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Judy (2019)

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

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

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

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

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

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

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The Tale of the Princess Kaguya (2013)

My favourite animation of the past decade hands down belongs to Isao Takahata’s swansong which is a retelling of the Japanese folktale “The Tale of the Bamboo Cutter”. It follows a man who finds a small girl in the centre of a bamboo shoot, he picks her up and she turns into a baby and then quickly grows into a young woman in the blink of an eye. Known as Takenoko (which translates as “Little Bamboo”), the family live a life filled with finery. Takenoko is given the title Princess Kaguya and soon begins the quest to find her a husband. The only problem is that Kaguya does not want a husband. She enjoys her freedom and finds the concept of regality to be horrifyingly restrictive. The film underperformed at the box office but the critical response is overwhelmingly positive with five stars across the board. It’s a shame that this film hasn’t received the mass audience that Spirited Away did because it is such an intricate look into traditional Japanese culture whilst merging in the pressures of being a woman in a man’s world and living up to societal expectations. Its portrayal of depression is one of the most realistic and resonating in film for me, particularly the scene in which Kaguya flees the party and sheds her many kimonos. The significance of this scene cannot be discussed enough. Kaguya is dismissing the life that her parents have decided for her. Her parents are not bad people but they have confused their own wishes with their daughter’s and this is what ultimately tears the family apart. The film was released just after Hayao Miyazaki’s The Wind Rises in a double bill that hasn’t been seen since the 1988 releases for My Neighbor Totoro and Grave of the Fireflies. Just as those films are completely different in subject matter and style, the same could be said of The Wind Rises and The Tale of the Princess Kaguya.

The animation style in this film is what makes it instantly stand out in the Ghibli catalogue. Taking clear inspiration from traditional paint and ink, it veers away from your typical Ghibli and Takahata aesthetic but the result is a beautiful use of technique and colour. It feels as though the film is a fairy-tale jumping from the pages of a book. The pastel colour scheme contrasts beautifully with the strong black strokes. This truly is art in animation and a testament to Takahata’s ability to push the envelope. The film in its entirety is beautiful but the now iconic cherry blossom scene is one of the most wonderful sequences in any film. Kaguya runs and plays as the cherry blossoms fall and the result is a scene of joy and freedom. The mix of deep black outlines filled in with delicate hues of pink are simplistic but resonate the lightness and happiness that the character is feeling. The use of colour is so important in this film as it evokes both material and figurative richness. Contrast the colours of nature as Takenoko ventures in the forests as a child which excites her with the scene in which she is gifted numerous kimonos that are made of unnatural colours in rich jewel tones. Takenoko is taken aback by the gift and loves playing with the material in a scene which is just as beautiful as the cherry blossom scene.

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The character of Princess Kaguya herself is deeply complex and despite her origin as a being from the Moon, is one of the most human characters brought to film. Her journey from bamboo spirit to fully fledged Princess is turbulent and challenging. Content with the humble lifestyle her Earth parents lived before inflicting delusions of grandeur upon her, Takenoko refutes the lifestyle expected of a lady in high society. She is trapped within the walls of her mansion within the city and longs for the wilderness and freedom it brings. The character is not without her flaws. She purposefully manipulates five potential suitors to cross oceans and collect tokens for her affection. She does this knowing that she doesn’t care for any of them and knowing that it isn’t possible to gain these mythical gifts. When falling into her depression, we feel for her because she doesn’t want to let her parents down and appreciates everything they have done while at the same time sacrificing her own happiness. Ultimately, she has to ask herself if her parents happiness is worth exchanging for her own and asks for the Moon to reclaim her. Kaguya is a character who knows what she wants and this progressive outlook does not fit in within a society that has a place for her.

In an unusual move for Takahata, he recruited Joe Hisaishi to compose the music for this film. Hisaishi is known for his frequent collaborations with Miyazaki and had only just delivered a stellar score for The Wind Rises. It’s a credit to Hisaishi that he worked on these scores at the same time and yet both soundtracks have their own style and identity. The score for The Tale of the Princess Kaguya deeply lies in Japanese tradition, utilising traditional instruments such as the Koto which the titular character has a natural affinity for and whimsical woodwind that really brings you into the era and setting. Hisaishi has his own distinct sound as I have discussed in previous posts but this one feels totally unique in its approach. It feels softer and more ingrained in its tradition and heritage than other soundtracks. This could be because despite its fantastical elements, it is a film that is openly set in an ancient Japanese setting.

There are many scenes which stand out in this film for me and I have discussed a few of them in this post but the one that will remain the most heartbreaking is Kaguya’s return to the Moon. It’s a poignant sequence and one that will have you crying. When the procession of beings from the Moon come to collect Kaguya, the love that she has for her parents and vice versa flows through. It’s hard to believe that a children’s film can have such a sad ending but this is Ghibli and they are not afraid to delve into darker themes. Erased of her memories on Earth, Kaguya looks back at her parents and sees their love and smiles. This smile is bittersweet because she recognises the love that they have without understanding who the love is for and what it meant to them.

