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Judy (2019)

Based on the last years and concerts of Judy Garland’s life, Judy is one of the most talked about films going into this awards season thanks to the starring turn by Renée Zellweger in the titular role. Biopics have always been a popular go-to for actors who want to subvert casting types and show their range and this seems to be no exception for Zellweger who foregoes her famed reputation as the comedic gem in Bridget Jones. As an avid fan of Judy Garland, I was really interested to see whether Zellweger pulls it off and it truly is a film that revolves around the performance and acts as an Oscar lull for the actress who has mainly stayed out of the spotlight for years. Directed by Rupert Goold, a director renowned for his theatre work with a script written by Tom Edge based on the musical The End of the Rainbow by Peter Quilter, Judy is the heartbreaking reality of a faded star who longs to stay in the spotlight but is plighted by a lifetime of abuse which finally catches up with her in the form drug and alcohol abuse. Flashbacks to her youth which see Darci Shaw play a young Garland (superbly I might add) in which she is constantly berated for her appearance whilst also experiencing harassment, forced drug use and general anxieties in terms of how she must eat and act at all times.

Goold’s direction is intensely focused on its star. When we see Judy perform for the first time, the camera never leaves her, instead focusing on each movement and mannerism that Zellweger conjures up. There is a distinct use of palette used in the film as the Hollywood scenes of Judy’s youth are bright and playful whereas the London setting for her concerts in the present day is darker and drearier. The illusion of fame has long since faded which Goold brings across. The decision to bring in events that didn’t happen in real life is something that I am unsure about. A life as eventful as Judy Garland’s isn’t in need of any fictionalisation and I feel that the inclusion of these scenes detracts from the film. The main fictionalised event was the inclusion of gay couple, Dan (Andy Nyman) and Stan (Daniel Cerqueira) who wait for Judy at the stage door and have dinner with her in their flat. I understand the inclusion of these characters as it is a way to show Judy’s support for the gay community and the performances from Nyman and Cerqueira are heartfelt and sincere. My only concern is the ending scene in which they start a singalong to “Over the Rainbow” when Judy breaks down on stage. This event didn’t happen and the effect that it had as the theatre audience all joined in made it a bit cringey to watch, knowing that this didn’t happen in reality. Judy’s longing to be remembered and her final lines do pack a punch though as you feel the impending fate that awaits her as she dies 6 months after the concerts. There are plenty of moments in the film, particularly the Hollywood scenes, that are fantastically shot and Goold’s experience as a theatre director comes into play. His focus on the character’s expressions and use of light and shade is phenomenal and it’s exciting to see what he picks as his next cinematic project.

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Now onto the star of the show. Renée Zellweger is nothing less than stellar as Judy. The Judy she plays is one that looks back on past fame and fortune whilst dealing with the reality that she does not have the same financial luxury or influence she once did. The only way she is able to keep herself financially afloat is by performing in London where her fan base is loyal. Garland is a character with many layers and Zellweger manages to communicate this with a melancholy glance. The physicality of the role may not seem demanding at first but particularly when performing, you see the physical struggles Judy has. Zellweger’s Judy is one who cares about her impact and legacy, wanting to ensure that she will be remembered. Her motivation is ensuring financial security so she can spend time with her children who are living in the US with their father, Judy’s ex-husband Sidney Luft (Rufus Sewell). There are so many scenes that are captivating and it’s mainly when she is on stage. The passion that Zellweger throws into the role is spilled out heart and soul into the songs. Offstage, Judy is disabled by her mental health and increased alcohol consumption. Her anxiety overrides everything causing a huge lack of confidence and yet she longs for validation and the applause. Her refusal to allow her younger children to enter the world of showbiz only demonstrates the hatred for her own upbringing and eventual rise to stardom. She longs for the normal life but can never truly have one now.

The supporting cast is led by Michael Gambon and Jessie Buckley as theatre owner, Bernard Delfont and assistant Rosalyn Wilder, respectively. It’s always nice to see veteran actors acting alongside rising stars and both do a wonderful job. At the end of the day, their roles are to support Zellweger’s starring turn. This is a film that has an intense focus on Judy. There are very few scenes that don’t have Judy in them meaning that this makes it hard for other people to truly shine because she does grab the attention. But as I said, in a film like this, we’re not meant to focus on these supporting roles. That being said, there is a scene between Judy and Rosalyn that is particularly fiery when the latter tries to encourage the former to go onstage. Judy lashes out and claims that Rosalyn doesn’t care about her which to an extent is true. She may seem that she does care but at the end of the day, Judy’s wellbeing comes second to her concerts. Rosalyn’s job is to ensure that Judy makes the concerts on time.

