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Top 10 Tom Hanks Performances

It’s no secret that I am a huge Tom Hanks fan. He has been one of my favourite actors for as long as I can remember and there is a reason why he is so loved by everyone. An extremely talented actor and nice personality, Tom Hanks has built a reputation for being one of the most respected actors in history and it’s easy to see why. It was so difficult for me to pick a top 5 so I’ve gone ahead and done a top 10 instead. This list is only the tip of the iceberg for this man’s career and shows his range. We see him evolve from a kid adult to a prison officer working on Death Row to portraying Walt Disney himself.

Hanks is an actor who encapsulates his roles and is a constant draw for the box office. He’s worked with some of the best directors and actors around particularly Robert Zemeckis (Forrest Gump, Cast Away and The Polar Express) and Steven Spielberg (Saving Private Ryan, The Terminal, Catch Me If You Can and Bridge of Spies). There’s no performance that he has done that I don’t love. Admittedly, the Dan Brown films are one of my guilty pleasures even though they are absolutely ridiculous but Tom Hanks brings such an enthusiastic performance that I find them so much fun to watch, especially Angels and Demons.

Here are my top 10 in chronological order:

Big (1989)

Big is one of those films that I could watch time and time again and never get bored. Following Josh Baskin, a young boy who wishes to grow up and then does overnight. This film is made even better when he grows up into Tom Hanks. Hanks has so much fun as adult Josh in this role as he fills his apartment with everything a cool kid had in the 80s. He is the perfect mix of charming and hilarious. I mean, who doesn’t love the scene with the piano?

Sleepless in Seattle (1993)

It wouldn’t be a true Tom Hanks list without featuring a classic Nora Ephron romcom with Hanks and costar Meg Ryan. My favourite of the bunch is Sleepless in Seattle which makes my heart melt every time I watch it. Hanks plays Sam, a grieving architect whose son calls into a radio show to tell their story. In true Ephron form this film is the true epitome of the romcom genre and is a delight to watch. The climactic scene on the observation deck of the Empire State building has me screaming at the TV every time.

Forrest Gump (1994)

Possibly the most famous Tom Hanks role, Forrest Gump sees Hanks play the iconic titular character who sees the world in a different way. Bringing Hanks the Best Leading Actor Oscar for the second year in a row after the previous year’s Philadelphia, Forrest Gump propelled Hanks into a global phonenom and landed him at the top of every director’s list. His performance is not condescending nor over the top as he places a heavy focus on Forrest’s naivity rather than his disabilities.

Toy Story Franchise (1995-present)

It would have been a crime not to include these but I couldn’t pick just one. Tom Hanks’ Voicework as Woody the toy cowboy is nothing short of extraordinary and really brings the toys to life. For over 20 years, Pixar have charmed us with the story about a group of toys who watch their owner grow up. Hanks’ performance is worked up and super stressed as Woody struggles to keep his control. He’s a brilliantly flawed character who constantly makes mistakes doing what he thinks is right. The fourth installment that was released this year was revolutionary for Woody as he finally embarks on a life that he wants.

Saving Private Ryan (1998)

Hanks’ first collaboration with Spielberg is probably the most dramatic and to that point, “blockbustery” of his career. Playing Captain John H. Miller who leads a small group of soldiers to find and rescue the missing Private James Ryan (Matt Damon), Hanks made his mark as the big leading man in cinema. It’s the film that should have swept the Oscars but was beaten by Shakespeare in Love in a huge misjustice for the Best Picture gong (don’t get me started). What separates this film from other war films is that Hanks between the heart of the film and shows the emotion behind the fighting.

The Green Mile (1999)

The Green Mile is one of those films that brings me to tears every time I watch it. Following Hanks as head prison officer, Paul Edgecomb, working in the Death Row block. When a 6 foot black man, John Coffey (Michael Clarke Duncan), is jailed on the block, mysterious events begin to happen that cause Paul to challenge his morals and his faith. It’s a brilliant film that I don’t think receives the praise that it deserves, mainly due to it being the second prison based Stephen King adaptation after The Shawshank Redemption in 1994. Hanks is fantastic as Edgecomb. He is sharp, observant and has a strong moral compass. The scenes with him and Duncan make for some heart wrenching cinema as the truth behind Coffey’s imprisonment come to light.

Cast Away (2000)

If I had to pick one Tom Hanks performance to put at the top of my list, this would be the one. It’s iconic, it’s fantastic and it should have earned Hanks his third Oscar. Hanks plays Fedex driver, Chuck Noland, who survives a plane crash and becomes stranded on a desert island for year. The premise is simple but the film is anything but. Hanks goes all out to deliver a career best performance that sees Chuck removing teeth with an ice-skate blade, catching fish with a spear and finding companionship with a volleyball called Wilson. What makes this film truly standout is Hanks’ ability to keep the audience’s attention by himself for the film’s 143 minutes.

