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Resident Evil: Film Ranking

With Halloween fast approaching, it’s time to think about what films you’ll be watching on Halloween night. Are you the kind of person who likes a more family friendly scare? Perhaps super gore is more your taste? Or an zombie-filled action franchise to marathon? This post is all about the latter as I will be reviewing and ranking the films in Paul W. S. Anderson’s Resident Evil series. Taking inspiration from the hugely popular video games, the Resident Evil films follows the spread of the T-virus which kills people and turns them into zombies. Engineered by the evil Umbrella Corporation, protagonist Project Alice travels around the world to put a stop to the company’s experiments.

The films are not critically well received by any means and I don’t think they’ll be competing for Oscars anytime soon but they are entertaining to watch and hugely popular with audiences. With the first film released in 2002 and the latest having been released in 2016, Resident Evil may not be among the most impactful horror franchises of all time but it is a fun little watch. Of course if you’re going to watch them then it makes sense to watch them in chronological order but I thought I would do my usual reviews and ranking. Bear in mind that this will only include the live-action films directed by Paul W. S. Anderson only so the animated films are not going to be discussed in this list.

Here are my reviews for the Resident Evil films:

Resident Evil (2002)

Resident Evil opens in the iconic mansion from the first game and follows the initial T-virus being leaked within Umbrella Corporation’s headquarters, The Hive. Following this we are introduced to protagonist Alice, who has passed out in the shower struggling with short-term memory loss. The basic plot is that Alice and policeman, Matthew, are forced to go underground to The Hive with agents to shutdown the Red Queen and retrieve the antivirus. There they are faced with death at the hands of mutated zombies and monsters. To coincide with Alice’s memory loss, the audience doesn’t learn the specific details of the leak until Alice figures it out for herself. The first installment of the franchise was met with negative critical reviews and amazing box office success which would become the regular trend for the Resident Evil films. It also features one of the most iconic sequences in the franchise with the laser corridor scene that sees the death of several agents. Also, for all of its flaws, Resident Evil proves to be an entertaining horror and has great concluding scenes when Alice is captured by Umbrella.

Resident Evil: Apocalypse (2004)

The second film shows the growth of the infection which has spread to Raccoon City, the place directly above The Hive. Also bringing game favourite Jill Valentine into the films, Resident Evil: Apocalypse is another fun inclusion to the franchise, turning up the campness and adding in Nemesis as the main villain. As well as including more features and characters from the game, Resident Evil: Apocalypse attempts to go more creative with its deaths. Sadly, it doesn’t have the same impact as its predecessor as it feels as if Anderson was trying to one-up the first film but it feels a bit too busy and a lot going on with the introduction of numerous key characters. Whereas the first film thrived from its simplicity, it feels as though Anderson has put too much on his plate with this segment. That being said, I do like that there is more faithfulness to the games in this one. Also, Jared Harris is always a welcome presence in any film and I enjoyed his performance as Dr. Charles Ashford.

Resident Evil: Extinction (2007)

The T-virus has now spread across America and shows Alice teaming up with more survivors and venturing across the Mojave Desert to reach Alaska where it is claimed there is safety. Resident Evil: Extinction sees the inclusion of zombie crows as well as Claire Redfield, Albert Wesker and the super villain Tyrant. Anderson decided to rein in the camp vibes from the previous installment and reflecting the desert setting, gives the film a grittiness and seriousness. Whereas Apocalypse felt like too much was going on, Extinction has been pared back the characters who are introduced do not overwhelm the storyline too much. Ali Larter gives a brilliant performance as Claire, a favourite character from the games and Iain Glen is also fantastic in his role as Dr. Alexander Isaacs, a scientist who created the Nemesis program and Project Alice. What makes this installment even more terrifying is that most of the action takes place during the day which is almost unheard in zombie films. It shows that there really is no stopping the zombies’ hunger and the affect this has on the remaining survivors.

Resident Evil: Afterlife (2010)

Resident Evil: Afterlife follows Alice’s ruin upon the Umbrella Corporation’s headquarters in Tokyo and her subsequent search for Arcadia, a safe haven for survivors. As expected, her plan goes awry and she is faced with crowds of zombies and monsters. I have a soft spot for this film because I went to see it in the cinema in 3D and it was a brilliant experience. Usually 3D films aren’t worth the money, particularly when they were being released 10 years ago, but this was fantastic. As Alice teams up with a group of survivors including Claire in a bid to get to Arcadia, they are trapped in a building surrounded by hoards of zombies as well as a giant monster called Axeman. Taking inspiration from the Resident Evil 5 villain The Executioner, the Axeman is one of the best monsters in the whole franchise and the fight between him and Alice and Claire is among the best choreographed. I know this is one of the worst reviewed of the franchise (which is saying a lot since they are all received pretty negatively) but the fun experience I had seeing it in 3D at the cinema leaves it higher than expected on my list. I find it thrilling and entertaining and think it is definitely a crowd pleaser.

