Tag: feature

Categories
Uncategorised

mother! (2017)

This is a film that you will either love or hate. There really isn’t an in between on this one. Darren Aronofsky’s mother! is a biblical retelling through the unconventional setting of a home as the sole location. Featuring Jennifer Lawrence and Javier Bardem as mother and Him, a married couple who live in a huge house built by the former while the latter works on his writing. mother is decorating the home and longs for a family but this is refused by Him, who is consumed by his own work to care about what mother wants. Compared to previous offerings by Aronofsky such as Black Swan, mother! is a literally and figuratively contained film. At no point do we lose sight of mother as we follow her perspective as chaos ensues. At first, the house seems open and spacious but this quickly shifts to a claustrophobic palace of mayhem as mother’s space is literally invaded by outsiders. When mother falls pregnant, she is forced to endure the increasing attention for her husband and the exposure that leaves no stone unturned in the house.

Directed and written by Aronofsky, mother! is a film that plays out like a mystery. Because we don’t see the outside world, we don’t know what or who will come next. This makes it one of the most shocking films to watch, especially when the first casualty plays out. Definitely one of the best filmmakers today, Aronofsky leaves the meaning of the film and his own intention to the imagination of the author. One can watch it from religious, feminist and even mental health angles. It’s a film that is left wide open for interpretation. There is a clear argument for the conflict between mankind and nature. The brutality and expressionist approach to the film can make it uncomfortable for viewers which is probably why it split critics and audiences alike. However, I was one of the viewers who was left in awe from the brilliance in every aspect.

Jennifer Lawrence draws out a brilliantly and fully dramatic performance that we haven’t seen since Winter’s Bone. In between the aforementioned and mother! there was an increased focus on characters with a comedic side with Lawrence starring in dark comedy-dramas as well as protagonist Katniss Everdeen in the Hunger Games franchise. It’s a performance that demands a lot on expression and physicality as mother is a character of few words. We see her initial comfort turn into catastrophe and panic as more and more people invade the house and ruin what she has built. Javier Bardem is yet again fantastic as the villainous Him. He is perfect at playing such a manipulative character whose motivations are inspired only by himself for himself. Him is careless and seemingly the reasonable one but even as he loses control, he cannot let go of the admiration of the visitors. Their love for him is more important than the love given to him by mother.

The supporting cast is led by Michelle Pfeiffer and Ed Harris as woman and man, respectively, who both pull off menacing performances as the initial outsiders who enter the house. Immediately, mother is discomforted and disturbed by their visit and Him’s insistence that they stay for as long as they like. Pfeiffer particularly is so magnetic and draws in a deeply sexual performance that equally disgusts and intrigues mother, who is puzzled by their lax attitude towards sex and openness in conversation. As mother observes, we see woman and man worship Him whilst simultaneously break house rules and venture where they shouldn’t.

There are so many scenes worth delving into but none left me speechless in the way that the shot following mother as the house descends into chaos did. Each room has a different form of punishment with herod (Kristen Wiig) shooting people in one and a SWAT team bursting through the windows and beating people up. Despite the increasing tension, the bloody violence still comes across as shocking and unexpected. Equally as heartbreaking is the scene that follows after mother gives birth. As we witness her descent into madness and the end product that the destruction has had on the house, the realisation that there is no way to repair what has happened is still heartbreaking. It’s a film that knows its pace and doesn’t desire to fit into the mainstream.

Overall, mother! is a film that allows Aronofsky to be experimental and reject the basic beginning, middle, end linear structure with a clear plot. I think it is a film that shows Aronofsky at his best. He has always been great at developing complex female characters with an expressionist approach to direction. He has a classical eye when it comes to inspiration and is inspired by music, art, ballet, film. He is brilliant at finding beauty in the ugly and drawing that out, contrasting what we are seeing with new ideas. This is evident in mother! as the mere inspiration and idea of seeing the Holy text contrast with the horrific events is something that hasn’t been done before.

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

Categories
Uncategorised

Moonlight (2016)

One of the best Best Picture winners in Oscar history, Barry Jenkins’ coming of age tale follows Chiron, a young black man coming to terms with his homosexuality through three key stages in his life. Split into three segments: Little (Alex Hibbert), Chiron (Ashton Sanders) and Black (Trevante Rhodes), we follow Chiron’s ascendence from bullied child to a successful drug dealer. Sadly, the infamous confusion between the true winner of the Best Picture award when La La Land was wrongly announced. Moonlight’s win was monumental for being the first film to openly discuss themes of homosexuality as well as featuring a predominantly black cast. Aside from its record-breaking and importance in film history, it holds merit as a captivating piece of cinema with innovative direction, emotionally charged writing and characters that hold influence for the entirety of the film despite limited screen time. This is a film that will be remembered for the ages.

