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Hustlers (2019)

One of the most hyped films of the year comes in the form of Lorene Scafaria’s crime drama, Hustlers. Based on the New York Magazine article that follows a group of strippers who drug and con Wall Street men off their money during the 2008 recession. The film stars Constance Wu as Destiny, a former stripper who is interviewed by Elizabeth (Julia Stiles) who is conducting research for her article. Destiny reflects on her rise to the top with the help of veteran stripper, Ramona (Jennifer Lopez) and together they concoct a plan that sees them milking the Wall Street types for all they’re worth. This film could have easily slipped into a male gaze fantasy that sexualises the women and focuses on their bodies rather than their minds and motivations but luckily, with a female director and female majority clue, this film becomes a poignant reflection on the treatment of women and the recklessness of the rich who exploit the poor.

Lorene Scafaria’s direction and script is brilliant with multiple characters receiving plenty of depth and screen time all while keeping it boxed in within the interview narrative. It’s a simple technique to use to detach the audience from the dramatic events in the film. Aside from these glimpses into the future interview, the flashback follows a linear structure and shows the budding relationship between Destiny and Ramona as well as their falling out. The genius of Scafaria’s direction comes in focusing on the faces of the characters rather than their bodies. As Ramona does her opening dance, the screen flits to Destiny who looks on in awe as well as Ramona herself who clearly knows exactly what she’s doing as she writhes in a pile of money. Another brilliant scene is when Destiny grows tired of being interviewed by Elizabeth and switches off her recorder. What follows is a scene of silence to reflect that Destiny is now protected from this woman who has lived such a different life from her. Constance Wu was the perfect choice for Destiny. The difference between her as an aspiring stripper and the uncomfortable woman who has lived through the experiences at the interview is like viewing two different people. Wu doesn’t hold back in her vulnerability. Destiny is clearly a rookie at her job and to see Ramona take her under her wing rather than set her up for failure is something that a film created for the male gaze would not do. This is an authentic view of womanhood and it’s made all the more empowering knowing that it was made by a woman and features a collection of strong female characters.

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I think it’s only right to give Jennifer Lopez her own section. The triple threat truly comes into her own as Destiny’s mentor, Ramona and has subsequently earned multiple major award nominations so far including Golden Globe and SAG nominations for Best Supporting Actress. It’s pretty inevitable that she will receive an Academy Award nomination at this point also and deservedly so. Ramona is presented as ruthless but caring, mentor and mother. She sees herself in Destiny and only wants to give her the best life that she never had. Despite her many flaws, we are drawn to Ramona and we understand why she thinks the way she does despite the danger in her plans. Her experience as a woman of colour who’s livelihood is dependant on the rich white men of Wall Street is shattered as she decides to take these matters into her own hands. Ramona understands that the only way to achieve the American Dream is to rely on oneself rather than lean on an unreliable patriarchy that is all to happy to kick those less fortunate to the curb. The audience doesn’t see Jennifer Lopez. From the first moment she appears on the screen, she is Ramona.

In terms of the supporting cast, we see Keke Palmer, Lili Reinhart, Cardi B and Lizzo popping up on the screen as fellow strippers. It’s great to see a majority collection of strong women of colour in a film that builds them up rather than knocking them down. Their lifestyle isn’t glorified but it isn’t judged either. It simply is. Cardi B was cast due to her past experience as a stripper before hitting the bigtime and Lizzo is cast due to her positive body message that she likes to convey in her music. This proves how important it was to Scafaria that the female cast have confidence and aren’t ashamed of their characters. Hustlers is a brilliant example of a film by women for women. I look forward to seeing what else Scafaria has up her sleeve as well as Lopez’s next acting ventures. It’s a film that brings a spectrum of emotions while remaining true to its message and true to the characters. Hustlers presents us with the argument that not everything is black and white and although openly flawed, the motivations are not to be glorified or judged. These are events that simply happened as a consequence of context.

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The soundtrack is packed with nostalgia as we are truly thrown back to old school hits that range from Janet Jackson to Britney Spears. There’s even a cameo from Usher as the singer was reported to have visited the club. The film becomes elevated by its music. After all, it provides the literal backtrack to the women’s dance so picking the right songs is key. It is cleverly mixed with classical pieces that help to detach those scenes of adrenaline with the more hard-hitting drama. One aspect of the soundtrack that I thought was genius was not including songs by Jennifer Lopez, Cardi B or Lizzo. Despite the idea of an original collab being incredible and Oscar fodder that everyone would eat up, omitting their musical achievements outside of the film allows them to embrace the characters they are and brings the audience to a higher level of relatability and believability.

In a year that has seen many brilliant films written and directed by women, Hustlers is a great insight into the future of female cinema. If you haven’t seen this yet, I highly recommend that you do. As always, let me know what you think of Hustlers in the comments below!

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Academy Award Best Picture Ranking: List

I’ll be updating this list with each post that goes up so eventually it will have all 90 films. Working my way back has proven interesting so far and it’ll be even more so as I go further back and have to weigh up timeless classics like Casablanca and compare them with more modern classics like Birdman.