Resident Evil: Retribution (2012)

Directly following the conclusion of the fourth film, Resident Evil: Retribution shows Alice’s capture and escape from Umbrella Corporation through their simulators which have various sets and clones of old and new characters alike. We are also introduced to the last bunch of game characters that haven’t been put into the films with Leon S. Kennedy, Ada Wong and Barry Burton entering the film franchise. Showing Umbrella’s elaborate simulations as well as vigorous torture techniques on Alice, Umbrella shows no signs of slowing down. The T-virus has become a valuable asset on the market as countries purchase it to use it on their enemies to spread the outbreak. Showing the outbreak on a global level, Alice now has to fight alongside Ada and Leon and venture to the Deep North to put an end to their testing facility. On top of this, Alice must find a way to stop Jill who has been brainwashed by Umbrella. The film brings in more aspects of the game and Anderson has shot the film to resemble the videogames. Bringing back some much-loved characters including Michelle Rodriguez as Rain, Resident Evil: Retribution feels like a great combination of what fans love about the series.

Resident Evil: The Final Chapter (2016)

The final installment of Anderson’s Resident Evil films follows Alice’s last stand against the Umbrella Corporation once and for all. It takes them back to the ruins of Raccoon City and into The Hive. Teaming up with the Red Queen to stop Wesker and Dr. Isaacs from wiping out humanity, Alice has to journey from Washington to the Hive within 48 hours before Umbrella destroys all human settlements. The series feels like it has come full circle in that the Hive is where it began and ends but equally, the virus’ affect on humanity has been catastrophic. Down to the last 4,000 humans, Alice is captured by Dr. Isaacs and has to escape and meet up with fellow survivors who are living within a guarded compound in Raccoon City. Rounding off the series in style, Anderson brings back plenty of old faces that we have missed as well as some new bad guys to wince at. One cannot help but also notice Alice’s growth from the first film. Milla Jovovich’s portrayal has matured during the franchises 14 year tenure and it’s nice that Anderson and Jovovich were able to give the series the ending they wanted.

So with all the reviews done and dusted, I do think it is a franchise that gets better and more faithful to the games as it goes on. Needless to say, regardless of whether they are good films critically or not, they do a great job at entertaining the audience. Anderson’s films may have their flaws but his passion for bringing videogames to life have helped propel this series to an iconic status among videogame adaptations. They’re among the first horror films I watched and I’ll always have a soft spot for them. Even though there are horrors that I think are better, they introduced me to a genre that has become one of my favourites over the years.

Here is my ranking of the Resident Evil series:

1) Resident Evil (2002)

2) Resident Evil: The Final Chapter (2016)

3) Resident Evil: Retribution (2012)

4) Resident Evil: Afterlife (2010)

5) Resident Evil: Extinction (2007)

6) Resident Evil: Apocalypse (2004)

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

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London Film Festival 2020: Roundup

With London Film Festival concluding today and all of my reviews done and dusted, I thought I would write this post to roundup my experience. Being my first film festival, I was so excited to be apart of something I have been a fan of for years. Looking at the lineup, it seemed that there were four major films: Steve McQueen’s Mangrove, Chloe Zhao’s Nomadland, Pete Docter’s Soul and Francis Lee’s Ammonite and I was determined to see at least two of these. Luckily I was able to see Mangrove and Ammonite on the screenings but sadly wasn’t successful in the ballot to see Nomadland and I don’t live in London to see Soul. However, I was thrilled with all the films I watched. I decided that my target was to watch 10 films and make them as varied as I could. In total, I watched 12 films and this includes documentaries, shorts, animation, drama, horror, foreign language, etc. There wasn’t one film that disappointed me and many standouts that I hope go on to receive award recognition and open new doors to create more films.

Overall, what stood out to me was the quality of the writing in the films I watched which was absolutely fantastic. The creativity and originality of the films I watched shows that the industry isn’t failing and there is room for films that push boundaries. From adaptations to original pieces, each film was so distinctive and unique that I was so pleased with how many well-rounded characters there were.

I thought it would be fun to come up with my personal winners from the Festival from the films I watched. As I previously said, there were no disappointments so this will be tricky. I have also added a special Shoutout category because the winner of this gave two brilliant performances and has clearly had a stellar year. I wanted to recognise this with their own special category.