It’s incredible that this is Barry Jenkins’ debut feature. It is one of the best debuts in film history and caused a lot of hype going into awards season. Jenkins’ vision comes across fantastically by presenting Chiron as an outsider in his own community. This is important because Chiron’s story is ultimately about being in a minority within a minority (gay within the black community). Moonlight is made up of shorter scenes that give us a glimpse into Chiron’s life. Following Chiron limits our view of the world at large but we still get the struggles across as we see him attending high school and being badly bullied. Jenkins doesn’t feel the need to explain a character’s absence and allows this to come out naturally in the script. Jenkins co-wrote the play with Tarell Alvin McCraney based on the latter’s unperformed play, In Moonlight Black Boys Look Blue. Together they reflected on their upbringings in Miami and were able to apply their own experiences into the script to ensure that it was as real and human as can be. Because of the authenticity and the knowledge of the area and its people, Moonlight doesn’t fall into the trap of including stereotypes that are often seen in films.

The cast all do a superb job of telling Chiron’s story, particularly Mahershala Ali as Juan, a drug dealer who takes Chiron under his wing at a young age. Juan is living with his girlfriend Teresa (Janelle Monae) and the two act as surrogate parents as Chiron’s mother becomes more abusive and neglectful. Juan subverts the tropes that drug dealers are given in film. He is wise, thoughtful and considerate. More importantly, he is sensitive and completely understanding Chiron’s situation almost immediately. Despite only featuring in the first part of the film before his untimely death, Juan’s presence is felt through the film. Ali’s performance is one of tenderness and paternity. What also comes across is Juan’s confidence in himself and his identity. Jenkins is subverting stereotypes and showing a perspective that is needed and long overdue.

The score by Nicholas Britell is among the best of the century so far. The soundtrack is brilliant mix of rap, classical excerpts from composers such as Mozart and original music. The original music is truly stunning with beautiful use of single violin solos to exemplify Chiron’s loneliness. What Britell does is give a separate theme for the three Chirons we see in the film. The themes aren’t distinctly different but feel like an evolution through the film until we get to Black’s theme much like Chiron’s development and understanding of his own self. At times it feels as if the music reflects Chiron himself in the specific scenes as the pace quickens in moments of adrenaline and then eases off in moments of relaxation. Chiron and the music go hand in hand making the music an entire experience through Chiron’s eyes.

Moonlight is a film that stays with you and one that is difficult to forget. It doesn’t shy away from showing the brutality of modern society and the struggles that minorities face. Jenkins solidified himself as one to watch with this film and followed it up with the excellent If Beale Street Could Talk. Moonlight is truly in a league of its own and has brought a new voice to cinema that is needed and valid. Scenes in which Chiron is rejected by his own mother (Naomie Harris), an abusive drug-addict, are revealed bit by bit as they coincide with Chiron’s own understanding of the situation. As his mother uses homophobic slurs against him, Chiron too becomes accustomed to that way of thinking and distances himself from his desires as an adult. Moonlight is one of those films that you can watch time and time again and find something to admire while reaping in the rewards of this cinematic masterpiece. It’s not often when smaller films are exposed to high levels of publicity but Moonlight thoroughly deserves it and is such an important film to note in the way of diversity in its cast and crew, providing a new perspective and a new wave of films that make way for different cultures told by those from those cultures.

What do you think about Moonlight? Let me know in the comments below!

Categories
Uncategorised

Spirited Away (2001)

One of the big ones to come out of Studio Ghibli and with good reason, Spirited Away follows protagonist Chihiro who finds herself in the spirit world where her parents have been turned into pigs. Chihiro must work under the ruthless Yubaba in a bathhouse for spirits where she is forced to take care of the visiting spirits, including the mysterious No-Face. With the help of a young boy called Haku, Chihiro navigates her way around the land of spirits and eventually learns more about herself and what she is capable of in order to return to the human world with her parents. This is commonly seen as Miyazaki’s opus as it brought international acclaim the studio hadn’t experienced before as well as a slew of awards such as the Academy Award for Best Animated Feature. The story of identity and place is one that resonated with the critical commercial audiences and has made Spirited Away an instant classic. In true Miyazaki style, the film is enjoyable for all ages and can be watched time and time again and still be just as rewarding. The film has you laughing, crying and grimacing as we encounter various characters and are thrust into the unknown. 