When I was working on my Disney ranking, it became apparent quickly that the list would have been better on a separate post which I did publish at the end.

Here is the ranking so far:

20) Crash (2004)

19) Green Book (2018)

18) Gladiator (2000)

17) Spotlight (2015)

16) Argo (2012)

15) Chicago (2002)

14) The King’s Speech (2010)

13) A Beautiful Mind (2001)

12) The Artist (2011)

11) Million Dollar Baby (2004)

10) Slumdog Millionaire (2008)

9) The Hurt Locker (2009)

8) The Departed (2006)

7) American Beauty (1999)

6) The Shape of Water (2017)

5) Birdman: or the Unexpected Virtue of Ignorance (2014)

4) 12 Years a Slave (2013)

3) No Country for Old Men (2007)

2) The Lord of the Rings: The Return of the King (2003)

1) Moonlight (2016)

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“Got invited to the Christmas party by mistake”: The Rise of the Unconventional Christmas Film

There are many certainties at Christmas. An extensive wish list that is left unfulfilled, copious amounts of mulled wine is consumed and the never-ending debate of “Is Die Hard a Christmas film?” is discussed in a ridiculous amount of detail. The long-endured debate has been discussed by fans, critics, even cast and crew from the blockbuster as they puzzle whether it is a Christmas film filled with action or if it is an action film that just so happens to be set during the festive season. One thing is for sure, it has become one of the most popular flicks to put on during the darker months as we see its inclusion among films such It’s a Wonderful Life and A Christmas Carol (and A Muppet’s Christmas Carol if you’re me). It begs the question: how does a film qualify as a Christmas film? After all, Die Hard isn’t the first Christmas film where the festivities take a back seat. Tim Burton’s Batman Returns is another one often watched and follows a similar trend in that it is action focused. Even the most loved seasonal family films like Home Alone and Gremlins have splashes of Christmas but again the action and plot outweighs the Christmassy elements. However, this doesn’t reduce the Christmassy feeling that these feelings bring and thus begs the question: if a family action film set at Christmas can qualify as a Christmas film, then why can’t an adult action film also fall under the same snowy umbrella? And what about films set at Christmas but don’t revolve around Christmas? Do they qualify also?

A good example of the latter would be Stanley Kubrick’s swansong Eyes Wide Shut (1999). Starring Tom Cruise and Nicole Kidman as married couple Bill and Alice who are living the high life in New York City with their daughter, Helena. After Alice reveals her sexual fantasies to Bill, Bill sets off to find his former college friend, Nick, who he had seen earlier that evening. One thing leads to another and Bill ends up decked in a hooded cloak and Venetian mask in an affluent mansion witnessing a mass orgy taking place in every room in the house. The film is famed for this sequence which is one of the intense and terrifying scenes you can encounter in this film, purely because you don’t know anyone except Bill. It doesn’t sound very festive and yet it has become somewhat of an underdog Christmas film due to the festive season timeline and numerous decorated sets. It’s the ultimate anti-Christmas Christmas film. This film brings in the argument that you can have a very adult film, surrounded by Christmas but rejecting the values as we see this family spending the festivities apart from each other – poor Helena is stuck with the babysitter constantly. Kubrick subverts those traditional morals of the festive time and questions the concept of the Christmas film. This film is a visual and literal antithesis of It’s a Wonderful Life. Where It’s a Wonderful Life shows love, family and kindness, Eyes Wide Shut gives sex, language and violence in abundance. The only similarity the two share is that the patriarch is thankful to live and grateful for what he has but the journeys to get there couldn’t be more different.

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Where Eyes Wide Shut rejects the morals of Christmas and family values, Todd Haynes’ modern masterpiece Carol does everything it can to uphold them. Set in 1950s New York and following department store sales assistant, Therese Belivet (Rooney Mara). Therese is an aspiring photographer, has a great social life and a boyfriend who wants to marry her and take her to Paris as soon as possible. I have written a fuller review on Carol which you can read here. Everything is wonderful, conventional and seems to have everything you could want in a traditional Christmas film. Where Carol seems to differ is the moment when Therese, geared up with a Santa hat and working her shift glances over and sees a well-dressed woman staring back to her. This woman is Carol Aird (Cate Blanchett) and the moment I just explained can only be described as love at first sight. What subsequently follows is a heart-wrenching story of two women who long to be together in a society that wishes to draw them apart. Carol has become a phenomenon in the LGBT+ film world and with good reason. It is a perfect example of a modern Christmas film. The Christmassy music, the warm colour palette and the natural way Blanchett and Mara portray the blossoming love between the women has all the makings of a classic Christmas film. In fact, I would argue that Carol the perfect example of a modern Christmas film. It keeps those traditions from earlier Christmas films but is subtly progressive at the same time.