Here are the Smaller Pictures Winners of London Film Festival:

Best Picture – Wolfwalkers

Best Director – Tomm Moore and Ross Stewart for Wolfwalkers

Best Leading Actor – Riz Ahmed for Mogul Mowgli

Best Leading Actress – Tilda Swinton for The Human Voice

Best Supporting Actor – Fazlur Rahman Babu for The Salt in Our Waters (Nonajoler Kabbo)

Best Supporting Actress – Letitia Wright for Mangrove

Best Original Screenplay – Will Collins for Wolfwalkers

Best Adapted Screenplay – Pedro Almodóvar for The Human Voice

Best Documentary Feature – One Man and His Shoes

Best Original Score – Jim Williams for Possessor

Best Song – “Running with the Wolves”, AURORA from Wolfwalkers

Best Cinematography – Stéphane Fontaine for Ammonite

Best Editing – Matthew Hannam for Possessor

Best Production Design – Tomm Moore, Ross Stewart and Maria Pareja for Wolfwalkers

Best Costume Design – Michael O’Connor for Ammonite

Best Hair and Makeup – The Human Voice

Special Shoutout Winner – Sean Bean for Wolfwalkers and Possessor

London Film Festival has given me some amazing memories and been a highlight of my year and a brilliant opportunity that I am so grateful for. I am also so excited to announce that I will be reviewing films from the upcoming Raindance Film Festival at the end of this month so my Festival journey hasn’t ended just yet!

So that’s it for my little awards section and roundup! Which film are you looking forward to seeing the most? Let me know in the comments below!

Just in case you want to read my reviews for the films, I have included them below. I really recommend watching all of them:

Ammonite

Farewell Amor

Herself

The Human Voice

Lovers Rock

Mangrove

Mogul Mowgli

One Man and His Shoes

Possessor

The Salt in Our Waters (Nonajoler Kabbo)

Siberia

Wolfwalkers

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London Film Festival 2020: Siberia

The third film on my viewing list was auteur Abel Ferrara’s film Siberia based on a script co-written by Ferrara and Christ Zois. Marking Ferrara’s sixth collaboration with Willem Dafoe, the film follows bar owner, Clint (Dafoe) who lives in the wilderness of Siberia. Starting with a simple voice over over the opening credits with Clint recalling a memory with his father when he was younger, Siberia soons delves inwards with hallucinations, chance meetings and confrontation with his memories. He encounters his father, brother and ex-wife in a bid to find and understand himself. Ferrara’s direction is distinct and rich in his vision. His use of lighting and contrast is brilliant, particularly the scene in the cave where Clint encounters his brother. It’s a film that leaves a lot to interpretation and it seems that Ferrara is not making any judgement on Clint or his choices.

The best way to describe the script is on that spirals inwards. The opening act on the film focuses largely on the Siberian landscape and Clint’s existence in this vast space before entering into his own mind as he tries to puzzle out his life. The isolated wintery wonderland is soon replaced with various settings including deserts and woodlands, taking us on a geographical journey as well as an emotional and mental one. The script is motivated by the journey rather than the dialogue and in the first act, Clint doesn’t really speak and the writing is about how he occupies the space. As his customers in the bar speak to him in various languages, Clint briefly responds and nods as long as though he understands. Whether or not he does is up to viewer interpretation but he is a good reader of people. It then envelopes into him not being a good reader of himself.

Willem Dafoe can always be relied on to bring a great performance and Siberia is no exception. As Clint is faced with various faces from his past and present, we begin to paint a picture on why Clint has settled into his lifestyle. Clint isn’t a character that necessarily has to be liked nor is he particularly special or interesting. His hallucinations are a result of his choice to live alone and refusal to face his past. The memories are what shape Clint’s character and give a more rounded portrait. The scene in which is talk to his ex-wife, he refuses to take full responsibility for the failure of their marriage. His hardness seems unbreakable and is also elevated by the fact that he doesn’t interact with people as much anymore. Dafoe’s performance is quiet and subdued but powerful all the same. He is the perfect fit for this character.

The quick shift in locations give this film a dreamlike quality with its fluidity and exaggerates the visceral nature of the film. The film explores a whole spectrum of genre and music alike. In its genre, the film brings out drama, horror and satire whilst indulging in explicit sex scenes and gun violence. The music choices also shift from the beautiful score composed by Joe Delia to song choices that range from folk songs to heavy metal. Despite its inward approach to exploring a singular character, Ferrara contrasts this with widely vast technical and creative choices. It allows the different sides of Clint to emerge, peeling off the layers one by one.

Overall, Siberia is a film that demands complete audience attention otherwise it won’t make much sense. It is a film rich in visuals and settings and makes for an intriguing character insight. I’m not sure if it is a film for everyone as the film doesn’t follow any conventional structure or explain the shifts in scenes which can be off-putting but I think it is definitely a film worth watching, particularly for the direction and Dafoe’s performance. It’s a thought-provoking piece that explores a lot of ideas despite its short running time of 92 minutes and I am looking forward to seeing what Ferrara and Dafoe’s seventh collaboration will be already.

Siberia is showing at the London Film Festival on the 10th October. You can book your tickets on the BFI website.

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The Purge Ranking

Original horror films seem to be all the rage this century, pushing the boundaries of emotional trauma and gore. The 21st century has seen various franchises thrive such as the Final Destination series which is more geared towards a younger demographic to the Saw and Hostel series which kickstarted the “torture porn” subgenre of horror. By the 2010s, it felt as though audiences were exhausted by horror filmmakers attempting to make their films more and more unrelenting in gore and a desire for something more engaging and relevant was the way to revitalise the dwindling horror genre. Audiences were responding more to the Paranormal Activity series meaning jumpscares and found footage was proving to be more popular. Enter The Purge, written and directed by James DeMonaco, originally released in 2013 and bringing a new approach to the new outlook on horror. Set in an alternative universe where the malevolent New Founding Fathers of America (NFFA) enter office and pass a bill where crime including murder and torture is legal for 12 hours.