Ten year old Chihiro is forced to move away as her dad starts a new job. Unhappy about the move, we are first introduced to her as she sulks in the car with a bouquet gifted by her classmates. Chihiro is soon forced to think beyond her years to navigate a way out of the spirit world with her parents. She is a character who finds her own strength and relies on herself to figure this out. On entering the Bathhouse, Chihiro is overwhelmed by all of the creatures but is soon tasked with carrying out there needs. The Stink Spirit is the breakthrough moment as Chihiro passes the test and understands what the spirit needs. Anothe protagonist is dragon/river spirit Haku, who initially takes form as a boy Chihiro’s age. Haku immediately sees Chihiro and helps disguise her from other spirits before she is given permission to reside in the spirit world. At the top of the bathhouse lives Yubaba, a witch who runs the facilities. After failing Chihiro off, she strips Chihiro off her name and gives her the identity Sen. Soon enough Chihiro becomes Sen and forgets who she is as she is enveloped in the spirit world. By losing herself, she loses sight of the mission to get home. Yubaba is a character who has no motive to act for or against Chihiro and simply allows Chihiro to work in the bathhouse while she goes on her journey of self-discovery.

spiritedaway

The animation is spectacular is on a level that hasn’t been seen before and not really since (The Tale of the Princess Kaguya being another great example). A beautiful mix of Japanese folklore and fantasy, Spirited Away makes use of the scenery and locations. By setting the film in a fantasy universe, it gives the animation team an unlimited scope in design and allows Miyazaki to create a world from scratch. Not only is Miyazaki creating his own version of the spirit world but it also offering an entirely unique perspective on various aspects of Japanese culture. The whole film is crammed full of amazing sequences but among the most iconic in Ghibli history has to be Chihiro running through the garden paths surrounded by rose bushes is simple yet dreamy. It’s only a short moment but the angles and colours are perfect as Chihiro anticipates seeing her parents.  Other brilliantly crafted scenes include the food feast where Chihiro’s parents are turned into pigs. The satisfying layout of the food contrasts with the disgusting design for both her parents when they’re eating the food and consequently the design of the pigs themselves. The detail of the creases in the skin and the sweat is disgusting but then Ghibli isn’t a studio that glosses over the grotesque.

I can’t review a Ghibli film and not discuss the music. The score from Joe Hisaishi is instantly his most recognisable to date, spanning thousands of covers on YouTube and being a prominent inclusion in his concerts. The soundtrack is nothing less than stunning and totally deserving of its praise. The opening number and the main track associated with the film, “One Summer’s Day”, contains a mix of melancholy and hope. It’s slowness reflects the sadness that Chihiro feels about leaving her old life behind but it’s still uplifting and hopeful at the same time. The piece is soft and pretty and immediately brings you into Chihiro’s world. As soon as we enter the spirit world, the score completely shifts. The peaceful slowness is soon replaced with harsh brass and a quickened pace as Chihiro becomes an outsider in a new place and is forced to hide. Tracks such as “The Dragon Boy” are filled with the grandeur that lives up to Spirited Away’s epic feel. Hisaishi’s score helps to transport the audience into Miyazaki’s universe.

haku

A film like Spirited Away doesn’t come often with direction and writing that is filled with such love and passion for storytelling. Miyazaki outdid himself with this one and it’s a film that will go down in history. There are an array of supporting characters who all bring significance, even if it’s a small payoff such as Yubaba’s henchmen or her baby. You could watch this film a million times and still find something new. The film opens itself up for interpretation and analysis and has been widely discussed as such. Scenes that I find particularly striking include the attack on Haku as he thrashes into Chihiro’s dorm bloodied and weak and the scene in which Chihiro is sat on the train. The latter is so still and peaceful that it brings a sigh of relief and calm in a film that has brought so much chaos.

Do you love Spirited Away as much as I do? Let me know in the comments below!

Categories
Uncategorised

Disney Animated Classics: Final Ranking

So after months of reviewing and ranking the Disney Animated Classic library, I have finally got my finished list. I thought it would be a bit easier than what it was and found my opinion and outlook changing on a fair few of the films.

If you haven’t read this series then here’s your chance!

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

Films 46-50

Films 51-57

Here we go with the final ranking from bottom to top:

57) Winnie the Pooh (2011)

56) Chicken Little (2005)

55) Dinosaur (2000)

54) Home on the Range (2004)

53) Meet the Robinsons (2007)

52) Make Mine Music (1946)

51) The Rescuers Down Under (1990)

50) Fantasia 2000 (2000)

49) Melody Time (1948)

48) Saludos Amigos (1948)

47) The Adventures of Ichabod and Mr. Toad (1949)

46) Fun and Fancy Free (1946)

45) The Fox and the Hound (1981)

44) Lady and the Tramp (1955)

43) Oliver & Company (1988)

42) Robin Hood (1973)

41) The Rescuers (1977)

40) Big Hero 6 (2014)

39) Bolt (2008)

38) Ralph Breaks the Internet (2018)

37) Cinderella (1950)

36) The Sword in the Stone (1963)

35) The Jungle Book (1967)

34) Brother Bear (2003)

33) Treasure Planet (2002)

32) Zootopia (2016)

31) Wreck-It Ralph (2012)

30) The Great Mouse Detective (1986)