Lastly, there are films that give the feeling of Christmas without actually presenting any festive connection. A prime example would be The Wizard of Oz (1939) which has become a regular during Christmastime for many families. The use of dreamy technicolour, traditional family morals and Judy Garland’s voice is the perfect combination for a festive treat that is perfect for those who like Christmas films and those who don’t. It’s the perfect good vs. evil story as Dorothy finds herself from black and white Kansas to the colourful land of Oz. To get back home, she has to defeat the Wicked Witch of the West with the help of the mysterious Wizard. If we are willing to include films like The Wizard of Oz to the roster of Christmas films then does that suggest that it is the tone of the film rather than the setting of the film that qualifies it? The Wizard of Oz certainly argues this. Of course what the film also has in its favour is the decades of Christmas day showing on TV since its release. It has become a staple for many families and their descendants. It would be interesting to see what modern films become the equivalent in the future.

Naturally, it will always come down to individual taste and opinion but it is interesting how the rules differ dependant on the film itself. Whether its the themes, tone or Christmas setting that decides it for you, there is a trend that sees modern films subverting the more traditional festive tropes that you see in classics like Miracle on 34th Street (1947). I think this is in part due to Die Hard sparking this debate as there is an increase in more self-aware Christmas films over the past 30 years. Regardless of whether you think that films like Eyes Wide Shut deserve a place on the list of Christmas films, it looks like unconventionality is here to stay.

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It’s a Wonderful Life (1946)

The one film that is brought up time and time again during Christmas time and globally known as the Christmas film to watch. Following community hero, George Bailey (James Stewart) during his highs and lows in life, we see him in the lowest moment and guardian angel, Clarence (Henry Travers) shows him what Bedford Falls would be like if Bailey was never born. Directed by Frank Capra, it’s a classic tale about the loved ones you have around you and the love you have for them in return. We follow George falling in love with the beautiful Mary (Donna Reed) which is sparked in one of my favourite scenes in film history as they sing “Buffalo Gals” and talk about lassoing the moon. So what is it about this film that makes it so well loved?

For starters, the feel-good nature of the film is perfect for family viewings, especially around Christmas time. Another appeal is the film’s fearlessness in exploring darker themes such as capitalism, the loss of the American Dream and death by suicide. George Bailey isn’t portrayed as more than the ordinary American man. He is a character of high moral character and this makes his fall from grace even harder to stomach. James Stewart is remarkable as Bailey in what has become the definitive Stewart performance. Albeit a bit awkward when portraying a younger Bailey as he looks so much older but he pulls it off because Bailey himself is a man who is older than his years. Bailey hasn’t been blessed with an easy life as he loses his father at a young age and is forced to take over his father’s business instead of travelling but he takes to it and thrives. His wife, Mary (Donna Reed) does well to keep him grounded and motivated. She has her own strength as she is unafraid to stand up for what she believes in. Mary isn’t as straightforward as the audience would believe. She has a complexity about her when she disappoints her mother by marrying George rather than the successful Sam Wainwright (Frank Albertson) or when she has to deal with remaining in Bedford Falls as George gives their Honeymoon funds away to avoid the bank’s closure. There is a lot of pressure on Mary to support both her husband and the family home, especially in the midst of a crisis. Even when George is angry, she refuses to let him get away with it while at the same time remaining composed and compassionate.

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Onto the sidekick side of things, Henry Travers captures Clarence’s purity perfectly. From his fascination with the stories of Mark Twain to his inability to mask his angel status, Clarence is a beloved character in film. In a community where George is seen as a guiding light, it is only Clarence that can save him from himself. Clarence is completely sympathetic and importantly empathetic with George’s problems. The audience watches the life of George Bailey through the eyes (literally and figuratively) of Clarence. With every classic hero there has to be a villain. This comes in the form of Mr. Potter (Lionel Barrymore) who owns nearly every business in town as well as a large portion of property, meaning that he owns its residents also. He is a depiction of the greed and capitalism that prevents the American Dream and leaves those who long for it struggling for the rest of their lives. He is a miserable old man with no family and friend and is only surrounded by his employees. Where George sees friends, Potter sees customers.

There is something nostalgic about watching this film. Not simply from watching it a thousand times since I was small, but something distant about the simple way of living in Bedford Falls. At its heart, It’s a Wonderful Life is in itself a simple film but it is only made complex when those who dare to dream almost thrive and are then shot down. The lovely touch of including Clarence, an angel who has yet to earn his wings, brings in a bit of magic while Capra’s clever direction keeps the magic to a minimum in a bid to make the film as real as it can be. In some ways, his vision of Potter is reminiscent of Scrooge in A Christmas Carol before he is visited by ghosts. It’s just as beautiful in black and white as well as colour, it will always leave you in tears of laughter and sadness.