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Judy is a film with its flaws but much like the film’s subject, it certainly puts on a show. Zellweger has made herself a serious contender this awards season and definitely could walk away with Oscar number two. I think it’s a film worth watching just for the performance but the direction should not be overlooked either. In a post #metoo world, it’s horrific and tragic to see how Judy was treated from a young age as she was verbally and physically abused and forced to fit an ideal that she did not naturally conform to. She clearly despised and reviled any attempts to change her and yet was forced to hate her background. Comparing the two Judys we see in the film, we see that culmination of abuse from all angles in Zellweger’s.

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

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Quentin Tarantino: Film Ranking

If you asked a group of people for their favourite living filmmaker, there is a strong chance that a large percentage of them will say the name: Quentin Tarantino. One of the greatest and most original minds to come out of the film industry in the history of film, Tarantino practically defined 90s cinema with his look into the gangster underworld of Los Angeles. His films are known for their strong use of language, gratuitous violence and the iconic writing style that Tarantino brings to his dialogue. The owner of two Best Original Screenplay Oscars (for Pulp Fiction and Django Unchained), he has yet to win a Best Director gong. With the release of this year’s Once Upon a Time in Hollywood, could this be another successful awards season for Tarantino?

Tarantino had always stated that he intended to make 10 features. Counting Kill Bill as one, Once Upon a Time in Hollywood would be his ninth and, therefore, penultimate picture. I thought it would be a great celebration of his work to revisit his films old and new and see how I would stack them up when compared to each other.

Here are the reviews for the films of Quentin Tarantino:

Reservoir Dogs (1992)

Possibly one of the most (if not the most) iconic debuts ever to be delivered by a filmmaker, Reservoir Dogs follows a group of men who are given colour code names such as Mr. Orange and Mr. Brown and their attempt to carry out a diamond heist. A pretty simple plot but the genius of the film comes from Tarantino’s decision to not show the heist itself. What we are presented with is the run-up to the heist and it’s consequences when it goes wrong. Featuring a brilliant cast including Harvey Keitel, Michael Madsen and Tim Roth. My favourite performance comes from Steve Buscemi who plays the fearfully paranoid Mr. Pink. Among the men, Pink is clearly the outsider from the beginning when he refuses to give the waitress a tip. The script may seem simple but it is anything but. There is a rhythm and style that would come to define a Tarantino feature such as extensive allegories and numerous pop culture references. The soundtrack for this film has also become somewhat of a legend in its own right and has become a reference point for a lot of modern filmmakers. Tarantino himself claims that this film is the closest to being a “perfect” film which although I see the argument for, I would say that he has managed to make even better films. It would be a shame to think that his first film was his best.

Pulp Fiction (1994)

If you had to say one film that defines the 1990s, I think the majority of people would say Pulp Fiction. From the iconic poster design, extreme violence and brilliant dialogue, Pulp Fiction catapulted Tarantino to the top of the A list, winning him the Palme d’Or at Cannes Film Festival as well as an Academy Award for Best Original Screenplay. Starring John Travolta and Samuel L. Jackson as suave hitmen Vincent Vega and Jules Winnifield who work for drug lord Marsellus Wallace (Ving Rhames) and his cocaine-addicted wife, Mia (Uma Thurman in her most recognisable role). Pulp Fiction is bigger and better than its predecessor with an even more starry cast, bigger budget and killer direction. Even 25 years on, it is still commonly referenced for its costumes and standout scenes such as Jules’ biblical recitation before blowing the brains out of a man who attempted to double-cross Wallace. It is undoubtedly Jackson who is the shining star of this gangster masterpiece as he brings his trademark attitude. You know you did a great job when the person who beat you to the Oscar says that you should have won. There’s a reason why Pulp Fiction marked the start of the iconic collaborations between Tarantino and Jackson. Their love of action, violence and strong language makes the perfect pairing. Besides every time Jackson is onscreen, my favourite scene is Christopher Walken’s iconic monologue as Captain Koons, an Army veteran who survived the war and is gifting his son, Butch (Chandler Lindauer and Brue Willis playing the younger and older versions, respectively) his prized watch. Only Walken could deliver the monologue with the sincerity and conviction that his does.