Catch Me If You Can (2002)

This fun flick sees Hanks reunite with Steven Spielberg for the chase of a century as Hanks plays FBI agent, Carl Hanratty on the hunt for Frank Abagnale Jr (Leonardo DiCaprio), a young conman across the globe. It’s a brilliantly entertaining film to watch as Hanks fails time and time again to capture Abagnale. Hanks and DiCaprio are an odd pairing for leads but it works really well and you can tell that both are having a good time.

Captain Phillips (2013)

This gem of a film is a stellar thriller that showcases Hanks’ timelessness as an actor. Playing the titular character whose cargo ship is overrun by Somali pirates, Hanks works brilliant alongside Barkhad Abdi who plays Somali pirate, Abduwali Muse. Most of the cast in this film are fairly unknown and it’s nice to see that although Hanks is the lead, that others are given the chance to shine, particularly Abdi, who won a BAFTA for his performance. Hanks isn’t an actor who has to hog the spotlight every time he is onscreen.

Saving Mr Banks (2013)

Tom Hanks as Walt Disney. Do I even need to say more? It’s one icon playing another and it is perfect casting. I absolutely adore this film and am always watching it when it is on the TV. Following author P L Travers (Emma Thompson) as she is pursued relentlessly by Disney who wants to adapt her famous Mary Poppins books into a film, we see Travers enter a world she has no interest in. Hanks is truly magical as the big man himself and lights up the screen everytime he appears.

So there you have it! We have journeye through the highlights of this legend’s career. With a deserved life achievement Cecil B Demille award on its way from the 2020 Golden Globes, Hanks’ career is far from over. I am excited to see his upcoming films.

Which Tom Hanks performances are your favourites? Let me knows in the comments below!

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Unpicking the Witch: Suzy and Rose in Retrospect

When watching Dario Argento’s horror classic Suspiria (1977) and its thematic sequel Inferno (1980), it’s understandable that the mind would instantly capture the bright cinematography and bloody violence that occurs throughout the film. What Argento doesn’t receive credit for, however, is the portrayal of its female protagonists, Suzy Bannion (Jessica Harper) and Rose Elliot (Irene Miracle). Both characters are artists with Suzy a student a prestigious ballet school and Rose an aspiring poet. Both find themselves living within the confines that house demonic and powerful witches who create darkness and chaos and delight in killing and torture. I love both of these films (I have written reviews on both which you can read here and here) with both leaving a lasting impact on how I view horror films. The writing is fantastic and the cinematography is highly creative but it was the portrayal of these women thrown into impossible circumstance and their determination and strength that stood out to me. Compared with the trend of horror films at the time where we see women portrayed as the damsel in distress and in need of a man to save them, Argento omits men almost entirely in Suspiria and the protagonist, Mark in Inferno is far from the traditional “strong men” that you tend to see in films.

Starting with Suspiria, Argento’s big breakthrough into English-language horror was a technicolour masterpiece filled to the brim with fake blood and guts. Following aspiring dancer Suzy, a new student at a prestigious dance school, as she begins to investigate mysterious disappearances of other students and staff alike. We first see Suzy leaving the airport in Freiberg into a torrential storm. The cuts and use of music when the automatic doors of the exit are opening and closing brings that otherworldly atmosphere to the film. Her introduction to the staff sees her intervene in an interview with the police when they enquire about a missing girl. What transpires is an environment in which Suzy becomes even more of an outsider than before as her bids to fit in make her stand out to the witches that run the academy. Naturally, Suzy is reluctant to believe the stories that her friend Sara tells her but as people begin disappearing one by one, Suzy becomes resourceful and finishes the mission that Sara started. Suspiria only has a handful of male characters with the bulk of the cast being made up of the female staff and students.

Rose Elliot in Inferno is much like Suzy in her ways. The film opens with her reading about The Three Mothers, three witches who use their dark powers to control the world. She is warned off the subject by a male antiquarian but she goes ahead with her investigation regardless. What follows is a fantastic scene in which Rose dives into a pool to retrieve a lost necklace. Upon swimming into a corpse, she is understandably frightened but still pushes on with her investigation and writes to her brother Mark, asking him to return to New York to help her. Rose’s mission doesn’t end happily and Mark ends up getting the credit but his findings are based on his sister’s research without whom he wouldn’t have figured out the mystery. Rose’s contribution to the film can be felt throughout despite her absence in the second half. Her character also seems more developed and intriguing than Mark which is odd for a genre that (at the time) excluded strong women from their narrative.