As one of the most divisive franchises this century, The Purge is unapologetic in incorporating current policitical issues more and more with each new film. Classicism is prominent in each film as it is abundantly clear that the rich purge on the homeless and those in more disadvantaged neighbourhoods. The rich also have access to high-tech security, ensuring that their homes won’t be damaged by anyone. Consisting of four films, a TV show and a fifth film due to be released next year, The Purge series is one that has remained popular with its audience with every release.

Here are my reviews and rankings for The Purge films:

The Purge (2013)

The original film starring Ethan Hawke and Lena Heady as the parents in a nuclear household became an understated classic on release. James Sandin (Hawke) runs a firm that designs security software that keeps the rich’s households safe during purge night. When a homeless man (Edwin Hodge) manages to sneak in thanks to their sympathetic son, Charlie, a gang of elite youths happen upon their house and demand that the Sandins give them the man. Brilliantly marketed with the creepy masks donned by the home invaders, The Purge proved to be one of the most interesting ideas in horror in quite some time. A lot of criticism for the film was a demand to see a wider scope rather than just the one suburban household. There are some pacing issues in the script and some characters weren’t as developed as I would like but I think this film was more about pushing the idea of the series than going all out in the first installment. It’s a solid start to a thriving series.

The Purge: Anarchy (2014)

This sequel was released only a year after its predecessor and gave the series a solid direction by being bigger and bolder in its discussion on the class war in America. Focusing on a struggling Latin-American family in LA, we see how those with power use the purge as a means to kidnap people against their will, knowing they don’t have the affluent resources to protect themselves. The household consist of waitress Eva (Carmen Ejogo), her daughter Cali (Zoe Soul) and her father Rico (John Beasley) who is terminally ill. There are a lot of topics just within this family that the film uses as a springboard for the rest of the franchise. From Rico sacrificing himself for money so his family are financially secure, Cali’s enthusiasm for the anti-purge resistance group led by Carmelo Johns. This film also sees the introduction of Sergeant Leo Barnes (Frank Grillo), a man set on revenge for the murder of his son who was killed at the hands of a drunk driver. Soon enough the separate groups join forces and have to work together to survive the purge whilst being stuck outside in the middle of the city.

The Purge: Election Year (2016)

The third installment in this series works its way higher up the ranks as a rising star in the political world, Senator Charlie Roan (Elizabeth Mitchell) stands a chance to win the Presidential election and end the purge once and for all. The New Founding Fathers are aware of this and eliminate the rule that government officials are immune from the purge and send a group of mercenaries to kidnap the Senator. Leading the Senator’s security detail is Leo Barnes (Grillo) who is a brilliant character. Barnes proves his resourceful abilities and intellect to protect the Senator from harm. The Senator and Sergeant soon meet a group who are trying to protect a deli from troublesome teenagers. One of the best performances to come out of this franchise is the fantastic Mykelti Williamson as deli owner, Bob. Williamson delves into his character and is able to make his supporting turn a three-dimensional experience with motivations and realism.

The First Purge (2018)

The latest installment to be released comes in the form of this prequel into the first ever purge. Originating as an experiment on Staten Island, residents are offered a financial incentive if they stay and more if they partake and survive. Following two warring drug dealers, a mysterious purger called Skeletor who wants to kill and a group of young people struggling to survive, it becomes clear that the NFFA will do anything to make sure the murder count is high, even if it means sending in mercenaries to kill citizens. The corruption in the purge is evident as it is a plan to cut costs of social programs and housing expenses for those who are poor. When they discover that there are more parties than killings, the NFFA see this as a failure and manipulate the night to ensure that it is a success in their eyes.

Well that’s it for my reviews. As a big fan of the series, there are aspects of each film that I appreciate making it a challenge to rank but here we go!

Here’s my final ranking:

1) The Purge: Anarchy (2014)

2) The Purge: Election Year (2016)

3) The First Purge (2018)

4) The Purge (2013)

Which installment of The Purge is your favourite? Let me know in the comments below!

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Robert Eggers: Double Feature

In my series where I look at the emerging directors this century, it was only matter of time before I discuss the work of horror director Robert Eggers. Usually associated with his A24 cohort Ari Aster, Eggers’ two films are psychological studies of its characters with a darker colour palette than Aster’s work. His 2015 debut The VVitch was an instant success and a major talking point among the film community on release. There hadn’t been a film quite like it and it’s unapologetic take on the breakdown of a family. His 2019 film The Lighthouse couldn’t be more different. Whereas The VVitch was full of female empowerment and the emergence of a strong young woman finding her place in the world, The Lighthouse is heavily masculine and becomes a double character study rather than the spotlight being on a single character. The overall style of Eggers’ films is a perfect mix of gritty realism with a hint of fantasy and magic. Despite the unrealistic elements, the films are definitely grounded in their realism and the audience reaction is unaffected.