Jackie Brown (1997)

Jackie Brown is one of those films that finds itself among the top of people’s favourite Tarantino films or worst. Sadly, it is among the bottom of my list but not because it is a bad film by any means. It is simply because of its nature as an adaptation. When I watch a Tarantino, I want to see the usual quirks in the dialogue which I think isn’t there as much as other films. Following Pam Grier as the titular air stewardess who becomes embroiled in a smuggling scandal, Tarantino relies on a great cast to carry out this complex web and pulls it off which include Samuel L. Jackson with a fantastic haircut. Known for her starring roles in Blaxploitation flicks, Grier herself is amazing and had such a powerful presence onscreen. She doesn’t just give a great performances, she becomes Jackie. It’s one of my favourite performances in the Tarantino catalogue but I just feel that there are elements such as the odd pacing that let the film as a whole down. It would be nice to see Tarantino reunite with Grier on a new project, perhaps his 10th (and supposedly last) feature. The film is grounded in reality a bit more than the others and I think the fact that any director could have made this film is why it ranks low. When I watch a Tarantino film, I want it to be distinctively Tarantino but I don’t get that from this film and as previously stated, I think that comes from the fact that it is an adaptation. The man thrives from his originality and it’s what the audience loves.

Kill Bill: Volume 1 (2003)

I remember watching Kill Bill for the first time and being blown away by the strength of the protagonist. The film follows the vengeful ex-assassin The Bride who seeks revenge on her former colleagues when they kill her wedding rehearsal party on the orders of Bill, the man who runs the group. Kill Bill is intended to be watched as one film but due to running length was divided into two volumes. The first volume is seen as the Eastern installment as The Bride ventures to Japan to face the first assassin O-Ren Oshii (Lucy Liu). There are so many reasons why my love for this film is unequivocal such as the clear appreciation for Japanese cinema and culture, the amazing use of animation within the film and most of all, the wide abundance of fleshed out female characters. This film is known for its extreme violence and high body count but don’t let this put you off. Playing the woman who lost everything, including her unborn baby, Thurman’s performance is undeniably ruthless, unapologetic and emotionally charged to the max. Even though she seems unbreakable and unemotional on the surface but you sense her pain underneath the surface from the opening scene with Vernita Green (Vivica A. Fox). Tarantino uses various elements such as sound mixing and colour giving the film its flamboyance and elevating it beyond realism and into fantasy.

Kill Bill: Volume 2 (2004)

Following on from Vol 1, Kill Bill: Vol 2 takes us back to America where the Bride has the second half of her list left to kill in the form of Bill’s failure of a brother, Budd (Michael Madsen), the merciless Elle Driver (Daryl Hannah) and Bill himself (David Carradine). This installment has a larger focus on the Bride’s background before the massacre took place and her journey to becoming an assassin. I love how both films have become a genre of their own. The body count may be a fraction of its predecessor but it still includes some of the most terrifying scenes in film (insert buried alive segment here) and is captivating in its own way. We see the Bride’s emotional journey and her guard slips as she makes some unexpected discoveries in her quest for blood. I think that together, Kill Bill makes for a fantastic saga and would definitely be among my favourite films of the 21st century so far.

Death Proof (2007)

I know there are some people that wouldn’t put Death Proof in the list due to it being part of a two-part feature titled Grindhouse with fellow director and friend, Robert Rodriguez directing Planet Terror (2007). Death Proof is a Texan action led by Kurt Russell as a stuntman who murders women with his car. The film is split into two parts with one group of women’s fates determined the first half and another group in the second half. Death Proof is often viewed as Tarantino’s worst and it is but it’s not a bad film. It is entertaining and Russell is brilliant as the killer in the “death-proof” car. It’s not as complex as other Tarantino films and doesn’t perhaps have the gumption or wow factor that the others have. That being said, for what it wants to be, it delivers in spades. The soundtrack is great and Rose McGowan and Mary Elizabeth Winstead are great in their roles as Pam and Lee, respectively. It’s pretty great that Tarantino and Rodriguez cast McGowan in a leading role in both films to spite Harvey Weinstein for what he did to her. McGowan shines in both films and it would be great to see her make a return to films in roles as amazing as the Grindhouse duo.

Inglourious Basterds (2009)

The first Tarantino film I watched and boy was it a great pick. Undoubtedly one of the best opening scenes in film history, Tarantino manages to create tension with a glass of milk. The film is a reimagining of Nazi-occupied France during the war with Brad Pitt playing Aldo Raine who leads a group of men known as “The Basterds” who are set on killing Nazis and collecting their scalps. Inglourious Basterds also includes what I would argue is Tarantino’s best character today in the erringly charismatic SS Officer, Hans Landa. Played spectacularly by Christoph Waltz in a role that would see him in his Hollywood breakthrough and take home every Supporting Actor Award including the Cannes Film Festival, BAFTA and the Academy Award. Landa is a character who commands your attention. He’s despicable and manipulative, the sociopathic changes are intriguing to watch such as him loving his nickname “Jew Hunter” in the opening scene when intimidating a local farmer, to despising the name when realising that the Nazis are set on losing the war. His motives and outlook can never be understood because he is such a whirlwind character. He seems to take his job seriously one moment then not at all the next and flits the fate of others with ease, not finding it difficult to kill if he sees fit. I don’t think there’s a character that has unsettled a global audience as much as Hans Landa has and yet you long for him to be on the screen because the character is so engaging. Tarantino’s screenwriting is possibly his best, which he clearly knows from the final frame when Aldo looks into the camera and says “this might be my masterpiece”.

