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The Tragedy of Macbeth (2021)

Shakespeare film adaptations are nothing new, as there have been an abundance of adaptations throughout the years. One of the most popular Shakespeare plays that has been adapted to film is Macbeth, which has had many film adaptations starting with the 1908 silent film. The newest addition to the Macbeth adaptation pile is Joel Coen’s The Tragedy of Macbeth. For those unfamiliar with Macbeth, the play (and this film), follows the titular character (Denzel Washington) and his ascent to the throne with the help of his Lady (Frances McDormand) of Scotland. Once he is King, Macbeth descends into madness and becomes a tyrant, causing a huge mutiny and attack from both England and Scotland, resulting in his downfall and eventual death.

The film is directed and written by Joel Coen and is arguably one of the best Macbeth cinematic adaptations that has ever been made thanks to Coen’s minimalist approach. The film is shot in black and white, but not only does this serve as a stylistic decision, it also ensures that the focus is on the text rather than the opulence. Coen’s adaptation is faithful to the play and his direction has clear focus on the characters. His respect for the source material is abundantly clear and the decision to have the actors speak in their original accents was a great choice as it means that more focus can be put on the words.

Denzel Washington leads as the titular character and completely embodies Macbeth through his rise and fall. What makes Washington such an effective Macbeth is that he provides the intensity and command required in such a role. Washington’s performance has been grossly overlooked this awards season with most award bodies only focusing on Will Smith in King Richard and Benedict Cumberbatch in The Power of the Dog. What Washington manages to achieve in this film is a deeply gravitating performance that draws you in from the moment he appears until the character’s eventual demise. The scene in which Macbeth ponders whether to go through with the murder of the King is among the highlights in the film.

You can’t have an effective adaptation of Macbeth without choosing a brilliant actress to portray Lady Macbeth. Who else was Joel Coen going to select except the incomparable Frances McDormand? McDormand is no stranger to Shakespeare, having played Lady Macbeth in 2016. Due to the dynamic shifts between Macbeth and Lady Macbeth, it is essential to have two actors who are able to carry off commanding and controlled performances. McDormand proves to be a perfect pairing for Washington’s Macbeth as she has an all-knowing presence about her. She perfectly encapsulates Lady Macbeth’s story arc from her manipulative methods in order to gain power through her husband through to her descent into madness. The scene in which she is sleepwalking around the castle and discussing the murder is eerie and ventures into horror territory thanks to the unpredictability of McDormand’s performance.

In one of the most captivating performances is Kathryn Hunter, who plays all three Witches and the Old Man. Hunter is a phenomenal actress who embodies the weirdness and otherness in the characters. Macbeth contains some of the most well-known Shakespeare quotes and a lot of them are delivered by Hunter. The scene in which the Witches visit Macbeth for the second time perfectly encapsulates the subtly and brilliance of Hunter’s performance, not relying on the bells and whistles that come with a lot of cinematic Shakespeare adaptations. Hunter’s acting ability comes through without any extra help, and it’s such a shame that her performance was overlooked during the mainstream awards.

The cinematography by Bruno Delbonnel is stunning and makes use of the various locations in the film. Despite the minimalism in the production design, Delbonnel manages to capture the world perfectly. Despite the use of numerous locations, there are many scenes in which there is a pinpoint focus on the characters themselves rather than their surroundings in order to draw in that focus. However, this doesn’t mean that Delbonnel isn’t able to incorporate innovative shots that make the film beautiful to watch. The scene in which Lady Macbeth is reciting a letter that Macbeth has sent her before setting fire to it is brilliantly shot, ending with the letter in flames as it floats away in the sky. The scenes in which the Witches visit Macbeth are both among the best scenes in the film thanks to their eeriness and simplicity, especially the second visit.

One of the best aspects of the film is the production design by Stefan Dechant, who has been nominated for an Oscar for his beautiful work on the film. The production design is innovative and works beautifully in the film, making use of the space and light in the film. Macbeth’s castle is large and empty, showing off the affluence and regality of the character’s station, while emphasising the emptiness and lack of fulfilment in the character’s life. Dechant’s production design is striking and clearly inspired by the stage, without feeling too “stage-like”. The scene in which Macbeth is visited by the Witches the second time has phenomenal production design as the Witches sit on beams above Macbeth as the character sits beside a pool of water and awaits to hear his fate. What makes the production design so effective is how simple it looks, but actually conveys the vastness of the land that Macbeth wishes to rule over.