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What It’s a Wonderful Life does so well is its neutrality in portraying the ordinary American life but showing the extraordinary achievements that a community can make together. It’s a film about the importance of family, being loved and loving others. There are many aspects from the film that could be brought through to today such as Potter’s ideals. It could be argued that most people live in Pottersville in this day and age. In a time of great challenge, it is nice to watch a film that shows people overcoming the odds. It’s a film that can never date because its a film about humanity and the chasing of dreams. I would forever argue that this is the best Christmas film because there is no grandeur in it and no attempt to be a big shot and big budget superstar film. It is a humble story of how one man’s life touches that of his family, friends and the community at large. George is a small piece of a much larger puzzle and it is only when he realises his own self-worth that he recognises the ability to pull the community together to stop Potter from destroying the town with greed.

What do you think about It’s a Wonderful Life? Let me know in the comments below!

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Top 5 Emma Stone Performances

Emma Stone is one of the most exciting young actresses working today. She worked her way up in the ranks of quirky teenage comedies proving her ability to perform in an array of roles in various genres along the way. In such a short career, we have seen her portray a young writer in a segregated community in the 1960s Deep South, the drug-addicted daughter of a washed-up actor and a conniving maid working her way up to win the favour of the Queen of England. Naturally, she has made some mishaps in her career (most notably, her controversial turn in Aloha as a quarter-Chinese, half-Hawaiian woman which she openly regrets) but for the most part, she has grown and matured as a performer. Even her turn in the darkly comedic picture, The Favourite shows a huge improvement from her turns in Superbad and Easy A.

Nominated for 3 Oscars with a win in 2016 for La La Land, Stone’s star shows no sign of dimming any time soon and with her upcoming Cruella de Vil origin story set to hit the screens in 2021, it’s exciting to see what else she will do. She is a star who doesn’t divulge hugely in the celebrity lifestyle and clearly has an ingrained passion for her craft which is refreshing to see. Easy A proved to be her breakthrough into leading roles and what she has achieved within a decade, most people would spend their whole careers dreaming of. What better way to celebrate Stone’s illustrious career than discussing the highlights.

Here are my top 5 Emma Stone performances in chronological order:

Easy A (2010)

Stone’s first leading performance just so happens to be one of the 21st century defining teen comedies. Stone plays Olive Penderghast, a bright and overlooked student who is quick with her wit and yet underwhelmed with her current social standing. During a party, she pretends to have sex with a friend to stop rumours that he is gay and word quickly spreads about “slutty” Olive as she pretends to have sex with guys in her school in exchange for gifts. We see Olive thrust into the spotlight reluctantly and judged by her peers and the teachers at her school. The script is fantastic and the scenes where Olive and hardcore Christian Marianne Bryant (Amanda Bynes) face off are incredible. Olive is a brilliant character because she is so self-aware of the mistakes that she makes and the web of lies that she is trapped within. It is the sincerity that Stone portrays Olive with that really brings that emotion to the surface as she records her side of the situation on the webcam. She doesn’t try to justify what she has done but she uses it to explain why she decided to do what she did. There is also an amazing supporting cast including Stanley Tucci and Patricia Clarkson as Olive’s parents and a welcome cameo from Malcolm McDowell as Principal Gibbons. Even though it is a film aimed for a teenage audience, there is plenty there for an adult audience to enjoy.

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The Help (2011)

This film sees Stone cast against type and venturing into more dramatic roles. The Help is a film mired in controversy due its white saviour narrative disguised in a well-meaning intentions. I do believe that director, Tate Taylor, didn’t realise this when making the film and I do think that the cast do a brilliant job with the script that they’re given. Stone portrays the lead, Eugenia “Skeeter” Phelan, an aspiring journalist who looks to chronicle the treatment of black maids in Jackson in 1960s Mississippi. Skeeter fits the typical white saviour tropes as her character has been created with hindsight. She is made to be an outsider as she doesn’t fit in with the ideals that are expected from the white community as she yearns to have a career in a “man’s world”. Because she doesn’t fit in with the white community, she finds that this is something she has in common with the black community, specifically the maids who work for her friends and Constantine (Cicely Tyson), the Phelan family’s maid from Skeeter’s childhood. These are definite flaws that are present throughout the film and have been justifiably addressed since the film’s release. I have included Stone’s performance in this list, however, because I think that this performance shows a different side and her ability to lead a large starry cast. The Help was made with a big budget and did extremely well in the box office and critically, receiving nominations in awards season and wins for Octavia Spencer who plays the brilliant Minnie. Stone plays Skeeter interestingly as she is a character who observes and listens to the stories. She steps back and watches the action unfold. A lot of her acting in this film is through expression rather than words which Stone brings in abundance and although the concept of the film is flawed, I think the sincerity that Stone brings to the character shouldn’t be entirely overlooked.