Django Unchained (2012)

Bringing his love for spaghetti westerns to the frontline for this Civil War epic, Tarantino’s 3 hour Django Unchained follows Jamie Foxx as the titular character and his quest to find his wife Broomhilda (Kerry Washington) in the Deep South were slavery is very much a thriving business. With the help of bounty hunter Dr King Schultz (Christoph Waltz), Django’s adventure sees Tarantino using an endless amount of fake blood and a controversial multitude of n-words throughout which faced criticism from individuals such as Spike Lee. I do think this is a film plagued with indulgence and excess in its violence, language and numerous endings but it does have very strong points. The cast are perfect in their roles particularly Christoph Waltz as Schultz and Leonardo DiCaprio as plantation owner Calvin Candie. Waltz is charismatic and charming as a man set on freeing slaves and hunting killers and would go on to win a second Best Supporting Actor gong although I personally think his role is a lead not supporting performance. DiCaprio’s performance on the other side is chilling and captivating as he relishes in torturing the slaves.

The Hateful Eight (2015)

Concluding the western trilogy in Tarantino’s catalogue, we venture to Wyoming in the aftermath of the Civil War. There’s a heavy blizzard and eight murderous brutes are trapped in Minnie’s Haberdashery including the honourable John “The Hangman” Ruth (Kurt Russell), country hunter Major Marquis Warren (Samuel L. Jackson) and a career-best from Jennifer Jason Leigh as the disgustingly brilliant Daisy Domergue who John is bringing to Red Rock to hang. Like all Tarantino films, this one is also a mash-up of genres. It is primarily western but is also murder mystery, comedy and thriller. The film’s composer, Ennio Morricone stated that he wrote the score for a horror film which would end up being the film’s strongest point and leading to Morricone’s long-awaited Oscar. It’s a truly brilliant soundtrack and elevates the rhythm of the dialogue which is so important in the moments of extreme tension. Tarantino’s writing is tight and every character has been fleshed out, admittedly some more than others, but each one is memorable in their own way. It’s an interesting inclusion and the film shows a maturity in Tarantino’s filmmaking. There is violence, granted, as expected but Tarantino is more focused on his script and positioning of characters than the actual violence.

Once Upon a Time in Hollywood (2019)

I have already written an extensive review on this one (which you can read here) so I won’t go into too much detail. What I will say is that it has a very good chance of scoring some nominations and potential wins going into awards season. It’s nice seeing Tarantino returning to California for his penultimate film and it seems like a film that he was destined to make. The personal touches are definitely here in what seems to be a return to the place where he grew up.

So we’re all up to date and I eagerly await to see what Tarantino has up his sleeve for his tenth and supposed final feature. Undoubtedly, it will be one of the biggest events in film history with actors and crew members alike clambering at the chance to work with him. There’s only one Tarantino and there certainly won’t be another director like him again.

With all that said and done, here is my final ranking:

1) Kill Bill: Volume 1 (2003)

2) Inglourious Basterds (2009)

3) Reservoir Dogs (1992)

4) Pulp Fiction (1994)

5) Kill Bill: Volume 2 (2004)

6) Once Upon a Time in Hollywood (2019)

7) The Hateful Eight (2015)

8) Django Unchained (2012)

9) Jackie Brown (1997)

10) Death Proof (2007)

I know it’s probably shocking having Kill Bill: Volume 1 at the top, but there is something incredibly empowering to me seeing a female character leading a blockbuster four hour saga. I hope people refer back to this when people claim that audiences don’t want to see women in film.

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

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Disneyland Paris – November 2019

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Obviously, my blog focuses on the wonderful world of film but I thought that I would take a “half break” and write a post all about my time at the happiest place on Earth. Disneyland Paris is situated outside the city with the Eurostar station located right outside the Disney Village entrance. This was my third time going after previous visits in 2003 and 2016 but this one would prove to be the most successful in terms of rides (the 2016 trip saw several major ride closures) and also FINALLY meeting Snow White which if you know me or read this blog is a big deal. But that is all to come later. We arrived on Monday 4th November and departed Wednesday 6th November which was perfect because a) the park is barely busy and b) we got a chance to see both Halloween and Christmas decorations. Rather than go through the holiday day by day, I thought it would be good to talk about my experiences collectively. It’s hard to talk about one day without talking about another.