Both of his films were distributed by A24 and are currently discussed alongside Ari Aster’s films Hereditary and Midsommar as they are A24 and horror as well but Aster and Eggers have completely different angles. If anything, each film is a great example of how horror has becoming the best genre to look at current topical issues. I have written on Aster which can be read here and recommend watching his films but here are my mini reviews for Robert Eggers’ films The VVitch and The Lighthouse.

The VVitch (2015)

Eggers’ debut was talked about a lot on release because of its unrelenting dismantling of the family home. Following Thomasin (Anya Taylor-Joy), a young girl on the verge of womanhood struggling with her place in the family home after they are banished to fend for themselves after rejecting a Puritan colony. The family are then convinced there is a witch causing mayhem and won’t stop until the entire unit is killed. Starting with the baffling disappearance of her baby brother, Samuel after playing peekaboo with him, Eggers isn’t afraid of tackling taboos that even classical horrors don’t dare venture. Critics were more favourable towards the film whereas audiences weren’t as convinced although it was still a success at the box office. I think that because it was marketed as a straightforward horror, audiences weren’t expecting the many layers that this film has. It is more about Thomasin’s characterisation than the gruesome death scenes or jump scares. Taylor-Joy is nothing short than spectacular as Thomasin and brings that juxtaposition between childlike innocence and the more adult curiousity. She feeds into the fear to her twin brother and sister innocently at the beginning but then the more sinister intentions underlying the film begin to creep out. It’s definitely a horror film for the 21st century and helped to pave the way for more horrors that have intricate character studies. The VVitch could be viewed as a film exploring female empowerment and rejecting the traditional patriarchal society.

The Lighthouse (2019)

One of the most anticipated films of 2019, The Lighthouse stars Robert Pattinson and Willem Dafoe as warring lighthouse keepers, Winslow and Wake, respectively, who are stranded on an island during the storm. It’s not a horror in the traditional sense but the rising tension and characters’ waning sanity are the perfect combination to making one of the best horrors in recent years. Pattinson and Dafoe are pretty much the only characters for the majority of the film with Valeriia Karaman making an appearance as the Mermaid who seduces Winslow. The Lighthouse is a film unlike any other nevermind a horror film unlike any other. FIlmed in black and white 1.19:1 aspect ratio, the film is reminiscent of a claustrophobic vintage horror, reflective of the era it is trying to portray. Loosely based on the short story “The Light-House” by Edgar Allen-Poe, Eggers and his brother Max Eggers worked the script to a late 19th century setting and wanted to keep the focus on the deterioation of its male protagonists. I have written a more in-depth review of The Lighthouse which can be read here. Every aspect of this film is perfect from the casting to the writing to the set design. It was nominated for one Academy Award for Best Cinematography which was very well-deserved but I really feel that it should have been nominated for more, especially Willem Dafoe for Best Supporting Actor. Dafoe consistently brings his A game and the fact that The Lighthouse is among his best says a lot.

Eggers is currently working on his upcoming project The Northman which will star mega stars like Nicole Kidman and Alexander Skarsgard as well as reuniting the director with Anya Taylor-Joy and Willem Dafoe so needless to say there are high expectations. From what I can tell, this new film will be the first Eggers film not to be distributed by A24 as 20th Century Studios have locked it in which shows the faith the big budget studios have in him. Hopefully the studio will give him the freedom to follow his vision through like A24 do. There is no doubt that Eggers has a hugely exciting future ahead of him in the film industry and it will be interested to see what else he comes up with.

Which Robert Eggers is your favourite? Let me know in the comments below!

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Ari Aster: Double Feature

Following on from my previous post on Jordan Peele (which you can read here), I thought I would discuss another writer/director whose work in the horror genre has caused waves in recent years. Ari Aster is a writer/director who has used the horror films of the past to inspire and create horror films for modern times. Again his filmography consists of two feature films but both of these have created an impact and have been the basis for much discussion. Both are critical and commercial successes and are among the most profitable films for its distributor, A24.

What Aster does particularly well is how he explores mental health in his protagonists. He isn’t afraid to push his characters to the very edge of breaking point and allow the plot to explode into chaos. I have previously written a post on how anxiety is used in Midsommar and Darren Aronofsky’s mother! that you can read here and the points can be applied to Annie in Hereditary.