29) Atlantis: The Lost Empire (2001)

28) The Black Cauldron (1985)

27) Hercules (1997)

26) Dumbo (1941)

25) Frozen (2013)

24) Tarzan (1999)

23) Pocahontas (1995)

22) Pinocchio (1940)

21) The Three Caballeros (1945)

20) Peter Pan (1953)

19) Moana (2016)

18) The Princess and the Frog (2009)

17) Lilo & Stitch (2002)

16) The Hunchback of Notre Dame (1996)

15) The Emperor’s New Groove (2000)

14) One Hundred and One Dalmatians (1961)

13) The Aristocats (1971)

12) Aladdin (1992)

11) Alice in Wonderland (1951)

10) Tangled (2010)

9) The Little Mermaid (1989)

8) Mulan (1998)

7) The Lion King (1994)

6) The Many Adventures of Winnie of Pooh (1977)

5) Bambi (1942)

4) Sleeping Beauty (1959)

3) Beauty and the Beast (1991)

2) Fantasia (1940)

1) Snow White and the Seven Dwarfs (1937)

So that’s the full ranking! What do you think? Let me know what Disney films are your favourites in the comments below!

Categories
Uncategorised

Disney Animated Classics: Numbers 51-57 Ranking

We finally made it! After months of reviews and rankings, this is the final post before we are all up to date before Frozen II hits cinemas. This series of posts have taken us through not only the history of Disney but also a history of animation as we transition from hand-drawn to computer animation. Going from more traditional fairytale retellings to complex stories about identity and love, Disney continues to better itself as a studio although there is still a long way to go. Much like the animation studio in Burbank, it is held up by its traditions like the statues of the Dwarfs that hold up the building itself. This bunch of films sees Disney poke fun of its past in a bid to expose the mistakes that have been made in its portrayal of serious issues such as gender stereotypes and racism. In doing so, it tends to fall flat at times as the gestures don’t seem sincere and apologetic but it is made with good intentions.

We also see Disney’s most successful film as well as the first Best Animated Feature Oscar winners that aren’t Pixar. Disney seems to have found its footing in a landscape dominated by computer animation by using nostalgic elements such as Disney princesses but making them modern. With Disney being the most powerful studio in the world, they are able to recruit star-studded casts and the best crew such as Lin-Manuel Miranda’s stellar soundtrack for Moana and Idina Menzel and Kristen Bell as the two sisters in Frozen.

Just in case you need a refresher, here are the previous installments:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

Films 46-50

This list includes the last hand-drawn feature before Disney announced its dedication to computer animation and also includes some of the most progressive films in Disney’s catalogue. These films clearly have an aim to push strong female characters in them and although it isn’t perfect, it’s a step in that direction. There are areas as I have said previously where Disney need to step up such as including LGBT+ characters and a wider array of cultural backgrounds that don’t fall into stereotypical tropes. The films from Disney aren’t perfect but they are trying to right the wrongs of the past while also reflecting modern politics in a way where they please everyone. I don’t necessarily agree with their philosophy but they are a brand and revenue is one of the most important (if not THE most important) factor in the Disney process. Hopefully, they learned from the straight-to-DVD sequel, prequel fiasco of the early noughties and go back to creating films with heart where the audience is the primary focus rather than their pockets.

Without further ado, here are the reviews for films 51-57:

51) Winnie the Pooh (2011)

Marking Disney’s last hand-drawn feature, Winnie the Pooh seems to mark the end of an era as Disney begins to embark on computer-animated films only. I am really sad to say that this film falls flat for me. I just didn’t find it enjoyable in the slightest. The animation is off, the plot is boring and the characters aren’t as lovable. I mean, this is Winnie the Pooh we’re talking about. The characters are loved all around the world but this adaptation mauls the text and tarnishes the franchise. Luckily, we still have The Many Adventures of WInnie the Pooh to enjoy and we can forget about this mess of a film. The animation of the animals isn’t too bad but the design of Christopher Robin and the background looks out of place.

WINNIE-jumbo.jpg

52) Wreck-It Ralph (2012)

Showing that Disney is still capable of producing original material, Wreck-It Ralph follows the titular character (voiced by John C. Reilly) who is the villain of an arcade game wanting to be the good guy for once like “Fix-It Felix”, the insufferable character who defeats Ralph numerous times a day. Ralph is despised by the fellow tenants of the apartment block that he tries to destroy. Sick of the same routine, Ralph escapes to Sugar Rush, another game where players race through lands of candy. There he encounters the tiny Vanellope von Schweet (voiced by Sarah Silverman), a funny and sassy aspiring racer who is also an outcast due to her glitch. Together, they try to become heroes when the arcade’s future is thrown into uncertainty. It’s a film full of nostalgia with its inclusion of iconic game characters such as Pacman and Sonic the Hedgehog but it isn’t held down by this or overwhelmed.