The Tragedy of Macbeth may mark Joel Coen’s first solo project, but hopefully it won’t be his last. Coen’s minimalist approach allows the performances to shine, while also boasting innovative production design, wonderful cinematography, and a striking score. What makes the film so effective is how stripped back it is in its approach, meaning that the focus is on the text. It may not have the same level of flourish as other Oscar contenders, but it’s definitely worth the watch and marks one of Washington’s career-best performances.

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

The Tragedy of Macbeth is available to watch on Apple TV!

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The French Dispatch (2021)

2021 saw a slew of star-studded films and one of these was Wes Anderson’s newest feature, The French Dispatch. The film follows the team at the titular magazine and the fictional French town of Ennui-sur-Blasé where the team is located. The cast is led by Bill Murray who plays the magazine’s editor, Arthur Howitzer Jr, based on The New Yorker’s founder Harold Ross with a starry cast including regular Anderson collaborators such as Owen Wilson, Jason Schwartzman, Tilda Swinton, Adrien Brody, Frances McDormand, and Anjelica Huston, among many others. Unlike his other films, The French Dispatch is an anthology film and consists of a tour around Ennui-sur-Blasé followed by three stories from the magazine’s final issue and an obituary for Howitzer, who has passed away.

The film is written and directed by Wes Anderson and features all the weirdness and wackiness that you would expect from one of his films. The town of Ennui-sur-Blasé sits perfectly in Anderson’s cinematic universe, while Anderson plays with the structure of the film itself, structuring it like a visual magazine with a content’s page that gives an overall summary, some stories, and a final conclusion in its obituary. The French Dispatch may not have as strong a story like The Grand Budapest Hotel or as many memorable characters such as those in The Royal Tenenbaums, and this seems to have divided hardcore Anderson fans, but to see Anderson experiment with film structure and the way in which the magazine influences the actual film and vice versa makes it intriguing to watch.

The first segment of the film is called “The Concrete Masterpiece” and stars Benicio del Toro as incarcerated artist Moses Rosenthaler who delves into abstract art inspired by his muse, Simone (Léa Seydoux). When fellow prisoner and art dealer, Julien Cadazio (Adrien Brody) spots one of Rosenthaler’s works in the prison, he makes it his mission to ensure that the latter is the most famous artist in the world even though he remains in prison. This segment features the strongest characterisation as there are fewer leading characters meaning that there is more room for them to be explored. Seydoux is spectacular as Simone. When we first see her, she is completely naked as she poses for Rosenthaler, but the way in which she is portrayed is full of empowerment as her role as prison guard means that she has ultimate control over the situation. Leading this segment is del Toro, who has never worked with Anderson before but proves to be a natural fit within his vision, while Brody can always be relied upon to bring a strong performance.

The second chapter is titled “Revisions to a Manifesto”, which follows reporter Lucinda Krementz (Frances McDormand) as she records a student revolution in which the male students, led by Zeffirelli (Timothée Chalamet) demand access to the female dormitory. This segment is probably the weakest of the three in that the other two have stories that are more compelling. This isn’t to say that it is a bad portion, but when compared to the other two, it’s clear that it doesn’t have the same level of magic. McDormand is perfect as always as the cynical Krementz, who is dead set in her ways and refuses to conform despite efforts from those around her, while Chalamet is absolutely charming as the young Zeffirelli.

The third segment, “The Private Dining Room of the Police Commissioner”, is the best of the three sections and features the most captivating performance in the entire film thanks to Jeffrey Wright’s incredible performance as reporter Roebuck Wright, who is inspired by James Baldwin and A. J. Liebling. Roebuck is a character whose reporting incorporates food and this specific story recalls his private meal with the Commissaire (Mathieu Amalric) where the food is prepared by renowned chef/police officer, Nescaffier (Stephen Park). There are a lot of moving parts in this segment, so the other characters aren’t as well-developed, but Roebuck’s character and his own experiences as a homosexual in a foreign country are particularly poignant and provides a nuance to the film that grounds the wackiness going on.