Birdman: or the Unexpected Virtue of Ignorance (2014)

Anyone who claims that Stone has just struck lucky and isn’t a good actress needs only to watch her performance in Best Picture winner Birdman. The film follows Riggan Thomson (Michael Keaton), an actor known for his previous outings as superhero Birdman and his attempt to break into serious acting by directing and starring in an adaptation of Ray Carver’s short story “What We Talk About When We Talk About Love” work on Broadway. Stone plays Sam, Riggan’s daughter who has recently come out of rehab and is learning to adjust without drugs. It’s a small role and yet Stone shines bright among the starry cast. The scene in which she has a breakdown after Riggan finds her weed is astonishing and well-deserving of the Oscar nomination that Stone received. This is a role in which see a darker side of Stone where the character of Sam is emotionally exhausted which comes across in Stone’s physicality. Her character drifts and becomes ghostlike such as the dressing room scene in which she fades into the background as Lesley (Naomi Watts) storms in and starts ranting about her to Mike (Edward Norton). In a film that relies on such quick pacing and non-stop movement by its cast and crew as the camera winds its way down the corridors of the theatre, it is Sam that brings it to a halt in her scenes. Her easiness and contemplative nature are reflected in the way the film is structured and her scenes see her fixated in one room rather than moving.

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La La Land (2015)

La La Land showed Stone’s already shining star skyrocket to a global phenomenon as she swept awards season for her role as Mia in Damien Chazelle’s homage to the classical musical. The film follows aspiring starlet Mia who works in a café at a film studio and her chance encounter with aspiring jazz musician, Sebastien (Ryan Gosling) and their subsequent romance. The film is clearly inspired by films such as Les Parapluies des Cherbourg (The Umbrellas of Cherbourg) and Casablanca which Chazelle has listed among his favourite films. It’s a beautiful film filled with nostalgia while giving it a 21st twist and innovative direction. Stone is impeccable in her role as an actress playing an actress who is yet to have a big break in Hollywood. We see her fail in auditions initially mainly due to her lack of confidence. Her passion for acting is clear when she talks but she is unable to project that passion for the casting directors. Through the film and the romance with Sebastien, she becomes unguarded and unafraid to be herself. The character is refreshing and begins to experience a new perspective on life. This results in the iconic audition scene, with the song “Audition”, in which Mia sings about an aunt whose freedom inspires her.

The Favourite (2018)

Probably my favourite Emma Stone performance, The Favourite is a brilliant insight into British history from the weird mind of Yorgos Lanthimos. Stone plays Abigail, a young maid whose father gambled her off in a whist. She arrives at Queen Anne’s (Olivia Colman) palace seeking employment and works in the kitchens as a scullery maid until the ruthless and watchful eye of her aristocratic cousin, Sarah, the Duchess of Marlborough (Rachel Weisz). It’s a fantastic love triangle as Sarah and Abigail fight for the Queen’s favour. The film undoubtedly belongs to Colman, who won an Oscar for her troubles but Stone is utterly captivating. She bounces off perfectly to both Colman and Weisz, allowing her cruel nature to bubble beneath the surface. Sarah is known for her loyalty to the crown and her firmness but Abigail keeps her motivations hidden and brings a sweet and innocent exterior. It’s extraordinary seeing Stone play such an evil character with so much charm and charisma that her award nominations were inevitable. This film was my favourite from this year’s awards season and it was such a shame seeing it not receiving the attention that it deserved. It’s so rare seeing three female characters dominating a film with fleshed out personalities that are complex and captivating and that’s exactly what Lanthimos has done. I would love to see another Lanthimos/Stone collaboration on the cards in the future.

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It’s amazing to think that these 5 performances show different sides to Stone and yet there is a 8 year difference between the first and last with three Oscar nominations, including a win in between. I don’t think that Stone is an actress who should be overlooked and I think that she is someone who has even more up her sleeve. I am very excited to see what the future brings for her.

Which Emma Stone performance is your favourite? 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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Paul Thomas Anderson: Film Ranking

Paul Thomas Anderson is known for his experimental and fearless quest into exploring characters in ways that are unflinching and at times, uncomfortable.

With the exception of last place (I really struggle with the age-gap in the relationship), I’ve watched these films multiple times and some of them are among my favourite films of all time.

Here’s my ranking for the filmography of Paul Thomas Anderson:

  1. The Master (2012)
  2. There Will Be Blood (2007)
  3. One Battle After Another (2025)
  4. Boogie Nights (1997)
  5. Phantom Thread (2017)
  6. Magnolia (1999)
  7. Inherent Vice (2014)
  8. Punch-Drunk Love (2002)
  9. Hard Eight (1996)
  10. Licorice Pizza (2021)

Which PTA film is your favourite film? 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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The Red Shoes (1948)

This technicolour wonderland is one of the best (if not the best!) film in the history of British cinema. Directed by Michael Powell and Emeric Pressburger, It’s become known as a masterpiece and is constantly an inspiration for many artists alike and with good reason. Following Victoria Page (Moira Shearer), a ballerina who joins a troupe as the lead in the new ballet The Red Shoes. She begins to find a conflict between her professional relationship with the insufferable genius, Boris Lermontov (Anton Walbrook) and a personal romantic relationship with the troupe’s composer, Julian Craster (Marius Goring). Soon enough, the ballet of The Red Shoes begins to seep into Victoria’s reality and she is eventually broken down by the idealisations that are expected of her. This is a film that breaks the boundaries of the filmmaking experience. It’s very premise of the ballet within the reality of the film soon becomes blurred and the tone of the film changes from a basic aspirational drama to a psychological thriller. Inspired by the Hans Christian Anderson fairytale but given an original makeover by The Archers (as Powell and Pressburger were collectively known), this film delves into the dark side that fairytales ventured into which is a contrast to the Disney films that were dominating the global market. Even 70 years on, the topics in the film feel just as relevant today.