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Both women are also artistic as discussed before and their talents not only add to their character development but these skills assist them in desperate times. Suzy’s curious nature inspires the witch to attempt a physical injury by inflicting a hemorrhage on her during class causing her to become bedridden. This fails to slow down her investigation, however, and the loss of best friend Sara inspires her to get to the bottom of things. The same could be said of Rose whose love of books and research adds to her observant nature and her ability to attune her focus on figuring out who owns the building.

I really enjoy both performances because the characters don’t come across as reliant even when they ask for help. They are indifferent to the male heroes we see in horror films. Argento also doesn’t sexualise the protagonists  which is refreshing to see as women in horror are usually subject to appearing in demeaning scenes such as unnecessary nudity and rape scenes. There’s a reason why his films are timeless and even watching now they feel current and progressive, showcasing his real talent for filmmaking.

What do you think of Argento as a filmmaker? Which film of his is your favourite? Let me know in the comments below!

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High Life (2018)

As part of an initiative to bring lesser-known films to Wrexham, 73 Cinema aim to show a variety of films that would otherwise have required a trip to bigger cities to view. Based in Ty Pawb, the second chosen feature was High Life (2018), Claire Denis’ first English-language project starring Robert Pattinson in the lead role as a death row inmate who is sent to space with other inmates in order to conduct experiments for those on Earth. Their major mission is to venture to the far ends of the Solar system and the minor mission is to attempt reproduction in space. Denis is a filmmaker who refuses to follow the rules and the brilliant use of non-linear structure reflects this. The film opens with remaining survivor, Monte (Pattinson) repairing the ship as his baby daughter, Willow, cries hysterically, causing him to lose a piece of equipment. There are moments of deep isolation in Monte’s eyes that are soon swept away when Willow starts to laugh and play. Willow becomes his driving force to survive.

Denis’ direction is outstanding and the film is beautifully still. The use of one major primary location is genius because it allows us to feel the claustrophobia. What is brilliant is how small the ship looks from the outside but it seems so big inside with each segment of the ship looking as though it is in an entirely different space. It’s difficult to believe that the same ship contains the garden that grows their food also contains the aptly-named “Fuck Box”, a room where the passengers go to obsessively masturbate. Monte is the only passenger who avoids the room, choosing to lead a celibate life and making him appear alien to the others. Pattinson knocks it out of the park with his performance. Monte is quiet and subdued, allowing the action of the film to be carried out by the more extroverted characters but he is also the most resilient of the bunch. Despite his crime, he has a strong moral compass and doesn’t lend himself to the violence easily. Pattinson carries this film and his performance as Monte appears natural. It’s a role that he was born to play.

The supporting cast are also strong with stellar performances from Juliette Binoche as the sinister Dibs, the ship doctor who is determined to complete the reproduction mission for her moment of glory and Mia Goth as troubled passenger, Boyse who is reluctant to participate in the experiment. Dibs is a character who can never be trusted and her presence onscreen immediately brings unease. She is unapologetic for her actions and what she does to Monte and Boyse is hugely upsetting and she shows no remorse. She is aware of her crimes and the monster she is but chooses not to linger on it with the exception of an emotional scene between her and Boyse in which she confronts her crime. It’s a moment in which Dibs becomes human and seems equal to the others. On the other hand, Goth is an actress who has shown much promise and fearlessness in her film choices since her debut in Lars von Trier’s sex-fuelled Nymphomaniac (2013). Her performance as Boyse shows a clear growth from her earlier work and I predict that she will have a long career. The scene in which she escapes in a ship to enter a blackhole is deeply disturbing and makes for one of the craziest death scenes I have ever seen in film.

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As ever, the screenplay is what I pay attention to the most and the film has so many qualities that I admire. Written by Denis and Jean-Pol Fargeau, the film could be described as a sci-fi horror set in space and yet is one of the most human features I have seen. It’s a claustrophobic study of human nature and the strength to survive in unknown conditions. As discussed, it is hugely intense and the script relies heavily on the actions rather than the dialogue. A lot of the time, the physicality and expressions of the character take us through a scene rather than what they are actually saying. Like the mission, the script also takes us into the unknown with twists and turns at every scene and motives change or emerge. There are only a couple of scenes based in Earth to give us a contextual glimpse into the background of the mission and the ship is used a primary location.