The music is provided by none other than Oscar-winning composer, Alexandre Desplat, who won his first Oscar for his amazing work on Anderson’s The Grand Budapest Hotel. Desplat was originally slated to work on Guillermo del Toro’s latest film Nightmare Alley but chose to work on The French Dispatch in his fifth collaboration with Anderson and the score is incredible. The score is filled with classical French inspiration while the tracks alter in terms of tone and style to suit the stories that are being told. The track that plays while the shoot-out is taking place in the third segment is a particular highlight. On one hand, the score for The French Dispatch demonstrates Desplat’s affinity for capturing the world, and Anderson’s vision perfectly, but it is a shame that we didn’t get to hear his score for Nightmare Alley as it would have been incredible to see Desplat work with del Toro again and work with the noir and carnival aspects of the film.

The French Dispatch may not have the same level of magic as other Anderson features, but the way that he plays with the film’s structure allows it to stand out against other entries in his filmography. Relying on a slew of familiar faces that he has previously worked with, it’s great to see that the best performances came from those whom he hasn’t worked with before such as Jeffrey Wright and Benecio del Toro, who lead their segments with ease. Anderson proves yet again why he is one of the most creative minds that Hollywood has to offer thanks to his ability to create whimsy and mix it with deadpan comedy and points of drama, making a film that is filled with excellent balance.

What did you think of The French Dispatch. Let me know in the comments below!

The French Dispatch is now available to watch on Disney+!

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Nomadland (2020)

Nomadland has become the ultimate frontrunner this awards season and it’s easy to see why. Writer and director Chloe Zhao’s adaptation of the 2007 nonfiction book, Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder has swept all the major awards this awards season and is more than likely to repeat its success again at the Oscars this Sunday. The film follows Fern (Frances McDormand), a woman who decides to lead a nomad life following the closure of her town and the death of her husband.

Chloe Zhao’s work on this film is absolutely stunning and impeccable. Working as the film’s co-producer director, writer and editor is a clear indicator of her passion for the project and it shows. From the flawless script to the smooth editing, watching Nomadland feels like an immersive experience as though you are going on these journeys with Fern. Zhao has received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Editing with the majority of these categories locked which will make her the second female winner of the Best Director award at the Oscars.

Just when you think Frances McDormand has shown all of her range, she swoops in with another tour de force performance. Coming off the back of her Oscar winning turn in Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri, McDormand shines again as Fern, a nomad who is trying to find purpose in her life following the death of her husband. Adamant that she is “houseless” rather than homeless, Fern travels the States meeting a lot of new and familiar faces along the way. What McDormand always does so well is bringing an authenticity and depth to her characters in a way where she makes it look effortless yet impactful. Whether Fern is warming herself up in her van, bidding a friend farewell or reciting a Shakespeare sonnet, McDormand takes us through a whole range of emotions whilst giving an incredibly controlled and grounded performance.

It is impossible to discuss Nomadland without talking about the incredible cinematography by Joshua James Richards. Taking advantage of the nature surrounding Fern’s journeys, Richards’ work is so emotive and strikes a chord with the simple panning of a sunset behind the mountains. It may seem simple on the surface but the way it is done and the mastery and control in how the emotions in the film are conveyed make this a beautifully impressionist piece.

Another highlight for me that hasn’t been as widely discussed is the score. Composed by Ludovico Einaudi, the score feels beautifully classical while also helping to bring forward the emotions we see onscreen. Just as the cinematography allows the landscape to become personified, so does the music. The scene in which Fern goes to a large gathering during the Spring months and meets fellow nomads there is a beautiful long shot that is lifted by a gorgeously soft piece of music that perfectly captures the wonder of the lifestyle. The music never tries to dominate the events happening onscreen but simply helps to heighten and intensify those emotions.

What makes Nomadland work so well is its simplicity. Zhao shows that you don’t have to bring in all the bells and whistles to make the best picture. Nomadland has all the makings of a great modern classic in its relevance and beauty. The film’s ability to bring up a whirlwind of emotions through scenic camerawork is a mark of Zhao’s talent as a visionary. This is very much a labour of love and one that begs for revisiting time and time again thanks to its rewarding visuals and emotive performances where the landscape plays a key part. Whether you view this film as a take on capitalism, environmentalism or a character study, there is much to be gained from the Nomadland viewing experience.