We stayed at the Sequoia Lodge Hotel which resembles a forest cabin with decoration inspired by Bambi. Our room was part of the Golden Forest section meaning that we had our own check-in desk and an exclusive lounge where we have breakfast. The room was beautiful as expected and sleeping in the bed was like being inside a giant marshmallow. We struggled to choose between the VIP Golden Forest room at the Sequoia Lodge or a standard room at the Newport Bay Club but what convinced us to go for Golden Forest was the easiness of not waiting for check-in or luggage transfers as we collected it and dropped it off at the counter. Also, being able to start the day in a peaceful and spacious room with no queues for food meant that we could go at our own pace and feel relaxed.

So where to begin? Well, perhaps I should start with the experience of the parks as a whole. As expected, walking into the main park on arrival was incredible as you are greeted by smiles and joyful music that runs through the park. Since we came at the short period between Halloween and Christmas, it did mean that the main square was closed so no lovely photos of the iconic Walt Disney and Mickey statue but that didn’t take away for the always breathtaking view of Main Street as it leads down to Sleeping Beauty’s Castle which acts as a centre point for the park and serves as a handy guide for where to go next. We visited the main park on all three days and Hollywood Studios on days 2 and 3 and the lack of queue times meant we were able to go on the rides more than once which was super handy. This was surprising since two of the biggest rides, The Rock’n’Roller Coaster and Crush’s Coaster in Hollywood Studios were closed for refurbishment. This did not affect the queues for other rides as the longest we waited was 20 minutes for Les Voyage de Pinocchio ride.

The best part about Disney parks is that there is no shortage of things to do. If you’re not fond of rides, you will still find enjoyment in the walkthrough attractions such as the dragon that lies beneath the castle. There is so much detail in the park and Easter eggs for the most obscure films (the Eurostar station has images from Return to Neverland above the luggage pickup kiosks) which is nice to see.

Luckily, my partner, Adam, and I absolutely LOVE rides so we went on as many as we could and because the park was at a low capacity, we were able to go on the rides multiple times. We went on:

Big Thunder Mountain x4

Phantom Manor x4

Star Wars Hyperspace Mountain x4

Blanche-Neige et les Sept Nains (Snow White and the Seven Dwarfs) x3

Peter Pan’s Flight x3

Pirates of the Carribbean x3

Ratatouille: The Adventure x3

The Twilight Zone: Tower of Terror x3

Le Pays des Contes de Fées (The Land of Fairy Tales) x2

Buzz Lightyear Laser Blast x1

It’s a Small World x1

Le Labyrinthe d’Alice (also known as Alice’s Curious Labyrinth) x1

RC Racer x1

Les Voyage de Pinocchio x1

That brings the total times we were on a ride to 34 which averages just over 11 rides a day. Overall, we walked around 60,000 steps over the course of the three days which is equivalent to approximately 25.92 miles. That’s just shy of the length of a marathon! Needless, to say our feet are hurting a lot from the walking but it was worth it and more.

My favourite ride in the parks is Blanche-Neige et les Sept Nains of course. I love the older rides that take you through the stories. They are simple but also bring that sense of nostalgia back. Of course, Snow White and the Seven Dwarfs is my favourite film and this ride encapsulates all of the emotions that the film makes you feel. The animatronics and audio is fantastic and the set design is brilliant. I get chills every time the Evil Queen turns from the mirror and is revealed to be the Hag. I have been on this ride in previous visits so it was from far the first time I have been on it. One of my favourite memories from this holiday was when we were waiting in the Fast Pass queue for Peter Pan’s Flight (which was always ridiculously busy!) and we met a lovely cast member called Manon who also shares a love for Snow White. She kindly gifted us a special fast pass to go back on Blanche-Neige et les Sept Nains and also gave us an autograph book and keyrings of our choice. It made our holiday even more magical and was a wonderful surprise!

My favourite ride that I have not been on was by far Ratatouille: The Adventure. I must admit, I am not a big fan of simulator rides, mainly due to a horrific experience on the Back to the Future ride in Universal Orlando as a child. However, I cannot recommend this ride enough. Ratatouille: The Adventure is exclusive to Disneyland Paris and is a bilingual treat as you sit in a rat car and are thrust into the hectic set of a Michelin kitchen. The use of props and elements like water splashes when a mop is swept towards you really immerse you as you follow Remy’s quest to create the perfect dish. If you have not been on this ride, you need to go on it next time you visit Disneyland Paris.