It is important to note that High Life is not a film for everybody. It doesn’t hold back in its grittiness with excessive violence, explicit rape scenes and suicide but it’s also a film that creates an intricate study into the human mind when thrust into impossible situations, demonstrating just how far people will go to ensure their legacy. Even in the vacuum of the universe, there is an obsession throughout the film with the idea of legacy and being heroes but in the end, it doesn’t matter. It is Monte’s refusal to engage with such ideals that has meant he is the last survivor. The final scenes between him and teenage Willow (Jessie Ross) bring the film to its hopeful conclusion as they venture into a black hole.

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

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Scanners (1981)

Another film that I watched on a whim on BFI player is one that has been on my list for years. Scanners is a sci-fi horror directed and written by David Cronenberg and follows a sub-species of humans called Scanners, people who can control others with their minds. When one Scanner, Daryl Revok (Michael Ironside), goes rogue and starts to hunt down other Scanners in order to take over the world, security system corporation Consec uses social outcast, Cameron Vale (Stephen Lack), to infiltrate the community to bring Revok down. Assisted by the allusive Dr Paul Ruth (Patrick McGoohan), Cameron must hone his powers in order to face Daryl whose powers are much stronger than the other Scanners. He teams up with the powerful Kim (Jennifer O’Neill) and they work together to bring Daryl down.

The plot itself is linear as Cameron goes from social outcast to leading the fight against Daryl. We see him come out of his shell and become stronger than the Scanners until he is strong enough to fight Daryl. The climactic scene between them is fantastic and unexpected. Relying on the actors’ physicality and strong use of gory special effects, the scene is larger than life but also extremely simple due to its setting and the focus on the actors. Cronenberg knows that he doesn’t have to go above and beyond to create an effective fight scene and therefore brings no distractions. The focus on facial expressions also adds to the intensity of the film. I personally like that the film throws you into the situation and we are introduced to the world of Scanners through Cameron’s own realisation and experience.

The most iconic scene in this film is definitely the head explosion where we first meet Daryl in which he violently kills a fellow Scanner by causing his head to explode. Very few scenes in films make me jump and this one truly did. The brilliance of the physicality of the Scanning process is highly intense and the build-up in this scene had me on edge the entire time. I also think that the character of Daryl is one of the films highlights for me. He is an interesting character who was clearly distressed and reactive to the environment around him. He is relentless in his quest for world domination, even attempting and succeeding to violently kill other Scanners in order to do so. This contrasts with Cameron who is hugely reluctant to join his cause and has no inner conflict to do so. The two Scanners are polar opposites on the sides of bad and good.

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I really like the style of the film. It’s sci-fi but doesn’t feel like it due to its realistic setting. The Scanners themselves look like regular humans and the Scanning effect is very physical and relies on the actors rather than the special effects which are bring the results. The special effects are one of the strong points and are brilliantly gory. It is not a film for the faint of heart. There are exploding heads, charred bodies and plenty of guts throughout. Even the scenes that don’t have gore are full of horror as we see the affect that the Scanners have on other humans. It doesn’t feel like a horror in the traditional sense, however, because of its sci-fi aspects so it’s a film that sits in its own genre.

Cronenberg’s long time collaborator Howard Shore provides a score that really brings the film to life. The Scanning process is enhanced by Shore’s score with it’s use of futurstic sounds and abnormal tones. Being an avid fan of Peter Jackson’s The Lord of the Rings Trilogy (2001-2003), one of my favourite aspects is Shore’s revolutionary score so listening to this soundtrack made me realise what a great talent he is. He captures the tone and unease of the film perfectly that it seems that the film is shaped by the score at times, particularly those intense scenes when the Scanning is reaching the climactic point.

Overall, Scanners is a film that brings special effects in abundance but also asks a lot of its actors and the result is a great film that revolutionised the horror genre. It’s a film that showcases Cronenberg’s brilliant mind and imagination and his reluctance to follow trends and put himself in a box.

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

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Lips of Blood (1975)

I came across this film by chance on BFI player and without knowing anything about it or the director, thought I’d give it a watch (which I rarely do truth be told). Made by horror director Jean Rollin, it follows Frédéric (Jean-Loup Philippe), a 30-something man who is haunted by a childhood memory that is triggered when he gazes at a photograph of a château while at a perfume launch. The memory is immediately shown in which he encounters a young woman, Jennifer (Annie Belle, credited as Annie Briand), in the doorway of the château. His mother was always adamant that he imagined the woman but when the woman starts to appear to him, he knows that the only way he can figure out the mystery is by facing his childhood demons. Released in its native France as Lèvres de Sang, Lips of Blood is a film that provides violence, blood and sex where the vampires walk around in sheer dresses that billow in the wind.