53) Frozen (2013)

The first non-Pixar Disney film to take home the Best Animated Feature Oscar is also the most successful Disney film of all time. Frozen takes its inspiration from “The Snow Queen” by Hans Christian Anderson and follows Princess Anna (voiced by Kristen Bell) who embarks on a quest to find her sister Queen Elsa (voiced by Idina Menzel) when the latter runs away and covers the entire Kingdom of Arendelle in an eternal winter. The film itself is a huge feat for Disney as it features one of the most iconic songs to come out of the Disney catalogue (Oscar winning song, “Let It Go”) as well as some of the most memorable characters in recent years, notably Olaf the sun-loving snowman (voiced by Josh Gad). Frozen is instantly recognisable around the globe and has become a phenomenon and a brand in itself which is hugely impressive for an animated film. Robert Lopez and Kristen Anderson-Lopez’s songwriting feels like the modern equivalent of the iconic songs from Alan Menken and Howard Ashman as they capture the essence of the film from the opening song. It’s not everyday that an animated feature passes the $1 billion mark at the box office but Frozen did it and with two female protagonists at the helm to boot. Who said women don’t make revenue at the box office?

54) Big Hero 6 (2014)

This is the one Disney film that I hadn’t seen before completing this ranking. I have been meaning to watch it but eventually I forgot and never got around to it. Following teenage Hero, a ridiculously intelligent robot enthusiast who has graduate high school early and doesn’t know what to do with his time, we see his budding friendship with Baymax, a robot made by his late brother. Big Hero 6 isn’t a bad film by any means but just as I had suspected, it just isn’t my cup of tea. I completely appreciate the height though as the animation is among Disney’s best in the modern age. Based on a Marvel comic that is based in a fictional city that combines San Francisco and Tokyo, the film appears to take aspects of Japanese culture such as using the language on shop signs and using Japanese characters names in an English-speaking white American setting. I think it is more of a tribute to Japanese anime than maliciously appropriating but it feels as though Big Hero 6 is more of a “trendy” film due the popularity of anime than a sincere offering. The animation style takes inspiration from anime but the style is more Disney’s version of anime. As I say, I don’t think the film is bad but I feel like it could have been more.

Big-Hero-6-to-size-3.jpg

55) Zootopia (2016)

I have marked this down as Zootopia on the ranking as that was the original title although in the UK, this was released as Zootropolis. Set in a universe populated by animals where predators rule the roost and prey are subject to less dangerous careers such as farming. The film follows Judy Hopps (voiced by Ginnifer Goodwin), a rabbit who succeeds in becoming a police officer but is subject to parking duty because she is a rabbit. After numerous predators go missing, Judy eagerly volunteers to find them to prove herself and teams up with con-artist Nick Wilde (voiced by Jason Bateman), a fox who Judy blackmails into assisting her. The film is a clever depiction of racism in American as well as an accurate portrayal of gender politicals and the corruption of authority. Despite the obscure metaphor, the message of equality is easy enough for children to grasp and this is what makes the film more than simple entertainment.

56) Moana (2016)

The latest inclusion of a Disney princess sees us travel to the Polynesian island of Motunui where Moana is destined to become the Chief of her village but she longs to venture out to sea. What follows is a road trip style film where she has to retrieve the Heart of Te Fiti to stop her island suffering from famine. Teaming up with shapeshifting demigod, Maui, Moana must sail across the seas encountering monsters and finding herself along the way. The plot for the film is simple and the structure is reflective of a road-trip movie but elevates this film and makes it special is the soundtrack. Written by Pulitzer Prize winning songwriter Lin-Manuel Miranda, the songs are beautiful and clever, incorporating the language and music style of Polynesian culture naturally. I don’t think the film would be as successful as it is without the soundtrack as the songs really show the character development as Moana grows from a fearful girl wanting to explore to an adventurer who wants to continue her ancestor’s tradition. The animation is stunning and it is by far my favourite inclusion on this list.

57) Ralph Breaks the Internet (2018)

The second Disney sequel to be included on the Animated Classics list, Ralph Breaks the Internet is the eagerly awaited follow-up to 2012’s Wreck-It Ralph. The arcade’s popularity is waning and Vanellope is growing bored with the same racetracks everyday. She wants more and longs to venture to the internet where free-riding games are all the rage. When a player accidentally breaks the steering wheel for the machine after fighting Vanellope for control, Ralph and Vanellope must find $27,000 for a new wheel to purchase before the machine is closed down. They venture into the internet to find the money. The film is even more bonkers than the first and really captures how random the internet really is. The studio even goes as far as to incorporate the dark web by making it sleezy and the creatures that reside there are truly disgusting and disturbing. Unlike The Rescuers Down Under, this is a sequel that feels fresh and familiar at the same time.

ralph-breaks-the-internet-princess-tiana-post3

So that’s it! That’s all the reviews for every Animated Classic so far. It’s been a lot of fun but really challenging having to decide where they all slot because every film is so different (except for The Rescuers and The Rescuers Down Under which is the same film set in different countries). Needless to say, I am very excited to see where Disney goes as we enter a new decade and I hope that they also go back to including hand-drawn animation as well. It’d be nice to see their animations explored in all styles.