The Archers’ brilliant direction and script effectively contrast the freedom of dance with the claustrophobia and obsession with perfection. Nothing sums this film up more perfectly than Vicky and Boris’ first exchange:

Lermontov: Why do you want to dance?

Vicky: Why do you want to live?

Lermontov: Well, I don’t know exactly why, er, but I must.

Vicky: That’s my answer too.

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Dancing gives Vicky the freedom that she craves but unbeknownst to her in the beginning that the freedom she “gains” from dancing for Lermontov is merely his vision. He is the puppet master pulling the strings. As Vicky grows closer to Julian and begins to finesse her own skills, she begins to resist and she finds herself no longer wanting to dance but unable to rid herself of the red shoes. The ballet sequence in which we see Vicky encapsulate her character and venture into the nightmare world of the dance is horrific. Her own emotions have merged with the character. Her dancing has become her life force. Then there’s the conflict she has between Julian who is an aspiring musician who is working for pennies and has the freedom to create the material he wants and then Lermontov who requires strict control over the whole operation. I think it is to Powell and Pressburger’s credit that they manage to succeed in creating three entirely different yet well-rounded characters who all have their motives and flaws. It’s a film that feels progressive even now and doesn’t belong to a particular time. It’s reluctance to slot into a specific genre is also reflective of this as it is a drama, thriller, horror, dance piece all in one.

I think that Shearer’s performance is one of my favourites in any film. She shines as Vicky and really brings out the talent and the grandeur of the role. Despite her privilege (we first see her sat in a private box watching the ballet), Vicky shows her natural passion and talent which impresses Lermontov who initially dismisses her because of her background. Despite Vicky’s flair for ballet, she is still an outsider as her fellow dancers clearly do not have the luxuries that she has. No scene depicts this better than when she thinks she is going to dinner and is dressed to the nines complete with a tiara, only to find the men running the ballet planning the next production in casual attire. Vicky is by no means a perfect individual either. She throws a tantrum when she is unable to keep up with Julian’s tempo during rehearsal. Vicky and Julian’s relationship develops as they realise that they are two sides of the same coin which Lermontov despises. The complexities of Lermontov’s character makes him one of my favourite “villains” film history. His obsession dehumanises those around him, none more so than prima ballerina, Irina Boronskaya (Ludmilla Tchérina) who is abandoned by Lermontov when she announces her engagement. The people around Lermontov are dehumanised puppets where his ambitions must become their ambitions. The moment there is any hint of a life outside the ballet, they are exonerated and in Lermontov’s eyes, they never even existed. His unapologetic way of life is challenged by Vicky and the climatic scene shows a crack in the façade as he breaks down onstage and forces the production to commence without her. The vision becomes empty and the audience gazes at a moving spotlight as it flutters around the stage where Vicky should be.

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The music composed by Brian Easdale is nothing short of extraordinary and it effortlessly dances the line between the ballet production and the film reality until eventually both worlds merge into one. The music used in the production of The Red Shoes is spectacular with the church scene in particular remaining a highlight for me. I get chills every time I watch that segment and hear the constant bell as the lead is abandoned and left to die. Jack Cardiff’s choreography for the film is a perfect marriage for the score and the two sail on through the film and set the pace. These components are representative of Julian and Vicky’s talents and the importance of the part that they play into the film cannot be unrecognised. One of my favourite aspects of the film is Hein Heckroth‘s costumes designs. The moment when Vicky’s costume for the ballet of The Red Shoes is revealed is breathtaking and it’s one of my favourite costumes in film. Not to mention the incredible costumes that Vicky wears throughout and the clothes designed by Carven for Irina are exceptional.

My love for this film grows with every view and even thinking about it now, it’s incredible how much it has shaped my taste in film and been such a huge influence in my creativity. It’s such a beautiful film that deserves more than one watch and I think it should be on every film lover’s watch list if they haven’t already seen it. It truly deserves its masterpiece status and remains an important part of cinema history.

What do you think of The Red Shoes? Let me know in the comments below!

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A Nightmare on Elm Street Ranking

If you had to ask me what my favourite horror franchise is, I would say A Nightmare on Elm Street with no hesitation. Home to Wes Craven’s iconic slasher villain, Freddy Krueger, a dream-haunting nightmare with knives for fingers on one hand. He’s disgusting and terrifying and doesn’t let his victims die easily. The first film was released in 1984 and has seen multiple sequels, a reboot and even a feature mashup with another certain horror icon. They’re not to everyone’s taste due to their extreme violence and inappropriate content but as a horror fan, I find them fun to watch. Kruegar is the first truly charismatic slasher to come from this genre as Jason and Michael Myers silently stalk and kill their prey. Freddy on the other hand likes to torment his victims and is constantly making grim jokes about their pending demise. Wes Craven has always been a skilled filmmaker but he really reached his peak with this creation. It’s brilliant and crosses the line between horror and humour. This makes the films entertaining and, dare I say, enjoyable to watch.