The screenplay written by Rollin and Philippe is tight and compact making the pace of the film nice and fast. I found that this added to the suspense of the film, however, as we see Frédéric’s descent into madness and despair in his search for Jennifer. This contrasts with Rollin’s direction which tends to linger at points with brilliant use of close-ups and scenery, allowing the audience to become immersed in the location. It makes the film an entirely sensory experience which is elevated by Jennifer’s speech towards the end of the film where she explains that her spirit has wandered the landscape without leaving. There are also some questionable choices that Rollin brings to the film, the main scene being one where Frédéric locates the woman who photographed the château who we see photograph another woman who is fully naked and masturbating in front of the camera. It’s a scene that is entirely gratuitous and does not enhance the plot in any way but is clearly reflective of Rollin’s experience as a pornographic director. Again, the costume designs for the four vampires (particularly the two dressed in sheer sheets) screams sex. It’s bizarre to watch because these vampires are walking around public streets absolutely naked and it seems that no one bats an eyelid or even questions this.

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Philippe’s performance as Frédéric brings a mix confusion and distrust as each situation proves even more bizarre than the last. He doesn’t stop to question anything and instead pushes on with his mission. Frédéric’s acceptance of the situation allows the audience to become invested in the plot with no doubt. There’s a huge shift as Frédéric is torn between his God-fearing mother and the demonic vampires in the final act. This is the moment when it seems to come to a stand still as physically and mentally, Frédéric has pressed forward without thinking for much of the film. His one fixation appears to Jennifer throughout but it is only his mother who has the ability to stop him. On the other hand, there is Jennifer who is played beautifully by Annie Belle who subverts the traditional vampire trope and makes the character ethereal and (ironically) angel-like. Rollin allows the costumes to also speak for the characters with Jennifer dressed in shades of white and off-white with various textures and layers to illuminate that not all is as it seems contrasted with the single sheered material that the other vampires wear demonstrating a freedom and fearlessness.

It’s a film that I would be interested in watching again to see what else I could take from this film. This time around I really took in the use of location, costume and the cinematography but I could see the huge amount of detail given in the props in the background. I think that there is more to this film that meets the eye, particularly with the characters of Jennifer and La Mère de Frédéric (Nathalie Perrey). On researching this film on the internet, it seems that it is a fairly unnoticed film overall so I’d be interested in watching more Jean Rollin films (the horror ones that is!) and seeing how this one fits into that collection.

Have you seen this film? Let me know your thoughts in the comments below!

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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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Top 5 Leonardo DiCaprio Performances

Leonardo DiCaprio is a rare sort of actor nowadays. He is the most profitable outside of those who have worked in superhero franchises and manages to still pull in an audience of all kinds. Beloved since his career-making turn as an autistic teenager in 1993’s What’s Eating Gilbert Grape? DiCaprio has evolved from child star to young heartthrob, playboy to a mature rounded actor who can seemingly master any role he plays. This year saw his second collaboration with renowned director, Quentin Tarantino and it hs propelled him into the race for the Best Actor gongs this awards season.

During a time where his star someone seems to still be on a rise despite being at the top of his game, I thought I’d compile a list of my top 5 performances from DiCaprio. This proved difficult and it’s not to say that anything excluded means that it’s bad, I just didn’t have the space.

Here’s my top 5 in chronological order:

What’s Eating Gilbert Grape? (1993)

The film that brought DiCaprio to worldwide attention and melted the hearts of a global audience, DiCaprio plays Arnie Grape, the younger brother of the titular character (played by Johnny Depp), who acts as his carer. Playing a role such as Arnie is deeply complex and requires much maturity that a lot of actors don’t possess, but DiCaprio shows his dedication to the craft beautifully. Arnie is a hopeful individual who Gilbert thinks the world of. DiCaprio’s performance is tender and layered as we see the character’s frustration rise throughout the film until it explodes. It earned DiCaprio a well-deserved Oscar nomination for Best Supporting Actor (many people even think he should have won). A role such as this would be a good enough highlight for any actor’s resume, but for DiCaprio, this is only the beginning of a blossoming career.

Titanic (1997)

I would be lying if I said this wasn’t my favourite DiCaprio performance. The iconic love story that defines the Hollywood blockbuster and tells the fictional story of two star-crossed lovers on the doomed 1912 liner that sank to the sea after hitting an iceberg. DiCaprio plays Jack Dawson, an artist with a hard-working attitude who wins tickets for the Titanic at a game of poker. He stays in a third-class cabin with his friend Fabrizio (Danny Nucci) and fate hands him a meeting with the beautiful first-class passenger, Rose DeWitt Bukater (Kate Winslet). If What’s Eating GIlbert Grape? was a stroke of luck then Titanic cemented his superstar status. He lost out on a much-deserved Oscar-nomination but he was instantly recognised by fans everywhere. Jack and Rose’s story immediately became synonamous with classic Hollywood and the film is still loved around the world. I can’t even begin to explain how much I love this film. It must be among my most watched films of all time and partly because of the sincerity and heart in DiCaprio’s performance.