Another nostalgic treat for me was Le Pays des Contes de Fées, a slow voyage across some of Disney’s greatest story retellings from classics like The Little Mermaid and Aladdin to more obscure offerings such as Pierre et le Loup (Peter and the Wolf) and Oz La Cité d’Émeraude (released in English as Return to Oz) which was a lovely surprise to see at the end of the ride as it was one of my favourite films growing up. I think rides like this are not only enjoyed by everyone but also highlight why people love Disney.

This was my fourth time going to a Disney Park (I went to Walt Disney World Resort in Orlando in 2001 and Disneyland Paris in 2003 and 2016) and on none of these occasions was I able to meet Snow White herself. I was disheartened when the City Hall assistant informed that she would only be making an appearance in the parade on day 2 and accepted that I would not be meeting her this time. However, an impulsive relax on a break would prove genius in the afternoon because low and behold there was Snow White on her way to host a meet and greet. I cannot even begin to explain how emotional this was for me. I have just turned 26 and this event had me feeling the most excited I have ever felt. It was my ultimate Disney dream come true and true enough, it was amazing. She took her time with everyone which was lovely to see and took as many pictures as you wanted. She loved my custom-made Snow White themed ears and even spoke Welsh which was amazing since Wales is often overlooked in Disney’s portrayal of Britain (It’s a Small World does not have a Welsh section sadly). She also promised to bake me a gooseberry pie which was great because who doesn’t love pie?

Leaving was horrible as expected. Even though we had done everything that we wanted to do, we still wanted to stay longer. We’ve already started planning our next Disney trip to either Walt Disney World Resort in Orlando or Disneyland in California and hopefully we won’t wait another four years before going on a big holiday.

Have you been to Disneyland Paris or any of the other Disney parks? Let me know about your experience in the comments below!

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Top 5 Viola Davis Performances

A reigning Queen of the Silver Screen, Viola Davis is a titan of acting who shows us time and time again that she really is among the best of the best. She is also the first black actress to receive the Triple Crown of Acting. She is renowned for her grace and poise, she fights for what she believes in and only takes on roles that she wants. She is an icon in a number of different ways but for me, it is her passion for acting and determination to get to the heart of her characters that really stands out for me. You can tell that she truly loves what she does and that she puts herself into the characters whether it be an FBI agent in Suicide Squad, the mother of a missing child in Prisoners or a woman broken by a society that cripples her family because of the colour of their skin in Fences. I can’t even begin to say how much I love VIola Davis as an actress and activist

As ever, these posts delve into film performances so even though her inputs in projects such as the TV series How to Get Away With Murder are incredible, they won’t be added in the list. This also makes it a bit easier when picking the performances for my list.

Here are my top 5 performances in chronological order:

Doubt (2008)

The breakthrough performance that cemented Davis’ career onscreen, Doubt is a star-studded film that features iconic stars Meryl Streep, Amy Adams and Philip Seymour Hoffman, who all received Oscar nominations for their performances. Following Sister Aloysius (Streep) and Sister James (Adams) as they plot to bring down Father Flynn (Hoffman) who is suspected of molesting the school’s first black student. What was the most heartwrenching scene to come from this film was the performance from Viola Davis, an actress who had made her name on TV and the stage but had not broken into the film industry just yet. Her performance as Mrs. Miller, the mother of the abused child, is small but captivating as she struggles with the truth and her faith. It’s a pained performance that holds its ground against three of the best actors in modern times. Davis’ character admits that she would overlook the abuse if it meant that her son could still attend the school and escape from the socioeconomic background that he would be subjected to were he not attending. In one scene she becomes a parent torn by the abuse of secular and religious authorities. She knows that it is a world where they cannot win without suffering and the heartbreak of that realisation sits with you for the duration of the film.

The Help (2011)

Now for the film that solidified Davis as a leading star and should have won her an Academy Award (let’s not even get into that one). I am aware that The Help is a controversial film to put in here and it is completely understandable. The film sadly follows white saviour tropes as Emma Stone’s character, Eugenia “Skeeter” Phelan, helps to expose the abuse that the black maids in Jackson have received. The maids that she initially speak to are Aibileen Clark (Davis) and Minny Jackson (Octavia Spencer) who both provide brilliant performances. I know that sadly these kinds of roles feed into prejudice perceptions of non-white actors who are often delegated to subservient characters. I remember watching this film for the first time and absolutely loving the characters and how much they fight back. The film definitely has its flaws but both Davis and Spencer shine and earn their acclaim. Both characters are brilliantly developed and the scenes with the two of them in are fantastic. Davis has such a presence and says so much with a facial expression. Her performance as Aibileen is a masterclass of acting and only serves as a small step in a huge career.