Here is my final ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Beauty and the Beast (1991)

4) Sleeping Beauty (1959)

5) Bambi (1942)

6) The Many Adventures of Winnie the Pooh (1977)

7) The Lion King (1994)

8) Mulan (1998)

9) The Little Mermaid (1989)

10) Tangled (2010)

11) Alice in Wonderland (1951)

12) Aladdin (1992)

13) The Aristocats (1971)

14) One Hundred and One Dalmatians (1961)

15) The Emperor’s New Groove (2000)

16) The Hunchback of Notre Dame (1996)

17) Lilo & Stitch (2002)

18) The Princess and the Frog (2009)

19) Moana (2016)

20) Peter Pan (1953)

21) The Three Caballeros (1945)

22) Pinocchio (1940)

23) Pocahontas (1995)

24) Tarzan (1999)

25) Frozen (2013)

26) Dumbo (1941)

27) Hercules (1997)

28) The Black Cauldron (1985)

29) Atlantis: the Lost Empire (2001)

30) The Great Mouse Detective (1986)

31) Wreck-It Ralph (2012)

32) Zootopia (2016)

33) Treasure Planet (2002)

34) Brother Bear (2003)

35) The Jungle Book (1967)

36) The Sword in the Stone (1963)

37) Cinderella (1950)

38) Ralph Breaks the Internet (2018)

39) Bolt (2008)

40) Big Hero 6 (2014)

41) The Rescuers (1977)

42) Robin Hood (1973)

43) Oliver & Company (1988)

44) Lady and the Tramp (1955)

45) The Fox and the Hound (1981)

46) Fun and Fancy Free (1947)

47) The Adventures of Ichabod and Mr. Toad (1949)

48) Saludos Amigos (1943)

49) Melody Time (1948)

50) Fantasia 2000 (2000)

51) The Rescuers Down Under (1990)

52) Make Mine Music (1946)

53) Meet the Robinsons (2007)

54) Home on the Range (2004)

55) Dinosaur (2000)

56) Chicken Little (2005)

57) Winnie the Pooh (2011)

I am aware that the final rankings may seem shocking and the new films such as Frozen may seem really low on the list, but consider that the ones at the tops are classics that have been with me through childhood, I think they have done really well. The films at the top have proven to be classics that have stood the test of time for decades and still resonate with audiences today whereas the newer films need that chance to breathe.

I am excited to see where Disney go in the future and I am hoping Frozen II continues to push Disney in the right direction as it has done so far with its feminist outlook.

What do you think of my final ranking? What would be your top choice? Let me know in the comments below!

Categories
Uncategorised

Disney Animated Classics: Numbers 46-50 Ranking

This post has been a long one coming as I have been slow reviewing and uploading this series of posts but we are almost there. This is the penultimate post before we are completely up to date just in time for the upcoming release of the much-hyped Frozen II. After featuring Disney during its slump, we see the last of it here and begin to move forward into the era of today known as the Revival. I can’t believe we’re almost at the end but some of the films in this list, I have watched countless times.

As ever you can read the previous instalments here:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

With the introduction of the new era, we begin to see Disney pushing itself into the 21st century and reflecting the politics and society of today. With that in mind we begin to see a reintroduction to new Disney princesses who are more diverse and independent, inclusion of characters of different races and backgrounds. Disney has a long way to go with this as we eagerly await the first openly LGBT+ character in an animated film from them whereas other animation studios such as Laika have been more inclusive and fearless. However, the films in this list show Disney starting to go in the right direction.

Here’s the reviews for films 46-50:

46) Chicken Little (2005)

This film was everywhere on its release and marked a start for Disney beginning to incorporate computer animation more in its repertoire. The result, however, was extremely disappointing. Chicken Little sees Zach Braff as the titular character who convinces his town that the sky is falling and becomes a laughing stock. What the townspeople don’t know is that it is actually true and the town is on the brink of an alien invasion. The story itself is sweet but what lets it down is the animation, poor character development and overly tortured dialogue. The film reeks of noughties trends and tries so hard to be relevant that it becomes cringy to watch. The character of Chicken Little isn’t particularly well-rounded as he spends most of the film falling over or not communicating properly with other characters, mainly his father. Unlike Pixar, the animation doesn’t feel as modern as it should be (Pixar released The Incredibles in 2004 for comparison) and it seems that the plot is disjointed and isn’t pulled off as they imagined. The film did well commercially but not critically and I think that the team did take this on board. There’s a reason that we don’t see or hear of Chicken Little at the Disney Parks and I don’t think it’d even be considered for a reboot at any point. This definitely seems like Disney’s lowest point.