The Aviator (2004)

DiCaprio’s first collaboration with Martin Scorsese showed that DiCaprio is more than capable of leading a dramatic feature at top billing. He does so perfectly in this Howard Hughes biopic in his turn as the legendary producer through the high times of his career. DiCaprio won a Golden Globe for his performance and lost out on an Academy Award. The Aviator is an interesting insight into the Golden Age of Hollywood and what people will do to hold onto the power and fame that they have. Even against a strong supporting cast, particularly Cate blanchett in an Oscar-winning turn as Hughes’ love interest, Katharine Hepburn, DiCaprio holds himself with ease. I was torn between this and his more recent Scorsese collaboration, The Wolf of Wall Street but I think that this film bridges the gap between his heartthrob days and his breaking into “serious” acting as he isn’t afraid of allowing him to become immersed in the role.

Django Unchained (2012)

After scheduling conflicts got in the way of him playing Hans Landa in Inglourious Basterds (2009), Quentin Tarantino cast DiCaprio as the evil plantation owner, Calvin Candie who is introduced into the 3 hour film halfway through but manages to make such an impact that it influences the entire film. The film follows former slave, Django (Jamie Foxx) as he and bounty hunter Dr. King Schultz (Christoph Waltz) seek to track down and free Django’s wife, Broomhilda (Kerry Washington) who has been sold to Candie and works at his Candieland plantation. It’s a film that was mired in controversy from the beginning due to its excessive use of racial slur and extreme violence. The hard-hitting parts of the film come from Candie’s treatment of the slaves such as forcing them to partake in “Mandingo fighting” where two black men are forced to fight to the death for their owners’ entertainment. The scene is brutal and hard to watch as Django looks on helplessly as Candie cheers as his man wins. What makes this role so different for DiCaprio is that this role is the first where his character is not lovable in any way. Candie’s evil nature is clear when he has a slave ripped to shreds by dogs in front of Django to show his power as a white man.

Once Upon a Time in Hollywood (2019)

In his second collaboration with Tarantino, DiCaprio is promoted to the leading role as fading actor, Rick Dalton. Once Upon a Time in Hollywood is witty and shows DiCaprio in top form. I have written a full review which you can read here. I wouldn’t be surprised to see DiCaprio’s name filling up nomination spots come awards season as this is a role that he pulls off fantastically as the self-pitying, alcoholic actor.

As I come to the end of this list, I want to give a really special shoutout to his mega turn as Jordan Belfort in martin Scorsese’s 2013 hit, The Wolf of Wall Street. Admittedly, this is the top 5 that my gut went with and it breaks my heart not to include this or his Oscar-winning turn in Alejandro Gonzalez Inarritu’s The Revenant but as I said in my introduction, there are so many performances to choose from and they are the five that made the biggest impact on me.

What do you think? What’s your favourite Leonardo DiCaprio performance? Let me know in the comments below!

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Inferno (1980)

Dario Argento’s second feature in his Three Mother’s trilogy transport us from the Freiburg set Suspiria (1977) to New York where a young writer, Rose (Irene Miracle), is suspicious of a curse within her building. After reading an antique book titled The Three Mothers, she finds that the apartment block she lives at was once occupied by one of the Mothers. The Three Mothers rule the world with sorrow (Mater Suspiriorum who lives in Freiburg), tears (Mater Lachrymarum who lives in Rome) and darkness (Mater Tenebrarum who resides in New York). With Mater Suspiriorum meeting her demise in Suspiria, we now see Mater Tenebrarum face off those who rebel against her rule in New York. Tenebrarum is the cruelest of the sisters and the deaths in this film definitely reflect that.

Directed and written by Argento, Inferno carries on the themes explored in Suspiria but on a seemingly bigger scale. The stronger scenes are those based in the Mother’s domains as their presence can be felt at every corner. Argento’s love for the dramatic is also carried on in this film with lingering suspense and exaggerated deaths. Upon a traumatic discovery in the cellar of her apartment block, Rose writes to her brother, Mark (Leigh McCloskey), who is studying music in Rome and begs him to come and help her solve the mystery. From the moment Rose posts the letter, deaths begin to happen to whomever the siblings come across with Mark dealing with Mater Lachryrum during his time in Rome. Like Susie Banyon (Jessica Harper) in Suspiria, Rose is a strong and independent female character which is refreshing to see in classic horror films. Romani Albani is brought on as cinematographer and does a brilliant job of bringing Argento’s vision to life by bringing contrasts throughout the film from the surreal apartment that Rose’s sickly neighbour, Elise (Daria Nicolodi) lives in to the gritty sewers of Central Park. It feels like visual growth from Suspiria.