Prisoners (2013)

This may be an unexpected inclusion into the list but I enjoyed this film a lot. Serving as Denis Villeneuve’s English-language debut, I went into thinking it would be a typical action drama but it was so much more than that. Davis plays Nancy Birch, a woman who’s daughter is kidnapped with her best friend. It’s a film that plays out every parent’s worst nightmare and the lengths one will go to to bring back their child. Davis is maternal, fierce and conflicted when Kevin Dover (Hugh Jackman) who’s daughter also went missing finds a suspect, locks him up and begins to beat him. Nancy is a character who refuses to play by others’ rules and does what feels right to her. Although this is a supporting role, Davis still maintains that strong presence onscreen and brings her A-game in a cast that includes Jackman, Terrence Howard and Jake Gyllenhaal to name a few. Much like the conflict Davis brought in Doubt, it’s hard not to feel affected by her performance. Whereas Jackman and Gyllenhaal fit a traditional “masculine” trope, Davis is the maternal heart but brings a strength that is not often given to women in thrillers. Her involvement shows her desire to work with respected directors and actors and also shows her perseverance to choose roles that help progress to women’s roles in films.

Fences (2016)

The one that brought her all the gongs, Fences is an adaptation of August Wilson’s 1985 play of the same name and directed by her co-star, Denzel Washington, who also brings a career best. Washington refused to divert from WIlson’s script meaning that Wilson is credited as screenwriter and received a posthumous Oscar nomination. Admittedly, Washington’s reluctance to divert from the script does make the film feel a bit too stage-like at times but there is no doubt that this is Davis’ film. I honestly think that they should have gone for the Best Leading Actress awards and she would have won it but the Supporting seemed a “safe” category. She plays Rose Lee Maxson, a woman whose life revolves around satisfying the desires of her husband and their son whose goal is to play baseball. Living in a rundown neighbourhood in a deeply racist society where the odds are stacked against them, Rose does not give up and fights while her husband Troy Maxson delves deeper into madness in his failure to succeed in his American Dream. It’s a highly emotionally charged film that sees Davis go into a different league of acting that is rarely seen. She refuses to be put down by the men she takes care of despite their physical intimidation. Rose is another strong woman that Viola can add to her extensive repertoire.

Widows (2018)

The last blockbuster that Viola starred in saw her take the lead as Veronica Rawlings in Steve McQueen’s fourth feature, Widows which follows four women who plot to carry out a heist after three of their husbands died in a botched job. Veronica is the group leader who draws together the plan using a notebook that her late husband, Harry (Liam Neeson) left in a safety deposit box. The other three women played by Michelle Rodriguez, Elizabeth Debicki and Cynthia Enviro and the four together have great characterisation and rapport. It’s a film built on the strength on its performers and Davis leads with ease. It’s refreshing to see such a strong action-based role which would traditionally be taken by a white male instead being portrayed by a black woman. The film is fearless and knows its strength. Veronica is one of the best female characters in recent years. She’s deeply complex as a grieving widow, a mother who’s son was wrongly murdered due to racism in authority and a woman who knows what she has to do to survive. She shields her fragility and fuels the operation with her persistence.

I am so excited to see where Viola’s career will go next. Even in films like Suicide Squad, she was a shining star to me. She’s an actress who is consistent, likeable and bankable. She is one of the key figures to pushing for more strong female characters in film and constantly talks about the importance of women in film.

What Viola Davis film is your favourite? Let me know in the comments below!

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Who’s Afraid of Virginia Woolf? (1966)

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

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

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

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

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

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

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

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Top 5 Audrey Hepburn Performances

Known as one of the leading ladies in the Golden Era of Hollywood, Audrey Hepburn epitomised glamour and class in the way she conducted herself onscreen and off. A lady who could do no wrong, there is a reason why Hepburn is truly a cultural icon and this goes beyond her striking features. Winning and Oscar for her debut performance in Roman Holiday as a rebellious princess, Hepburn made her mark in Hollywood instantly carving out a career that shows how consistent and rounded she is as an individual. Even if you haven’t seen her films, you know her face. Ingrained as one of the most important legendary of 20th century cultural icons, Hepburn has become synonymous with the classic Hollywood actress.

Hepburn led a varied career to her showcasing acting, singing, dancing onscreen and then fashion muse, model and UNICEF ambassador offscreen. She has been one of my personal inspirations for many years and one of my favourite actresses of all time.