Hereditary (2018)
Ari Aster’s feature debut Hereditary released in 2018 and in a similar vein to Get Out has become a classic in modern horror. Toni Collette plays Annie, a miniatures artist and mother of two who believes that her and her family are being haunted after the death of her mother. This film led one of the best marketing strategies in recent years as it completely misled the audience in terms of what it was about. Collette is nothing short of phenomenal as Annie with her unpredictability and hysteria. As well as Collette, Milly Shapiro who plays Annie’s daughter, Charlie, does a fantastic job in her feature debut. Aster’s direction and script is really tight and well-rounded but Collette’s performance elevates the entire film-watching experience and it’s insane that her performance wasn’t recognised on the awards circuit. Annie is a deeply complex character who finds it difficult to live with her family as the hauntings become more severe. The script serves as a boiling pot for Annie that eventually blows up in an argument between her and her son, Peter (Alex Wolff) that is among the best acting of the year. 

Midsommar (2019)
Aster’s second film, Midsommar, was released only a year after its predecessor and it is completely different and exciting in every way. Starring Oscar-nominee Florence Pugh as Dani, a student who recently lost her entire family after her sister commits a murder-suicide, who goes to Sweden with her emotionally distant boyfriend and his friends for a summer festival at one of the friend’s commune. I have written a fuller review of Midsommar here which you can read here but in short, I absolutely love this film. It was my favourite film of 2019 and with good reason. The way it explores relationship deterioation and manipulation as well as living with anxiety and depression felt very real. Despite being in an open space, the direction felt claustrophobic to reflect Dani’s mental health and overwhelmed state of mind. There is a lot to be divulged and analysed in this film which makes it enjoyable to watch time and time again. Pugh is exceptional as Dani and the supporting cast lead by Jack Reynor who plays her boyfriend, Christian as well as WIlliam Jackson Harper and Will Poulter as Christian’s friends Josh and Mark, respectively are all fantastic and dynamic.

Aster has done a great job with his two features with both featuring brilliant female protagonists. I am looking forward to seeing what Aster brings out next. Midsommar particularly provided one of my favourite cinema experiences as the attestupa scene was one I did not see coming at all.

What do you think of Aster’s films? Let me know in the comments below!
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Jordan Peele: Film Ranking

When it comes to the best horror visionaries of the 21st century, it is most likely that Jordan Peele’s name will crop up. He rose to fame for his comedic acting alongside Keegan-Michael Key in the hit shows Mad TV and Key & Peele and the two are still often cast together such as their voice work in last year’s Toy Story 4.

Aside from being a comedian, Peele is also an avid horror film fan and turned his attention to writing and directing horror films that have redefined the genre in recent years. He has experienced resounding successes both critically and commercially, which is fantastic for a rising voice in the horror genre especially. His films are original and topical, using the horror genre to explore the African American experience in modern-day America.

A four-time Oscar nominee, Peele is one of a few who has been nominated for Best Picture, Best Director and Best Original Screenplay for his debut, winning the latter for 2017’s stellar Get Out. He has received an additional Best Picture nomination for his contribution as Producer for Spike Lee’s incredible BlacKkKlansman (2018). Peele is on course to become a master of the horror genre and it’s exciting to see what films he creates next.

Get Out (2017)

Peele’s directorial debut was a game-changer in many ways. The hype for this film spread like wildfire and it soon became one of the most critical and commercial successes of 2017. Following African-American photographer Chris (Daniel Kaluuya) who sets off with his white girlfriend, Rose (Allison Williams) to meet her family over the weekend which gradually shifts from a nervous first encounter to a nightmare beyond belief. Peele flips the horror genre on its head with Get Out. Horror films in general tend to exaggerate racial stereotypes a lot more than other genres but what Peele absolutely rejects this and gives us an array of characters who are well-rounded with their own background stories and motives thanks to the incredible script. The film is filled with so many layers that you can notice something different every time you watch the film. From the brilliant supporting performances from Lakeith Stanfield and Lil Rel Howery to Michael Abels’ impeccable score. What sets it apart from other horrors is that the villains are white middle-class liberals whereas a lot of racism in horror is at the hands of the right-wing. The film was nominated for a slew of awards including nominations for Academy Awards for Best Picture, Best Director and Best Actor in a Leading Role for Kaluuya, winning Peele the Oscar for Best Original Screenplay in a year that was incredibly strong in competition. Get Out is only 3 years old and yet has already solidified itself as a horror classic and will certainly be marked as a milestone for the genre.

Us (2019)

Peele’s follow up is another demonstration of his talent as a skilled writer and director. Starring Oscar winner Lupita Nyongo’o as Adelaide, a woman who is haunted by a traumatic encounter she experienced as a child, and her family as they go on vacation. Aside from a couple of weird coincidences, everything seems to be going okay until the family are confronted by a family of doppelgangers who attempt to kill their counterparts. Us is a highly intense film filled with puzzle pieces that are eventually placed together. It is a joy to watch and Nyongo’o’s performance particularly is a knockout. To simply compare this film to Get Out would be ridiculous because they are so different in tone. Again, Michael Abels’ score is absolutely brilliant with its classical elements to reflect Adelaide’s ballet background. Gifted with four times the budget Get Out had, Peele takes advtange using multiple locations and the cast as expected is flawless with Winston Duke playing Adelaide’s husband, Gabe and Elisabeth Moss as family friend, Kitty leading the supporting cast. It’s a shame that this film wasn’t included in the awards circuit, especially for Peele’s screenplay and Nyongo’o’s spectacular performance.