47) Meet the Robinsons (2007)

This was an interesting film for me to watch as I had only just seen it the once previously. Following orphan Lewis whose inventions prevent him from being adopted, he invents a machine to help him remember his mother’s face. At a science fair to debut this project, he is encountered by Wilbur Robinson, a teenager from the future who tells Lewis that the future is in jeopardy if his machine is stolen. Inspired by Tomorrowland at Disney’s park and using Disney’s philosophy “keep moving forward”, the film has a beautiful story and message but sadly it is overwhelmed by one dimensional characters and a strained first act. On rewatching, I did like the film a lot more than the first time but to me it is on the lower tier of Disney films. This is only because there is an abundance of characters and none of them feel really well-rounded. The animation is also problematic at times although a big improvement on Chicken Little. Scenes such as the incident with his peanut butter and jelly gun looks out of place and doesn’t match the aesthetic of the film.

48) Bolt (2008)

It seems hard to believe that Bolt was released a year after Meet the Robinsons. The animation looks so much more advanced and it feels like Disney going back to its original formula while pushing the studio into the future with the critical success that they had hoped for Chicken Little. Bolt (voiced by John Travolta) is a Hollywood stunt dog with his own TV show with his owner, Penny (voiced by Miley Cyrus). When he is mistakenly shipped to New York, he must team up with Mittens the cat and Rhino the hamster to reunite with Penny in Hollywood. The plot is a simple road movie and Disney goes back to using a big star ensemble to draw in the audiences but it works. It’s a film that shows that Disney are capable of bringing quality and heart to their films and starts to mark their presence in the 21st century in a computer animated dominated landscape. The soundtrack is another highlight for this film with the closing song “I Thought I Lost You” sung by Travolta and Cyrus a nice ending and ridiculously catchy.

49) The Princess and the Frog (2009)

After a few unsuccessful attempts at computer animation, Disney returned to hand-drawn animation for this seemingly classic retelling of The Princess and the Frog. Set in 1920s New Orleans, waitress Tiana kisses Prince Naveen, a talking frog, and is ultimately turned into one herself. Together, Tiana and Naveen have to figure out how to undo the curse before they run out of time and become frogs forever. This film was a significant step in Disney history as it features Disney’s first black princess. Unlike the previous films of the 2000s, the film feels sincere and harks back to the classic fairytales and yet sits nicely in a 21st century landscape. The soundtrack is standout and Facilier is one of the scariest villains in Disney history. The animation also feels traditional with its bright New Orleans carnival colours mixed with the Bayou landscape. It’s a gorgeous film that is a true testament to Disney getting itself back on track. There’s great character development and a nice cast of characters who are also developed, particularly friendly firefly, Ray and the jazz loving alligator, Louis.

50) Tangled (2010)

My favourite film on this particular post, Tangled is a quirky retelling of Rapunzel, a princess with long hair who is locked away in a tower. In this film, Rapunzel (voiced by Mandy Moore) is an anxiety-ridden young woman seeking adventure who, along with her sidekick, chameleon Pascal, heads on a quest to visit the “floating lights” with outlaw Flynn (voiced by Zacahary Levi). The animation is fantastic, the soundtrack is beautiful and the film as a whole knocks it out the park. It’s a shame that this was released the same year as Toy Story 3 which outshadowed every animated film that year. Fortunately, Tangled has succeeded in maintaining a legacy and a loyalty among fans with merchandise constantly updated and appearances by the characters in the parks. I think that “I See the Light” is one of the best songs and scenes in Disney history. Everything about it is perfection and brings what we love about Disney films to the surface. The animation of the lanterns and the accompanying scenes in the kingdom are amazingly detailed and filled with texture. It’s one of the most popular modern DIsney films for a reason and deserves more than one watch.

That’s the end of the penultimate post with one extended post to go for films 51-57. We’re deep into the Revival now and the next post features the first non-Pixar Disney films to win the Best Animated Feature Award at the Oscars showing that they are at the height of their game. The next post sees Disney venture into reboots, sequels and originals that vary in topics such as friendship, love and isolation.

I promise I will try to be quick with uploading the next post so I can be up to date and ready to see where Frozen II will slot into the list.

