Toy Story 4 will fare and if it will live up to its hype.

12) Cars 2 (2011)

I didn’t go into this film with high hopes because I am not a fan of the franchise and I think that Cars has been the weakest offering in Pixar by a long-shot so I was definitely surprised when they announced a sequel. Pretty much more of the same but with added spies, Lightning McQueen finds himself a love interest in the form of Holley Shiftwell. It’s racing, it’s boring and to be honest Lightning McQueen isn’t an engaging enough character to be the protagonist. I am happy that there is more focus on Mater in this film but he spends most of his screen-time getting berated by McQueen who is so focused on his image and looking cool that it seems the messages he learned from the first film are completely forgotten because of his egotism. I hate to be biased about it but it just doesn’t interest me as a franchise and as much as I try to enjoy these films, I simply struggle to because of how ridiculous the whole concept is.

13) Brave (2012)

Now for a film I was really excited to see in the cinema on its release day. Featuring Pixar’s first princess, Merida, Brave looked to be full of spirit as the princess longs for freedom and to fight the tradition of marriage as is expected of her. In the course of her rebellion, she argues with her mum who is then turned into a bear. This film is an odd because aesthetically, it is stunning and captures Medieval Scotland beautifully but the screenplay is imbalanced and poorly paced. The beginning and ending to this film are brilliantly done but the middle portion just doesn’t seem to fit. It feels as though there was so much focus in establishing Merida’s character and how her character will end up rather than establishing her character and the mum’s character and then developing their relationship in the typical Pixar way, with detail and finesse. The middle portion seems poorly planned and forced, making the film drag and bringing an underwhelming feeling to the audience. The general consensus was the same among critics and audiences who responded with mixed reviews although the film did do well at the box office and subsequently won the Best Animated Feature Oscar although this was in (admittedly) an underwhelming year overall.

14) Monsters University (2013)

The first prequel offered by Pixar was a surprising choice. Monsters University, as implied, follows Mike and Sulley in university and shows how they met and how their friendship developed. It feels formulaic in development, the two dislike each other with Sulley the jock type and Mike as a nerd, the two find common ground before using their strengths to win the “Scare Games”. It’s not a terrible film by any means but it is very cliche and feels underwhelming for a Pixar film. Although it received positive reviews, it doesn’t hold a light against Monsters, Inc. because it’s clear that this is a film that Disney has ordered to be made rather than an organic creation. In Sulley and Mike’s fraternity, there are a collection of cliche characters. Although basic, my favourite is Art, the creative hyper artsy type who is bright purple and rolls around super fast and likes shiny things. I’m glad that they chose to create a film set in a different environment in the monster universe because this does make it far removed from the original and therefore the impact of Monsters, Inc. hasn’t be tainted.

15) Inside Out (2015)

After several underwhelming offerings, Pixar appeared to get back into their stride with this masterpiece. The question the creators asked: what if feelings had feelings? The result is a brilliant portrayal of the emotions living inside a teenage girl, Riley after her parents force the family to move to San Francisco from their cosy life in Michigan. As Riley struggles to fit in, her major emotions: Joy, Anger, Disgust, Panic and Sadness also struggle to adjust to the situation. This sees Sadness outcast by Joy and the others which causes an imbalance when Joy and Sadness are accidentally sucked from “headquarters” and into Riley’s mind. Although the plot may appear simple, a teenage girl struggles to fit in, the Emotions’ journey is actually a complex one as they learn that they need each other to thrive in the environment. Joy learns that Riley needs Sadness in order to feel those moments of joy and that this isn’t always a bad thing even if it doesn’t feel nice in the moment. Although the most dense of the Pixar films, it isn’t without its lighter moments which are provided by Anger, Disgust and Panic, who are struggling to run headquarters with Joy. I don’t think Inside Out could have been made 20 years ago as people find it hard to talk about real and complex feelings, especially in a children’s film but now there is a wider awareness on mental health and the importance of this in young children. It is a film that can engage that younger audience, even if they don’t understand everything and as they grow, they will learn to understand it. Also, the inclusion of childhood imaginary friend, Bing Bong shows the importance of the child imagination from a young age as he helps Joy and Sadness find their way back to headquarters. It’s a brilliant film that will have you roaring with laughter one moment and then sobbing the next, making it as emotionally complex and rewarding as the film itself.

This ranking was a little easier because there were a few under-performers in my opinion. I think that Pixar thrives when able to produce original content because Pixar have established themselves as the innovator rather than the follower so it’s a shame that Disney are forcing the same structure on the studio as itself by creating sequels and prequels.

Here is my ranking:

1) Up (2009)

2) WALL-E (2008)

3) Toy Story 2 (1999)

4) Inside Out (2015)

5) Ratatouille (2007)

6) Toy Story 3 (2010)

7) Monsters, Inc. (2001)

8) Finding Nemo (2003)

9) The Incredibles (2004)

10) Toy Story (1995)

11) A Bug’s Life (1998)

12) Brave (2012)

13) Monsters University (2013)

14) Cars (2006)

15) Cars 2 (2011)

The next post will look at the last bunch of offerings that includes even more sequels but also gives a couple of originals so let’s hope this batch fares a little better than this bunch.

What do you think of the ranking now? Is it a surprise? Let me know in the comments below!