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

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The United States vs. Billie Holiday (2021)

The United States vs. Billie Holiday has produced one of the biggest surprises to come out of this year’s Golden Globes. Andra Day proved victorious in the Lead Actress in a Drama category as she beat out favourites Frances McDormand and Carey Mulligan to receive the prize for her turn as legendary jazz singer, Billie Holiday. Chronicling Billie’s life leading up to, during and after her controversial prison time, The United States vs. Billie Holiday does have its flaws but it features brilliant performances from Day and the rest of the cast. Directed by Lee Daniels from a script written by Pulitzer-prize winning playwright Suzan-Lori Parks, The United States vs. Billie Holiday has found a star in Andra Day.

The film does take a while to find its natural pace but once it does, it is enjoyable to watch. The first half of the film feels rushed, flitting quickly from one event to the other unexpectedly without really letting the characters breathe. I think that because Parks has a lot more experience in writing plays, this technique would work much better on stage than on screen but the second half brings some brilliant characterisation. Daniels’ direction also shines in the second half as we see Holiday’s rebellion and unapologetic attitude take hold and her descent into drug and alcohol abuse.

It goes without saying that Andra Day is heart and soul of the film. Without her fantastic performance this film would not have the power and attention it currently does have. What makes Day’s performance so captivating is that she doesn’t try to be Holiday through mimicking but really delves deep into Holiday’s layered personality. On the surface, she is a hugely successful singer who is loved all over the country but inside she is riddled with addiction combined with bouts of domestic violence and run-ins with the law. With biopics being a mainstay on the awards circuit in recent years, it is refreshing to see a performance that isn’t just an imitation and not much more. Although the film around her has its flaws, Day elevates the whole viewing experience and makes it both rewarding and positive overall.

In support, Trevante Rhodes is great as federal agent Jimmy Fletcher. Having previously had his own breakout role in the Oscar winning masterpiece Moonlight as adult Chiron, Rhodes sees a change of pace here as a conflicted federal agent who plays a huge part in Holiday’s imprisonment. Thinking that being an agent was going to make the world better for African-Americans, he soon realises the corruption that lies in the higher ranks ran by the white elite who are against the civil rights movement. Although Rhodes isn’t in the film a lot, he gives the audience that outsider perspective as he follows Holiday and her entourage on tour.

The film really hits its stride in the second half as Holiday embarks on her tour followed by Fletcher. One scene that is a highlight in particular is when Fletcher is high on heroin and Holiday tells him about her troubled upbringing. The way it is staged as Fletcher sits and views a young Holiday being kicked out by her mother. The structure of the scene prevents the film from simply being a linear scene by scene recreation of Billie’s life. In terms of the direction, the film feels like it is split into two films with the first half being less adventurous and following a move traditional and expected structure and the second half diving into a more experimental and unpredictable approach. This could coincide with Holiday’s descent into addiction and her life spiralling out of control but I think the film as a whole would have benefitted hugely if the approach was more consistent throughout. If Daniels had directed the first half of the film like the second, the discussion around the quality of the film overall would be hugely different.

Although The United States vs. Billie Holiday may not be the strongest film in contention this awards season, it is definitely worth the watch purely for its great final act and Andra Day’s breakthrough performance. I expect to see Day recognised further with an Academy Award nomination at least and it’s exciting what the future holds for her if she decides to pursue a career in film.

What did you think of The United States vs. Billie Holiday? Let us know in the comments below!

The United States vs. Billie Holiday is available on Sky Cinema now!

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Pixar Features: Final Ranking

Way back in June 2019, I began my reviews and rankings of the Pixar feature films. Over a year later and I have managed to finish this task. It was just one of those things were I kept forgetting to complete it and before you know it, two more films had been released!

Pixar is one of the strongest animation studios in the world and it’s not hard to see why. The feature films have collectively won 16 Academy Awards with 10 of them for Best Animated Film. From the brilliantly developed characters, stunning animation and star-studded casts, Pixar has been churning out blockbusters since they brought out their debut feature Toy Story in 1995 which won the studio a Special Achievement Oscar as the Best Animated Feature category was introduced in 2002.