Now I’ve already done a ranking for the Child’s Play and Final Destination films which you can read here and here, respectively, but I thought it would be fun to look at this franchise as a whole and see where the films would slot from best to worst.

Without further ado, let’s delve into the nightmare and get on with the reviews:

A Nightmare on Elm Street (1984)

The one that started the nightmare. A Nightmare on Elm Street is a pioneer in the slasher genre, coming after Halloween (1978) and Friday the 13th (1980). Spearheaded by horror legend, Wes Craven and featuring Robert Englund as the gruesome killer, Krueger, we are plunged into a world that sees the teens of Elm Street slashed to death one by one. The film is widely known for its explicit violence, paedophilic themed subtext and also marked Johnny Depp’s film debut. A group of teens start being killed off one by one, apparently by a badly burned man with knives for fingers. Led by Nancy Thompson (Heather Langenkamp), the group work together to trap and kill the monster. It’s an iconic film. Even if you haven’t heard of it, you know what Krueger looks like and the basic premise of the film. Nancy is a brilliant protagonist and just like Laurie Strode in Halloween franchise, she is fearless when needed. It’s strange to think that a genre associated with the subjectification and glorification of violence towards women (which is a completely legitimate issue) also provides such progressive roles for women as well. There’s a humour in this film that you don’t really see in other slashers that would set a trend for franchises like Child’s Play and the sequels for Friday the 13th which purposely become weirder as the films went on.

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A Nightmare on Elm Street 2: Freddy’s Revenge (1985)

It’s no secret that I love camp horror films. I love a film that isn’t afraid to be highly satirical of itself and the genre. Despite only being released a year before, Freddy had become somewhat of a titan of horror. A sequel was rushed through with no involvement from Craven and the result is the polar opposite of its predecessor. The film follows the Walsh family who move into the Thomson family home five years after Freddy’s initial defeat. Teenage Jesse (Mark Patton) is struggling to fit in and finds himself getting into fights with his peers at school but his world is quickly flipped when the people who . The film has become a cult classic among fans and is known for its homosexual undertones with Englund himself declaring it a “bisexual film”. There is a strong argument to suggest that Jesse’s inability to fit in is due to his conflict with his own sexuality. The big issue that I have with this film is that it flips Freddy around to be the hero. When he’s bullied by a group of partying teenagers, the audience sympathises with him. This sentiment was shared by Craven himself who stated that Freddy should be “threatening and overpowering” which I think was missing. Freddy becomes a punchline in this feature rather than a genuine threat.

A Nightmare on Elm Street 3: Dream Warriors (1987)

This sequel does not get enough love. Coming off the failure of the previous installment, Dream Warriors is a brilliant addition to the franchise. It’s known among fans of the franchise that this film is fantastic but not as well known to horror fans in general who truthfully are missing out. Following a group of young people in a psychiatric ward, we see Freddy messing with the minds of these vulnerable individuals and watch as their pleas are quashed by the doctors and other authorities figures. The film marked Patricia Arquette’s film debut as Kristen Parker, a young teen who is chased in her dreams by Freddy who then cuts her wrists which looks like a suicide attempt to her mother who swiftly commits her to Westin Hills psychiatric hospital. She teams up with a group like her who have had nightmares of the same man and soon they are killed one by one. Calling themselves “dream warriors”, they plan to use their weaknesses as strengths to quash Freddy’s murderous attempts. The film also marks the welcome return of Heather Langenkamp as Nancy who has grown to be a psychiatrist, inspired by the events of her childhood. This film features some of the best death scenes in the franchise and sees Craven taking control of his franchise once again.

A Nightmare on Elm Street 4: The Dream Master (1988)

The film follows the remaining survivors of the third film (Tuesday Knight taking over the role of Kristen Parker) after they have been released from the psychiatric unit one year later. Kristen is still haunted by what happens and Freddy returns to cause havoc on the survivors and their school friends. This is where the films start to play the same routine and becomes more repetitive but trying to make the death scenes as ridiculous as possible. There is even a death where one of the girls is turned into a cockroach and squished! It’s still a good popcorn flick but largely unoriginal. This film also features Lisa Wilcox as new protagonist, Alice Johnson, who takes the helm as scream queen for this segment after befriending Kristen. I like the aspect of bringing someone else into the dream which is continued from the third film into this one. Freddy uses Alice to lure him to her friends who he starts to pick off one by one, including a horrific death involving her asthmatic friend. This installment was the highest grossing the original franchise and kept it that way until 2003’s Freddy vs. Jason so it was a huge hit with audiences.