Thanks to his genius and contribution, Peele has helped horror become the best genre to explore topical issues. He is clearly inspired and admires horror films but isn’t afraid to reject the stereotypes and add his own voice to the mix. It’s incredible to think how much Peele has achieved in the space of a few years and only serves for further excitement as to what projects he works on next, including as screenwriter and producer for the upcoming Candyman.

What do you think of Jordan Peele’s films? Let me know in the comments below!

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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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Parasite (2019)

The most original film to come out of this year’s award season, Bong Joon-ho’s Korean masterpiece Parasite which can only be described as brilliantly bizarre. Since its premiere at Cannes Film Festival, the film world has been abuzz for this film. It subsequently took home the prestigious Palme d’Or beating out Quentin Tarantino’s mainstream favourite Once Upon a Time in Hollywood (you can read my review here) and has become a huge favourite this awards season, breaking the mold by being the first Korean film nominated for major awards. Particularly for non-English language films, Parasite has managed to achieve the impossible but it has done so for a reason. Joon-ho’s flawless mix of genres means that you cannot really place Parasite within a particular set. It is a perfect mix of drama, comedy, horror and thriller while also discussing a variety of topics including classism and gender. Parasite refuses to conform and because of this, it stands out as one of the most original pieces of the 21st century.

The film follows the Kim family made up of father Kim Ki-taek (Song Kang-ho), mother Chung-sook (Chang Hyae-jin), son Kim Ki-woo (Choi Woo-shik) and daughter Kim Ki-jeong (Park So-dam) as they struggle to make ends meet by working temporary jobs that pay little and are living in a semi-basement that is constantly subject to flooding, public urination and fumigation. When Ki-woo is given the opportunity to work as an English tutor to a daughter of the affluent Park family, the Kim family concoct a plan to create jobs for themselves in the stylish household thus earning a decent wage and living the high life themselves as the Park family’s household grows evermore unstable. On the other side, there is the Park family consisting of father Park Dong-ik (Lee Sun-kyun), mother Yeon-gyo (Cho Yeo-jeong), daughter Park Da-hye (Jeong Ji-so) and son Park Da-song (Jung Hyeon-jun) and their housekeeper Gook Moon-gwang (Lee Jung-eun). It is a film that presents the extreme balance of classism from either side with the housekeeper acting as the literal and figurative gatekeeper in the middle.

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Joon-ho’s direction feels unique and innovative as he manipulates setting and space to create an alternative universe within a very grounded and real place. The physical placement of the Kim family’s house being below the ground and the Park’s mansion placed high up on a hill creates a physical hierarchy. The airy, spacious setting and architectural minimalism of the Park home screams luxury and relaxation which is a stark contrast to the crammed and narrow corridors of the Kim basement where the toilet sits on a higher level to the rest of the bathroom. Joon-ho’s decision to only show the two homes as primary location only exemplifies the issues of class and belonging even more. It is no surprise that it is the smell of the basement that lingers with the Kim family and creates a separation between the two families. Despite being treated as such, they can never truly be equals. Joon-ho’s script, co-written with Han Jin-won is sharp and natural. They know when the film benefits from minimal dialogue and when to create chaos as the two families clash. As mentioned before, the film is a mix of many genres and doesn’t really have a place within one category. This isn’t a bad thing at all because in a way, it has shown Joon-ho’s skill as a filmmaker.

The main cast capture the film perfectly. One particular highlight is Song Kang-ho who brings a phenomenal performance as the Kim patriarch Kim Ki-taek who finds work as the Park family driver, mainly working for the family patriarch Park Dong-ik. He doesn’t hesitate to manipulate the Park family and take advantage of the luxury lifestyle but becomes deeply affected and paranoid when the comments of the Kim family smell arise. It is these moments that ground Ki-taek and make him realise that the lifestyle they think they are living is only an illusion. Despite their hardest efforts, they cannot rid the stench of the basement. Aside from being a film that explores the differences in class, it also does a great job at showing acceptance and place of belonging. Ki-taek doesn’t wish to change anything really and eventually begins to despise Dong-ik. Choi Woo-shik also brings his A game as Ki-woo, a young man who aspires to get out of his current situation. Working as Da-Hye’s English tutor gives him an insight into the life that he wants but not all is as it seems. Ki-woo starts a web of lies as he manages to coerce his employers to hire members of his family without them realising.

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Parasite is a fantastically bonkers film bursting to the seams with originality and I hope it triumphs at the Oscars and wins the major awards. As much as I did enjoy Sam Mendes’ frontrunner 1917 (you can read my review here), Parasite is a film that brought more to the table and something different. Not only would it be an incredible moment for film history to see a Korean film sweep some major awards that are often excluded to English-language films only (insert Roma snub here). The hype that Parasite has generated is truly deserving and it’s great to see that it is connecting with a global audience.