You can catch up with the reviews here:

Films 1-5

Films 6-10

Films 11-15

Films 16-22


Here is my ranking from bottom to top:

22) Cars 3 (2017)

21) Cars 2 (2011)

20) Cars (2006)19) The Good Dinosaur (2015)

18) Monsters University (2013)

17) Brave (2012)

16) Finding Dory (2016)

15) The Incredibles 2 (2018)

14) A Bug’s Life (1998)

13) Toy Story (1995)

12) Toy Story 4 (2019)

11) Onward (2020)

10) The Incredibles (2004)9) Finding Nemo (2003)

8) Monsters, Inc (2001)

7) Toy Story 3 (2010)

6) Rataouille (2007)

5) Inside Out (2015)

4) Coco (2017)

3) Toy Story 2 (1999)

2) WALL-E (2008)

1) Up (2009)So that’s that. The next Pixar film due to be released is Soul however I am not sure if it has been delayed and if so then for how long.

What did you think of my reviews and rankings? Let me know what you think in the comments!

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Pixar Features Ranking: Films 16-22

It’s about time I added the final installment for this series of posts and get myself up to date. Admittedly I did not do this in time for Toy Story 4 or even Onward like I wanted but better late than never I suppose. Much like Disney, we’re well into the era of sequels, prequels and remakes and Pixar isn’t exempt to this although the enormous success of Inside Out has opened Pixar’s eyes to dedicating itself more to creating original content. Only three of the six films in this post are original but the fact that Pixar have planned several originals for the future and less franchise releases shows a step in the right direction. Pixar thrives off its originality and it is the imagination of these films that make them stand out.

If you need to catch up with the series, here are the links to the previous posts below:

Films 1-5

Films 6-10

Films 11-15

As I have mentioned before, the films in this post do follow the trend for nostalgia and rebooting franchises by bring back loved films from the Finding Nemo and The Incredibles universe as well as the long-awaited sequel to Toy Story 3. I am glad that Pixar have originals planned for the future because the prequel/sequel trend has worn thin now and the films aren’t bad but they don’t hold their ground against the originals.

Here are the reviews for Pixar films 16-22:

16) The Good Dinosaur (2015)

Set in a world where dinosaurs didn’t go extinct, The Good Dinosaur chronicles the friendship between a shy Apatosaurus named Arlo and a young boy called Spot. Featuring a starry cast including Frances McDormand and Jeffrey Wright, this film sadly became Pixar’s first box office bomb despite it’s positive reviews. It’s a rare Pixar original during the flurry of franchises and coming after the brilliant Inside Out, it didn’t really stand a chance. I felt really underwhelmed by this film overall. I loved the background design and nature backdrops but the animation of the film’s characters clashed in a way that made for a confusing viewing experience. The film feels as if it doesn’t quite give the emotional punch that it could have done as it explores the deep confusion and complexity of losing a parent at an early age. It’s a film that means well but sadly doesn’t fill its potential.

17) Finding Dory (2016)

Finding Dory follows everyone’s favourite forgetful fish who finds herself swimming across the ocean to locate her parents who she lost when she was younger. Dory (voiced by Ellen DeGeneres) is just as lovable as ever and it’s great seeing her get her own film. She ventures to the Marine Life Institute in California where she is captured and quarantined leaving Marlin and Nemo in a position to rescue her. Dory is one of the best loved characters in the Pixar universe and the film’s critical and commercial success (which saw the film break $1 billion at the box office) proves this. The film suffers from feeling unoriginal as the situation is identical but on the other side of the world with the characters swapped around. I understand that the title makes that clear and the search for her parents makes it different but I felt underwhelmed by the film as a whole.

18) Cars 3 (2017)

I did not go into this film with high hopes. Anyone who has been following my Pixar rankings will know that the Cars franchise is simply not my cup of tea. What baffled me the most about this sequel is that it feels really forced and added on. Like Cars 2, it feels as though protsgonist Lightning McQueen hasn’t actually learned any lessons from the previous installment and must take yet another whole film to his humility and learn the importance of friends and family. It’s not clear what the intention of Cars 3 is as McQueen struggles with the realisation that his racing days may be coming to an end. The character arc from the previous two installments should present a McQueen who is eager to pass on the mantel and train the next generation but what we are presented with is the McQueen from the beginning of the first two films who is arrogant and refuses to accept anything other than a first place win.

