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Top 5 Joaquin Phoenix Performances

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

Here’s my top 5 in chronological order:

Gladiator (2000)

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

The Master (2012)

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

Her (2013)

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

Inherent Vice (2014)

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

You Were Never Really Here (2017)

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

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

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

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

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Fleabag (Live Screening, 2019)

“He’s so bony… it’s like fucking a protractor”

Over the past few years, live viewings of National Theatre productions have increased in popularity with sold out screens all over the globe. Admittedly, I have never attended (mainly due to the price) but when I saw that Phoebe Waller-Bridge’s brilliant one-woman show Fleabag was going to be screened live from the Wyndham’s Theatre, I knew I had to go. As an avid fan of the show and Waller-Bridge, I have been counting down the days to see this and I was wasn’t disappointed. Fleabag follows a young woman as she navigates a life filled with heartbreak, relationships and a lot of sex. She is the sole owner of a guinea-pig themed café after her best friend, Boo, accidentally-on-purpose commits suicide. This run of performances marks Waller-Bridge’s last venture as her iconic creation and all tickets sold out within minutes making it one of the most anticipated theatre trips of the year. Sadly, I was unable to get tickets but I took this opportunity to see it immediately as I knew I would regret it instantly.

Fleabag herself is gritty to the extreme. She’s unfiltered, unapologetic and always thinking and talking about sex but she’s also complex, smart and relatable. I think this is why the character is universally loved. The character is a brilliantly rounded portrayal of the 21st century woman. A true modern feminist hero (even if in one hilarious slip, she admits that she would trade 5 years of her life for the “so-called perfect body”). She’s brutally honest, hilarious and riddled with bad habits such as excessive drinking, smoking and masturbating while her partner sleeps beside her. It’s as if Fleabag breaks every rule in the book and is a walking taboo.

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Waller-Bridge’s script and Vicky Jones’ direction are impeccable. Every move and expression is calculated and enhancing the dialogue. It’s compact and tight with every segment executed perfectly. The setting is minimalist to the extreme, Fleabag and a chair in centre stage but the performance Waller-Bridge brings is anything but. Dressed in a red jumper and jeans, Waller-Bridge transports us to various locations around London, acting out different characters such as her sister, a job interviewer and regular café customer, Joe. I was interested to see if I would be as invested when watching it on a screen rather than in the theatre itself and I found myself transfixed. The camera work was brilliant and the sound was impeccable.

Compared to the BBC series, the stage production is grittier and sadder than its counterpart. The first episode covers the show with the revelation of the first season finale so a lot is added into the TV series. Fleabag seems even more unfiltered and unhinged in the stage production which I didn’t think was possible and it was great to see some familiar moments that I recognised from the show.

I wasn’t too sure what to expect but it was a brilliant experience and I hope to go to many more National Theatre productions. The atmosphere was great and everyone in the theatre audience and cinema audience were completely invested in her story. I expected to laugh which I did in abundance but I wasn’t expecting to cry as much as I did. A heartbreaking segment with Fleabag and Hilary, the café’s mascot guinea pig, is horrific to watch and brought an array of gasps and tears from both sets of audiences. There’s an encore screening in October and I recommend that you book tickets as soon as possible. It’s a brilliant and refreshing piece of theatre that shows how a simple production can create a complex experience.

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Child’s Play Ranking

The Child’s Play franchise is among the first horrors that I watched and introduced me to the world of horror films alongside the Final Destination films. Featuring a demonic doll called Chucky who is possessed by the spirit of murderer Charles Lee Ray (Brad Dourif) in all but the last films (the 2019 has a different set-up altogether), we see Chucky’s murderous attempts to become human again and what he will do in order to get there.

Created and directed by Don Mancini, the Child’s Play franchise are films that Mancini and Dourif are clearly passionate about. Even at their worst, the films are still entertaining and fun to watch. With the new remake/reboot out in cinemas featuring a new cast and production team and await\ning the 2020 TV show from Mancini with Brad Dourif back as the iconic voice of Chucky, I thought it would be a good idea to review and rank all of the released films from best to worst (including the 2019 film).