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Beauty and the Beast (1991)

4) Sleeping Beauty (1959)

5) Bambi (1942)

6) The Many Adventures of Winnie the Pooh (1977)

7) The Lion King (1994)

8) Mulan (1998)

9) The Little Mermaid (1989)

10) Tangled (2010)

11) Alice in Wonderland (1951)

12) Aladdin (1992)

13) The Aristocats (1971)

14) One Hundred and One Dalmatians (1961)

15) The Emperor’s New Groove (2000)

16) The Hunchback of Notre Dame (1996)

17) Lilo & Stitch (2002)

18) The Princess and the Frog (2009)

19) Peter Pan (1953)

20) The Three Caballeros (1945)

21) Pinocchio (1940)

22) Pocahontas (1995)

23) Tarzan (1999)

24) Dumbo (1941)

25) Hercules (1997)

26) The Black Cauldron (1985)

27) Atlantis: the Lost Empire (2001)

28) The Great Mouse Detective (1986)

29) Treasure Planet (2002)

30) Brother Bear (2003)

31) The Jungle Book (1967)

32) The Sword in the Stone (1963)

33) Cinderella (1950)

34) Bolt (2008)

35) The Rescuers (1977)

36) Robin Hood (1973)

37) Oliver & Company (1988)

38) Lady and the Tramp (1955)

39) The Fox and the Hound (1981)

40) Fun and Fancy Free (1947)

41) The Adventures of Ichabod and Mr. Toad (1949)

42) Saludos Amigos (1943)

43) Melody Time (1948)

44) Fantasia 2000 (2000)

45) The Rescuers Down Under (1990)

46) Make Mine Music (1946)

47) Meet the Robinsons (2007)

48) Home on the Range (2004)

49) Dinosaur (2000)

50) Chicken Little (2005)

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

Categories
Uncategorised

Adapting Roald Dahl

There are few people who manage to capture the imagination of a global audience in the way that Roald Dahl does through his stories. Over the years we have seen numerous adaptations in a wide variety of mediums and genres through the eyes of a huge spectrum of visionaries. From directors including Danny DeVito and Tim Burton and genres stemming from Mel Stuart’s musically charged classic to Wes Anderson’s progressive stop-motion animated masterpiece. The scope of adaptations made to date only adds to the genius of Dahl’s creativity and highlights the strength of the imagination the man in the shed conjured. Watching the 1971 adaptation, Willy Wonka and the Chocolate Factory feels just as timeless as Tim Burton’s take in 2005 despite the films bringing a polar opposite aesthetic to the novel.

Originally, I was going to try and list my favourite adaptations but much like the films of directors such as Kubrick or Paul Thomas Anderson, each one is unique for particular reasons and I found it impossible to come up with a reasonable list that sums up my love for Dahl’s stories. Netflix announced in November 2018 that they were going to adapt a number of his works and the excitement and hype ever since has been astrominical. Anne Hathaway is rumoured to have been cast as the Grand High Witch (who was brilliantly played by Anjelica Huston in the original film) in their production of The Witches. This particular remake is being directed by Robert Zemeckis to boot showing the demand around these projects.

Dahl wrote both children and adult books but is probably more known for the former. However, it was his experience and openness to discuss an array of topics (including his autobiographies Boy – Tales of Childhood and Going Solo) that allows him to approach his writing with a fearlessness, bringing a new and exciting perspective to literature. Even when creating his own universes and language, Dahl never patronises the reader and I think this is what has translated so well into the film adaptations such as Nicolas Roeg’s The Witches (1990) and Danny DeVito’s Matilda (1996). Both are great examples of films that are primarily aimed at children but are perfectly suitable for adults as well. No one is excluded from a Dahl tale. Also, the nostalgic draw also undoubtedly contributes to the hype as adults of today probably read his books as children. Dahl has become synonomous with Western (particularly British) childhoods.

I am hugely excited to see what these Netflix adaptations bring as they promise to show a more faithful and darker side to the Dahl bibliography that perhaps has been left out in previous adaptations. Not that has is a bad thing as each adaptation has brought something unique in the way that Dahl has in each of his books but it’ll be interesting to see The Witches with its original ending and a Charlie and the Chocolate Factory with the right balance of book loyalty and darkness (the Tim Burton one slightly overdoes it in my opinion). I am mainly looking forward to The BFG however as that is the one that captured me most as a child. I found the giants absolutely terrifying and I am looking forward to seeing how Netflix adapt it. I enjoyed both adaptations but I feel that the Steven Speilberg take was a bit sillier than it needed to be (although I completely appreciate that The BFG as a character is rather silly). I would probably say that if pushed to choose, my favourite films adaptations would be either Willy Wonka and the Chocolate Factory (1971), The Witches (1990) or Matilda (1995) which is odd because none of the films are 100% faithful but the final cut doesn’t compromise Dahl’s vision and that is the most important thing.

Which is your favourite Roald Dahl book and/or film adaptation? Let me know in the comments below!

Categories
Uncategorised

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.

inferno_01.jpg

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!

Categories
Uncategorised

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!

Categories
Uncategorised

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!