19) Coco (2017)

By far the best film in this list and a true testament to Pixar’s love of incorporating different cultures into their films, Coco is a Mexican based tale set on Dios de las Muertos and follows aspiring musician Miguel who longs to sing despite his family’s strict ban on music. It’s a tale that explores the importance of family and identity and is guaranteed to have you in tears at the climatic scene with his Grandma Coco. It also portrays dementia in an accurate way that is educational for children and emotionally relatable for adults. Coco isn’t afraid to delve in darker topics such as death as the majority of the film takes place in the afterlife where Miguel encounters his dead relatives. The soundtrack, written by duo Robert Lopez and Kristen Anderson-Lopez is even better than Frozen in my opinion. I think the songs really capture the heritage and tone of the film perfectly with songs such as the Oscar-winning “Remember Me” and “Proud Corazon” bringing the film to life.

20) The Incredibles 2 (2018)

One of the Pixar films that I did not imagine would ever get a sequel, The Incredibles 2 follows directly on from the first. As expected, the dialogue was punchy, Mrs. Incredible (voiced by Holly Hunter) is feminist as always and the score is somehow even better than the first. My only problem with this film is that it is pretty much a carbon copy of the first film but the roles are reversed with Mrs. Incredible taking on the challenge and Mr. Incredible staying at home. I also had a bit of an issue with the animation itself. With it being a superhero movie, I expect it to be fast-paced with a lot of colours and flashing lights but there was one particular scene that had so much strobe lighting that it was hard to concentrate and was (literally) painful to watch and gave me a headache. It was an uneasy sequence to watch and ruined the film a bit for me, particularly because it didn’t need to be in there.

21) Toy Story 4 (2019)

I wrote a full review when I went to see this which you can read here so I won’t spend too much time repeating myself. Featuring the star-studded cast lead by Tom Hanks and Tim Allen, the fourth installment follows the toys in the care of Bonnie, the lovable little girl who Andy gifts the gang to. Woody finds it hard to belong under Bonnie’s care and what follows is an adventure of identity and family. It’s wasn’t a necessary film but it definitely was worth the wait. Not to mention that Forky is one of the best characters to come from the Toy Story franchise.

22) Onward (2020)

The first of two original Pixar films initially planned to be released this year (I’m not too sure if the release of Soul has been delayed or not), Onward is set in a mythical alternative universe populated by trolls, goblins and pixies among other creatures. Following young elf teenager, Ian Lightfoot (voiced by Tom Holland) and his older brother Barley (Chris Pratt) as they navigate being seen as outcasts by their peers. When Ian turns 16, their mum Laurel (Julia Louis-Dreyfus) gives the boys a wizard staff that belonged to their father before his passed. Ian finds out he possesses some powers and managers to resurrect his father’s legs and the boys are against the clock as they have to figure out how to resurrect the rest of him within 24 hours. Of course, in true Pixar fashion, the film explores the brothers’ relationship and their relationship with their mother and others. Despite the film’s fantasy setting, I found its depiction of parental loss and its affect on the children to be among the most accurate put to the film. The desperation to see their father again and the pain the brothers go through organic and real as they constantly bicker and argue like siblings but would do anything for each other. I think the film is hugely underrated and feel that it is among the better films Pixar has released in recent years.

So with all of the reviews completed, I am now faced with the task of ranking them. It wasn’t as difficult as previous posts (mainly the second installment) but it’s interesting to see where the likes of Coco and Toy Story 4 rank up against the legendary films. I do think that Coco is the film of this bunch that is likely to become the best known one and with good reason.

Here is the up-to-date ranking:

1) Up (2009)

2) WALL-E (2008)

3) Toy Story 2 (1999)

4) Coco (2017)

5) Inside Out (2015)

6) Ratatouille (2007)

7) Toy Story 3 (2010)

8) Monsters, Inc. (2001)

9) Finding Nemo (2003)

10) The Incredibles (2004)

11) Onward (2020)

12) Toy Story 4 (2019)

13) Toy Story (1995)

14) A Bug’s Life (1998)

15) The Incredibles 2 (2018)

16) Finding Dory (2016)

17) Brave (2012)

18) Monsters University (2013)

19) The Good Dinosaur (2015)

20) Cars (2006)

21) Cars 2 (2011)

22) Cars 3 (2017)

Looking at the final ranking, it seems such a shame that the calibre for Pixar films reaches a slump. They had such a flourishing first decade and dominated cinema but then crippled by Disney’s desire for sequels and prequels. This evidently lowered Pixar’s standards but hopefully they will continue to make the original films that audiences really love.

What do you think of my final ranking? Which Pixar film is your favourite? Let me know in the comments below!