Without further ado, let’s begin:

Child’s Play (1988)

The franchise began in the late eighties in a decade that saw the creation of some of the most iconic slasher villains such as Freddie Kruegar and Jason Voorhees. Andy Barclay is a young boy gifted a Good Guy doll called Chucky for his sixth birthday. Murders suddenly begin occurring around Andy and his mum with Andy insisting that not only is his doll alive but he is possessed with the soul of a killer and is committing the murders. The audience views this film from the perspective of the adults as we don’t actually see Chucky come to life until halfway through the film when Andy’s mum threatens to burn the doll. The franchise has come to be ridiculed for its over the top humour but the first installment is actually underrated. The script is fantastic and well paced with Brad Dourif’s performance being the clear standout. He manages to makes Chucky truly terrifying without veering it into ridiculous territory.

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Child’s Play 2 (1990)

The first sequel to the original takes place soon after where we left off with Andy’s mum being placed in a psychiatric ward and Andy is now in foster care with Joanne and Phil along with fellow foster child, Kyle, a rebellious teen who sneaks out on dates and smokes. Chucky is remade at the Good Guy factory but escapes in a quest to find Andy so he can “hide the soul” become human again. It’s a strong sequel that follows the exact same precedent as the original but that’s not always a bad thing. Brad Dourif provides a charismatic performance as ever as the evil doll and Alex Vincent delivers another great performance. The film contains some of my favourite highlights of the entire franchise such as the school scene in which Andy’s overly strict teacher meets her demise at the hands of a ruler. It also features the word “microchip” being used as an insult which I think is absolutely fantastic.

Child’s Play 3 (1991)

Fast forward right years in time and 16 year-old sent to military school after he struggles to find a suitable foster home. Replacing Alex Vincent as Andy is Justin Whalin who does a good job with what he’s given. The story isn’t as strong as its predecessors due to its attempts to tone down the humour and increase the violence, earning the franchise its first 18 rated certificate. When there is humour, it doesn’t quite land as the film takes itself too seriously to be tongue in cheek like the previous installments. This isn’t to say it’s a terrible film, there are some highlight scenes in there. One example is when the students play a huge game of paintball to practice their shooting skills and Chucky has replaced the paint with live bullets unknown to the students or officers. It also features one of the best endings in the entire franchise, taking place in a haunted house ride at a travelling carnival.

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Bride of Chucky (1998)

After the negative reception to the third film, the writers decided to put an emphasis on the humour that audiences had come to love about Chucky. Introducing Jennifer Tilly to the franchise as Tiffany, Chucky’s lover when he was human, who is obsessed with the stories relating to the Chucky doll. She manages to get ahold of the doll and fixes him back up, giving him what will be his recognisable scars. Imprisoning Chucky when he comes back to life, Tiffany is killed and turned into a doll and the two aim to find a pair of humans to transfer their souls into. Watching this film after the first three is a shock because tonally, it is so different but it is an entertaining film that isn’t afraid to parody itself (cue all the slasher horror references at the start of the film). It’s definitely on the weaker end of the franchise but I do find it enjoyable to watch and it is a different kind of horror than what we are used to seeing.

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Seed of Chucky (2004)

Despite the mixed reviews for Bride of Chucky, Mancini decided to push the envelope further when creating the following film, Seed of Chucky. Following the offspring of Tiffany and Chucky, Glen/Glenda travels to Hollywood to visit the set of a film based on his/her parents. It’s less violent and more camp, taking inspiration from the flamboyant horror B movies like Glen/Glenda. It’s become a modern cult film among fans and is undoubtedly the worst film in the franchise but it is fun to watch because it is so ridiculous. It also features cameos from the likes of S Club 7’s Hannah Spearritt with Billy Boyd providing the voice for Glen/Glenda. It’s a film that pokes too much fun at itself and becomes a product that goes beyond satire. It’s good fun for the audience to watch but in a “so bad it’s good” way.

Curse of Chucky (2013)

Nearly a decade on from the last film and Mancini decides to give the franchise a complete do-over. Mancini takes away the humour and brings in a new backstory. Nica (played Fiona Dourif, Brad Dourif’s daughter) is a paraplegic who has recently moved into a decrepit house with her mother. One day, Nica receives a Good Guy in the post. As ever, the doll is alive and sets on killing every person in the house bringing some extremely gory results. The film is fantastic as a standalone but also as an installment and is a welcome return to the franchise that audiences loved from the beginning. It features one of the most intense dinner scenes in any film I have seen. I think that releasing it as straight-to-DVD was a smart move as the film pleasantly surprised audiences as there weren’t high expectations for it. Much like the original 1988 film, Curse is a slow burner and we don’t see Chucky in action until later on in the film.