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

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The Shape of Water (2017)

From the incredible mind of Guillermo del Toro comes the Best Picture winning The Shape of Water, an adult fairytale following mute Eliza (Sally Hawkins) who works as a cleaner in a government lab and falls in love with a creature (Doug Jones) who is held captive for experiments. Working with various parties including her neighbour Giles (Richard Jenkins), best friend and colleague Zelda (Octavia Spencer) and scientist Robert Hoffstetler (Michael Stulbarg) Eliza seeks to break the creature out and escape with him despite the efforts from the evil Richard Strickland (Michael Shannon), the man who captured the creature in the first place. There are a lot of moving pieces in this film but that’s not to say it’s difficult to follow. It gives the film multiple layers and changing motives and sides makes it exciting to watch. The film is definitely del Toro’s best since Pan’s Labyrinth and has become an instant classic. His direction and script are beautifully sharp and consistent with the universe he wants to create. Everything has been carefully thought through from the Baltimore setting to the oceanic colour palette. It’s no coincidence that we first see Eliza in a room of deep green hues and Richard covered in bright red blood. It’s a striking visual representation of which characters are good and evil.

The characters are fantastically developed, particularly Eliza. Hawkins brings a career best as the movie loving dreamer who longs to find love. Eliza leads a simple life which we gain a glimpse of as we view her morning routine which consists of boiling eggs, running a bath and masturbating. The genius of this character is that Hawkins physicality allows Eliza to be expressive and can communicate her emotion with a simple glance. Eliza is fearless when encountering the creature. She is unfazed by the blood and threatening build of the creature and instead encourages it to get close to her so she can teach it sign language and music. One of the most intense scenes comes when she is asked where the creature is and she signs “FUCK YOU” to Strickland. The latter is naturally confused as her signing as he does not understand and it creates a truly terrifying moment as Eliza takes control of the situation. Eliza knows when to take advantage of her condition and is deeply observant of those around her. Her main development comes in the form of rejecting everyone else’s wishes and learning to do what she wants. She subverts the traditional idea of love and finds her identifying more with the creature than humans because they can communicate and understand each other in ways that Eliza can’t with other humans.

The supporting cast also perform a stellar job and there isn’t a particular highlight because everyone does a fantastic job. The support cast is male-dominated due to Eliza’s job working in a government facility in 1920s Baltimore. Working in the facility are Strickland and Hoffstetler on opposing sides of the creature’s treatment. Shannon is truly evil in his role bringing the scariest performance of his career. His presence onscreen immediately brings silence as there is an unpredictability to his character. He is strict on control and when Hoffstetler threatens the slightest bit of control, this bothers him. Stulbarg’s performance is one of tenderness and concern. He winces at the sight of violence and blood which is unusual for a man with his profession. Stulbarg’s performance is layered with multiple characters and motivations. His stance and reasoning is even more unpredictable than Strickland’s. On the other hand there are Zelda and Giles who reluctantly go with Eliza’s plans. Earning Oscar nominations for their Supporting performances, Spencer and Jenkins provide Eliza’s voice at times when she needs it. Each actor is cast perfectly as they embody their roles perfectly. Zelda and Giles are also members of minorities themselves with Zelda being black and Giles being openly homosexual. Together, the trio help to support each other in a society that is dominated by the straight white men.

Music is such a crucial part of this film as it gives Eliza a voice when she doesn’t have assistance. In scenes where she communicates with the creature, she uses a record player to convey her emotions towards him. The soundtrack is a mix of classical original score and songs from the 1920s that were used in television specials and films. Not only does it give the film it’s chronological context but it also allows del Toro to delve into his own love of Old Hollywood and push this personal perspective to the front. In terms of the score, we are treated to a fantastic selection of pieces composed by Alexandre Desplat. Just like the film, the score is a mix of genres taking mainly from fantasy by adding in the whimsy of musical and light and dark tones to reflect comedy and drama. It’s a truly captivating soundtrack and well worth the second Oscar that Desplat received.

As I have mentioned before, the cinematography is fantastic. The film is quintessentially del Toro with his distinctive use of colour and impeccable ability to build his own universes. The audience is immediately immersed from the first shot when we see Eliza’s apartment underwater as Giles narrates in a fairytale manner. What works so well is that del Toro easily merges the fantasy with the real by making his world as realistic as possible but adding whimsical qualities. There are some gory scenes in the film and as expected, del Toro doesn’t shy away from showing the audience this but it’s because of the film’s primary genre being fantasy, it doesn’t feel overwrought or overwhelming to those who don’t like horror films. The film feels suitable for any genre because the topics are so universal and the vision so distinctive.

There are few films that impact me so much immediately but after I viewed The Shape of Water, I completely fell in love with everything about it. It was wonderful seeing del Toro deliver a film that feels so personal and poignant. The film feels like del Toro’s love letter for films and the many influences such as The Creature from the Black Lagoon are really felt here.

What do you think about The Shape of Water? Let me know in the comments below!