The film is filled with suspense from start to finish with a breathtaking scene in the cellar as Rose tries to search for the clues to lead her to the mysterious owner of the building. When her necklace falls into a deep pool, she is forced to dive and founds an underwater ballroom in a scene that sets the tone for the rest of the film. Argento never allows the audience to feel settled and the only scenes that don’t contain scares or violence tend to be those where background story is given in Argento’s signature fairytale way. Even the introduction begins with Rose reading an excerpt from The Three Mothers aloud in a way that makes it seem like an adult fairytale. Much like Suspiria, the experience of Inferno is heightened by the amazing soundtrack with a score composed by Keith Emerson who does a brilliant job. He combines new electronic sounds with dramatic operatic pieces to add to the unbalanced ambience that the film creates. It’s a striking score that I think is overlooked due to the iconic association that Argento has with The Goblins who composed the stellar music for Suspiria. What Emerson does is create an entirely different film with his unique sound.

My favourite scene comes near the beginning of the film when we are first introduced to Mark who is attending a classical music session. As he tries to read Rose’s letter, he is distracted by Mater Lachrymarum who is disguised as a beautiful student (Ania Pieroni). He can see that she is mouthing something at him and he feels pain. It is an intense scene as the wind picks up and he is visibly uncomfortable. When he snaps out the pain, she has mysteriously disappeared and he accidentally leaves the letter behind. It’s a brilliant scene that uses the classical music as the main force of emotion as the gradual crescendo coincides with his building pain.

Although the film overall isn’t as tight as Suspiria, I think it is highly underrated. I think that Suspiria is a stronger film because it focuses on the first witch but Inferno brings in the remaining witches with the first act showing killings in Rome before travelling to New York. I think the short running time of 90 minutes means that we don’t spend much time in either place. On release, this film was critically panned but over the years has developed much love in retrospect. In some ways I find this film more interesting than Suspiria because it brings in the legend of The Three Mothers. Much like Suspiria, the aesthetic of the film is beautiful as well with Argento’s signature use of bright contrasting colours to set the mood of the scene and plenty of gore and blood throughout. There is clearly a lot of passion that was put in this film and it’s a shame that the film did badly on initial release. It’s a horror film that I think will only get better with time.

What do you think of Inferno? Did you like it or loathe it? Let me know in the comments below!

You can my review on Suspiria here!

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Ready or Not (2019)

These past couple of years have seen a resurgence in horror films and it seems that a lot of writers and directors are using the genre to push forward ideas and responses to the current political climate. Ready or Not is definitely among this class of horror film, incorporating messages on classism in an increasingly divided landscape where the rich appear to be getting richer against limited social mobility for the poorer. Led by rising star, Samara Weaving plays Grace, a woman who was raised in foster homes who finds herself marrying her dream guy who just so happens to be a part of a huge family dynasty that owns a large gaming company. When face with the odd tradition that she has to play a game before being a part of the family, it becomes a game of cat and mouse as the family attempt to kill Grace as part of a ritual.

The film definitely lives up to its 18 rating with f-bombs everywhere and gore galore that makes Midsommar feel like a Disney film. If Netflix’s The Babysitter was a mere introduction to Samara Weaving then Ready or Not has cemented her status as the newest Scream Queen. Grace is a brilliant character who is fully aware of her position as an outsider from the beginning. At first she attempts to resist playing the game but seeing the seriousness in their attempt to kill her, she is forced to become efficient and do things she never thought she would. With a brillient supporting cast including Mark O’Brien as Alex, Grace’s new husband, Adam Brody as Alex’s conflicted brother, Daniel and Andie MacDowell as Alex’s mum. It’s a film that shows the complexity of human nature as each of the characters are thrown into this unexpected situation.

The screenplay is brilliant and makes use the singular space that the film inhabits. Written by Guy Busick and R. Christopher Murphy and directed by Matt Bettinelli-Olpin and Tyler Gillett, this film could have easily fallen flat with so many creatives at the helm, particularly given the limited setting and characters but they fought the odds and came up with a film that is smart and tied together. The scene in which Grace is told the backstory of the family before selecting her game is hugely intense as the audience knows that they cannot trust anyone. The film is full of symbolism and pay offs, the most obvious being Grace’s wedding dress. The difference between how it looks at the start and the end really hits home the events of the film. Another aspect of the film that was unexpected is how funny it was throughout. Even in the most gruesome scenes, the writing is witty and on point as the clueless relatives try to deal with the prospect of actually killing someone. One hilarious relation, Fitch (Kristian Bruun), spends some of his time learning how to use a crossbow on YouTube.