Cult of Chucky (2017)

Following on from the critical success of Curse of Chucky, Cult of Chucky follows Nica who has been committed to a psych ward where she is recovering. Using the same solution as the original films, Chucky tries to “hide the soul” in Nica’s body. Both Dourifs give knockout performances. The standout scenes in this film are the ones where they are able to bounce off each other. This film was made on a tiny budget compared to the other installments but it doesn’t feel like it. Like Curse, Cult is filmed primarily in one location meaning that more money can be used on the special effects. It’s a film that never lets the audience relax. There are few breathing moments as Chucky casts down terror on the patients in the ward. It’s a claustrophobic film that has you feeling trapped like the patients.

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Child’s Play (2019)

Bringing in an entirely new team for this remake/reboot was always going to be interesting to watch. The first to be made without Don Mancini’s input, 2019’s Child’s Play puts the 1988 film into a 21st century context. You can read my full review for the new installment here.

So that’s 31 years of horror in one post! It’s amazing to see how the plots change with the times and how these films strive to follow trends that are seen in horrors specifically in the context of their release beginning with the slashers of the 80s, the comedies of the late 90s/early 00s and the darker, gorier inclusions in the 2010s.

Here is the ranking:

1) Child’s Play (1988)

2) Child’s Play 2 (1990)

3) Curse of Chucky (2013)

4) Cult of Chucky (2014)

5) Child’s Play (2019)

6) Child’s Play 3 (1991)

7) Bride of Chucky (1998)

8) Seed of Chucky (2004)

What did you think? What is your favourite Child’s Play film? Let me know in the comments below!

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Child’s Play (2019)

This was a bittersweet film to watch. As an avid fan of the Child’s Play franchise, it’s been interesting to see how it has evolved over the years from the generic horror slasher in the first three films to experimental (and not always successful) horror comedy in the next two films to a reboot of two films starring Brad Dourif’s daughter, Fiona Dourif, as a paraplegic who’s life is torn to shreds in extra gory installments. Now forward to 2019 and we see Orion Pictures going ahead with a reboot unapproved by the film’s creator, Don Mancini, which further caused Brad Dourif to drop out from the iconic role to star in Mancini’s upcoming Child’s Play TV show. Instead we are given Mark Hamill as the voice of Chucky which was always going to be a great choice as Hamill is a fantastic voice actor (the Joker in the Batman TV series and Sunsnatcher in Brigsby Bear are personal highlights).

Giving the film a clean slate and a new backstory, this 2019 reboot brings Chucky into the 21st century. When a Vietnamese factiry worker is cruelly given the boot, he programs the Buddi doll he is building to have no inhibitions and no violence indiciators, meaning that the doll will be capable of anything. This doll finds it way into the life of Andy (Gabriel Bateman), a teenager who has just moved into a new city with his mum (played by Aubrey Plaza). The name is changed from Good Guy to Buddi (with a wifi signal above the i) and the doll can connect wirelessly to other devices in the house such a televisions, music players and the lights. There is a way to track the doll itself through an app on a phone. This remake could have easily been illogical and cheesy but the updates feel relevant for the time period with Andy, even referring to the older model he is gifted with as a “little kid’s toy”.

There is a lot to like about this film. An interesting aspect that makes it stand out is that Chucky genuinely wants to make Andy happy but he goes about this in a violent manner and misinterprets what Andy wants. On scene in particular that stands out is when Chucky observes as Andy and his new friends watch The Texas Chainsaw Massacre 2. The teens laugh as the characters in the film are killed and torn to shreds, making Chucky believe that Andy wants this to happen in real life and tries to kill one of his friends. The film spends its first act building the characters of Andy and Chucky and the killing spree that follows doesn’t feel forced.

I’d be interested to see if they make a sequel from this one because it was enjoyable to watch and was a good combination of horror and comedy. Hamill’s performance was brilliant as ever and Aubrey Plaza is great in her role as Karen. Karen is clearly broken by the situation of having to move and poor financial circumstance but she tries to keep it together for sake of her son. Plaza isn’t in the film as much as I would have liked but maybe they’ll cast her in a sequel.