In celebration of a brilliant and legendary career, here are my top 5 films for the one and only, Audrey Hepburn!

The list (as always) is in chronological order:

Roman Holiday (1953)

The one that started her career off with a bang and an Oscar. Hepburn plays Ann, a Princess who is visiting Rome as part of her royal tour who escapes in the middle of the night to experience life as a normal person. She stumbles across cynical journalist, Joe Bradley (Gregory Peck) and the two spend a day visiting the famous landmarks across the city. Despite being filmed in black and white, the film manages to show us the colourful world of Rome. It’s a film that feels very revolutionary in many ways. From filming on location in Rome (sacrificing a full colour film) and Peck’s insistence that Hepburn receive an equal billing for her performance. Roman Holiday is the perfect film to watch when feeling nostalgic for Old School Hollywood. The chemistry between Peck and Hepburn is evident from the get go and it’s great to see Hepburn playing such a rebellious character who is hugely reluctant to slot into her role as a Princess.

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Sabrina (1954)

This is not by any means a popular film beyond the costume designs. It received mixed reviews upon release and tales of the troubled production mainly at the hands of leading man Humphrey Bogart who was consumed by his alcoholism but there is something that is magical to me with Hepburn’s performance in this film. Playing the titular role in this Billy Wilder romance, Hepburn is the daughter of a chauffeur who lives within the estate of a wealthy Larrabee family. She is shipped off to Paris to learn cookery and comes back glamorous and catches the eye of the two wealthy Larrabee sons, the older serious brother, Linus (Bogart) and the young and handsome David (William Holden). It’s a classic Cinderella-esque story with a bit of Pygmalion thrown in and I really love the result personally. I won’t deny that the costumes play a big role because of the history that it sparked the beginning of Hepburn and Hubert de Givenchy’s lifetime friendship and collaboration although Edith Head ultimately received credit for the designs and received the Academy Award for Best Costume Design. But ultimately it is the simplicity and elegance of this film that draws me to it and I am a big fan of Wilder’s direction.

Breakfast at Tiffany’s (1961)

I don’t think it would be possible not to include this on the list. A film that gives not only one of Hepburn’s best performances but also a revolutionary and cultural shift in modern cinema. Based on Truman Capote’s novella of the same name, Hepburn plays protagonist Holly Golightly, a socialite who leads her life carelessly as she shimmies down the street and eats pastries at the windows of Tiffany’s & Co. The film carries a different tone to the book as Holly’s prostitution, alcoholism, drug-use and bisexuality are shunned almost completely and are very briefly referred to at various points. Hepburn’s portrayal of Holly is far from the Marilyn Monroe figure that Capote had pictured in mind when writing the novella but it works for the film. It may not be a faithful adaptation as far as characterisation goes but it captures the struggle to achieve the American Dream beautifully and shows a woman who is willing to do what it takes to achieve security in a world that is cynical and shut off from those who aren’t afforded it at birth.

Charade (1963)

Hepburn is teamed up with Hollywood superstar Cary Grant in this thriller that sees Hepburn play Reggie Lampert, a woman whose life is thrown into chaos as her estranged husband, Charles, is murdered and her belongings are sold off. She is pursued by three criminals who are seeking revenge after Charles stole money from them years before. With the help of Peter Joshua (Grant), an American whose brother was also killed by the same men, they embark on a search for the money. The film becomes a spiral as Peter reveals identity after identity and Reggie becomes less and less sure who to trust. It also shows another side of Hepburn as she hasn’t done many thriller or action films before. As Peter is telling us of his many identities, Reggie keeps her cards close to her chest with Hepburn giving an equally layered performance.

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My Fair Lady (1964)

This may be a controversial choice as it’s widely known that Hepburn didn’t sing in her role as Eliza Doolittle in this musical adaptation of George Bernard-Shaw’s 1913 play Pygmalion that follows the working-class Doolittle as she is taken under the wing of linguist, Henry Higgins (Rex Harrison) who is convinced that he can teach her to talk “proper” and introduce her into high society. There is something remarkable about seeing some so polished as Hepburn playing someone like Eliza which is so different to her other roles. Many critics were disapproving of Hepburn having her singing dubbed but the role of Eliza is much more than her voice, ironically. Hepburn truly becomes Eliza, her physicality and poise is spot on and who can forget the iconic racetrack scene. It’s a film that shows Hepburn’s skill in a more comical film than her other roles and you can tell that she is having a lot of fun in the role.

There are so many other brilliant performances that I haven’t had the chance to include but in a career that is so fantastic, it really was a challenge.

Which Audrey Hepburn films are your favourite? Let me know in the comments below!