You’ll have to withstand a lot of gore but it’s a fun film to watch and is definitely worth watching on the big screen if you get the chance. I think it’ll go down as a modern favourite for horror fans and I look forward to seeing what Samara Weaving does next.

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

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Midsommar (2019)

As Summer is coming to an end, I thought it would be apt to write a post on my favourite film of the season. Unsurprisingly enough, it comes in the form of a summertime nightmare with Ari Aster’s second feature Midsommar. Following on from his brilliant debut, Hereditary (2018), Aster has managed to surpass expectations and once again brings us a new and refreshing take on traditional horror. The film follows college student, Dani (Florence Pugh) who joins her boyfriend, Christian (Jack Reynor) and his friends: Mark (Will Poulter), Josh (William Jackson Harper) and Pelle (Vilhelm Blomgren) on a trip to Sweden to observe a rare festival among Pelle’s familial commune. Things quickly turn sour as members of the group begin to disappear without a trace. It’s easy enough to expect a film in the same vein as The Wicker Man when introduced to the pagan style life the commune leads in the Swedish woods.

Florence Pugh’s leading turn only helps to further push her presence as an actress to watch. Dani is one of the most complex female characters to arise from modern cinema. We see her shift from the Westernised world that she lives in where there is no hope for her to the cult where she begins to feel belonging. It’s a haunting portrayal of depression and anxiety and is shown in an explicit way that hasn’t been explored before. The events in the film happen due to other’s people actions but they are always directly in relation to Dani and her welfare. Pugh’s acting chops are really highlighted in the dance scene where she becomes so absorbed in the competition that she finds herself speaking Swedish fluently with her competitors. The scene is transformative for Dani as she allows herself to be open to the ceremony and the community.

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The supporting cast also knock it out the park with their performances. Will Poulter in particular gives a career best as the ignorant Mark, who literally and figuratively pisses all over the commune’s celebrations. Whereas Dani’s demons are hidden below the surface, the male characters’ flaws are on show for all to see. Whereas Dani is ridiculed for her struggles in US, the tables are turned for the men in the commune as women dominate the landscape. The film’s goriest scenes are mainly at the cost of the ignorant visitors and yet it doesn’t feel like a slasher film. The audience, like the characters, are outsiders but they are invading the ceremony and evoke little sympathy from the audience because of their ignorance and greed. Jack Reynor also excels as Dani’s emotionally distant boyfriend, Chris. He has allowed himself to become so detached to Dani that he acts emotionless and unsympathetic when tragedy strikes at the beginning of the film. He is unwilling to see how wrong he treats her as she struggles to fight for his love and repair things. During the film, we see Christian’s confidence shaken as he becomes targeted by the cult.

As expected, Aster’s script and direction showcase his talent as an original voice in film and his fearless approach to filmmaking. He isn’t afraid to explore taboo subjects or make the audience uncomfortable. One such scene is during an ättestupa ceremony where two elderly people jump from a high cliff. Aster doesn’t allow the camera to turn away as we see the bodies hit the ground. The reactions that Dani and co feel become all the more real because Aster forces the audience to experience it as well. It’s a film that demands the attention in details from its audience. Every aspect of the costumes and set have been well thought out and serve a purpose that pay off later in the film. The use of striking visual sets make it a memorable film and the immaculate beauty of the cult’s village make the strict lifestyle all the more terrifying. I think this film shows a growth in directorial vision from Aster’s standpoint as he really allows the audience to get into Dani’s psyche. The true brilliance of this film is Aster’s ability to contrast Dani’s claustrophobic feelings to the open space that the commune live in so effectively.

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Another aspect I loved about the film was the use of costumes. Not only the ethereal and fresh qualities the commune colours have which seem refreshing when we first see the village. The standout costume, however, comes in a brilliant floral creation worn by Dani in the films final scenes. In any other film, it would seem ridiculous but it makes sense in this film. It both stands out and blends in at the same time and plays a big role in the terrifying climatic scene.

If it were up to me, this film would be a safe contender for various mainstream awards but I am aware that it is too violent and “out there” for some. It is not a film for the faint of heart or easily offended. Between the subtle cannibalism, male frontal nudity and graphic sex scenes, this isn’t a comfortable film to watch but that is what makes it such a brilliant piece of cinema.

What did you think of the film? Did you like it as much? What was your film of the summer? Let me know in the comments below!