A Nightmare on Elm Street 5: The Dream Child (1989)

The fifth film follows Alice (Lisa Wilcox) who is still haunted by the events of the fourth film. The opening scene throws us immediately into the dream world as we see Alice as Amanda Krueger, a nun who works in a men’s psychiatric ward who is subsequently raped by masses of inmates when she is accidentally locked among them. She has a second nightmare that sees Freddy as a baby digging up his remains from the fourth film and brings him back to life. After Alice’s boyfriend, Dan (Danny Hassel), dies tragically, Alice is convinced that Freddy is back which is swiftly followed by the revelation that she is pregnant and Freddy subsequently starts to give the unborn baby powers so he can be more like him. There is a lot going on in this film and the more I think about it, the more confused I become. There’s the usual plotline of Freddy killing teenagers then the subplot of Alice’s pregnancy and then there’s the second subplot involving Freddy’s origins. It’s a lot to cram into one film and naturally the film fails because of it.

Freddy’s Dead: The Final Nightmare (1991)

This installment is by far my least favourite. If you thought the previous film was overcomplicated then you’re not prepared for this one. Freddy has killed all the kids and teenagers in a small town and seeks out the one survivor to bring more teens to kill. There are so many questions that come to mind regarding the cannon and where this sits in the universe as there is no reason for his reincarnation from the last one. The adults in the small town have gone insane and there is definitely a strange Twin Peaks tone that they are going for that fails spectacularly. This is probably the rock bottom for the original franchise and seems to just be a money grab rather than a genuine passion project. It also features a cameo from Johnny Depp and a bizarre cameo from Roseanne Barr who plays one of the deranged townspeople.

Wes Craven’s New Nightmare (1994)

This film takes place outside the universe and is a unique experience as it is very meta. Following the making of a new film, Freddy breaks out and starts killing the cast and crew. Featuring a return from Heather Langenkamp and with many of the other parts played by cast and crew. Wes Craven returned for the project and the great thing is that it seems like everyone is genuinely having fun. It’s a shame that this film had become largely forgotten as it is a great addition to the franchise. It’s to Craven’s credit that he is always trying to think of something new while still being faithful to the originals. The Freddy in this film also goes back to darker routes and becomes less comical than the last few installments.

Freddy vs. Jason (2003)

This film is one of those that is so bad it’s great and I love it. Freddy resurrects Friday the 13th villain, Jason Voorhees in a bid to scare the residents of Elm Street while they’re awake so he can kill them while they sleep. Soon enough, Jason starts going on a killing spree which angers Freddy and the two become embroiled in a feud that brings a huge body count. It’s a fun film that ventures on the wackier side and also serves up a variety of stereotypes in an ironic way such as the resident stoner and drunk partying teens. The film is the last to feature Englund as Krueger and stars Ken Kirzinger as Jason. It’s a shame they didn’t follow this up with a sequel as it would have been great to see what more they can do with this universe cursed with this villains. It’s not a great film by any means but it’s a fun popcorn flick. I think what makes this film so enjoyable to watch ishat it isn’t afraid to poke fun at itself and be completely bonkers.

A Nightmare on Elm Street (2010)

This is one of those rare films where I go against the grain a little bit. This film was (rightfully) torn apart by critics like one of Freddy’s victims despite its commercial success. It is equally hated by fans and despised so much that they didn’t even bother making any sequels for this reboot. It’s a rehash of the first film with newcomer Rooney Mara filling the boots for Nancy Thompson. The reason I go against the grain is that I am one of the few people who actually enjoyed this reboot. Don’t get me wrong, it doesn’t hold a candle besides the original at all but I thought it was an interesting take in bringing up the darker themes that couldn’t be discussed in the original, mainly Freddy’s paedophilic nature. I think Jackie Earle Healey is one of the most underrated actors working today and his performance is a darker take on Englund’s Krueger. I understand why his performance wasn’t well received because the humour and charisma is what differentiates Kruegar from other slasher villains. Also, Mara is one of my favourite actresses working today and this is the film that properly introduced me to her (aside from The Social Network but that was a small support role). I thought that the darker tone was an interesting aspect to explore but I do think ultimately the film suffers because of this and becomes just another horror film.

So that’s all of the reviews done and dusted. I am not sure if they’re going to create anymore, especially since Craven has since sadly passed, but it would be intriguing to see how they would reintroduce Freddy in this new revolutionary climate.

Here is my ranking:

1) A Nightmare on Elm Street (1984)

2) A Nightmare on Elm Street 3: Dream Warriors (1987)

3) A Nightmare on Elm Street 4: The Dream Master (1988)

4) A Nightmare on Elm Street 2: Freddy’s Revenge (1985)

5) Wes Craven’s New Nightmare (1994)

6) Freddy vs. Jason (2003)

7) A Nightmare on Elm Street 5: The Dream Child (1989)

8) A Nightmare on Elm Street (2010)

9) Freddy’s Dead: the Final Nightmare (1991)

What do you think? Which one is your favourite? Let me know in the comments below!