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The Tale of the Princess Kaguya is tied with Castle in the Sky for first place as my favourite Studio Ghibli film. It’s unlike any film you have ever seen and unlike any film you probably will see in the future. It’s a glorious achievement and worthy of being Takahata’s final film. The love and care that went into this film is so evident. I truly believe that the love for this film will grow in the coming years and it will become just as admired as some of the other popular Ghibli films in the catalogue such as My Neighbor Totoro and Spirited Away. It’s a film that is not an easy watch but it is so captivating and rewarding.

What do you think of The Tale of the Princess Kaguya? Let me know in the comments below!

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Beasts of the Southern Wild (2012)

Benh Zeitlin’s Deep South exploration of classism and racism within a microscopic community called The Bathtub based in the Louisiana Bayou shows the heartbreaking journey a little girl, Hushpuppy (Quvenzhané Wallis) makes to be reunited with her mum after her father falls ill who she hasn’t seen in years. The film is intricate in all of its elements and has become one of the most captivating films of the past decade for its brilliant cinematography, emotionally charged writing and a fantastic performance by Wallis. In fact, Wallis became the youngest nominee at age 9 for the Best Leading Actress Oscar at the 2013 ceremony for her performance. This may have been the big draw for the film as audiences were keen to see what the fuss was about but it is a film that has a big heart and delves into the trials and tribulations of family. It walked away empty-handed from the Oscars that year but so did other worthy films (aka. The Master) so it’s not the end of the world. I don’t think it has received the mass audience it deserves but it is a very small film and is loved by critics and film fans alike so it may grow into a modern classic soon enough.

Zeitlin’s direction is stunning and absolutely incredible for a first feature. His fixation on the community itself and reluctance to show the outside world was a great choice as the consequences and invasion of the outside world feels more impactful than if we saw The Bathtub in a larger context. We get to know similar faces and their way of life in the first half of the act and importantly, their strategies to escape from those who want to split them up. Hushpuppy isn’t raised in a conventional manner. Her education and lifestyle sees her living in her own house, cooking and raising animals at the age of 5. She is self-reliant and mature in many ways but what Zeitlin wants us to remember is that she is still a child. She sets fire to her house when angry at her father because she doesn’t think of the consequences. She screams and throws tantrums but she is also fearless and has a simplistic look on the world that makes it easy to identify the good and the bad. To Hushpuppy, there is no middle ground. Hushpuppy’s development in the script, written by Lucy Alibar and Zeitlin, is depicted beautifully as she begins to understand and comprehend the reality of the situation when she is separated from her dad and the truth about her mum.

Wallis’ performance is among the best of the decade for me. Only five years old when filming this, she truly encapsulates everything about Hushpuppy and pulls it off with ease. Unafraid to be big and proud but also willing to show vulnerability, the emotional spectrum that Hushpuppy goes through means that the role itself is deeply complex, especially for a child. This is because Hushpuppy isn’t a normal child. Wallis seems to understand this and commands attention when onscreen, which she is for the majority of the film. Thematically, Hushpuppy encounters loss, death and grief which are hugely dense topics for a child so young to even comprehend but Wallis is so engaged in her performance that she isn’t afraid of tackling this maturity head on.

The score composed by Dan Romer and director Zeitlin has become somewhat of a modern classic unbeknown to the mass audiences. The main theme has been used in various adverts and trailers alike and it feels like a piece that truly resonates the hope and adventure in the film. The soundtrack can only be described as strong and deep in heritage with Deep South banjos mixed with Cajun vibes creating a sound that feels exclusive to the community. The tracks are all fairly short as the film is made up of lots of smaller scenes rather than fewer elongated ones and this helps with the shift in tone and character. The use of brass in the score is phenomenal and makes the film feel grounded and rooted with nature. We feel Hushpuppy’s perseverance and strength.

What makes this one of my favourite films of the decade is the humility that it brings. Beasts of the Southern Wild is a film that has power in its characters and detail in writing that serves to develop characters, particularly Hushpuppy. It is such a striking film that isn’t afraid to push the realms of realism while simultaneously remaining grounded in very real topics of class and race politics. Because we view the film from Hushpuppy’s point of view predominantly, we too are seeing these issues in a very different manner. As her dad arrives home with a hospital wristband, it is only a minor detail on his outfit as Hushpuppy questions his “dress” (his hospital gown). It’s a film that discusses recurring issues but in a unique way and for that, I think it deserves to be remembered.

What do you think of Beasts of the Southern Wild? Let me know in the comments below!

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Princess Mononoke (1997)

Another day, another Ghibli review. Hayao Miyazaki’s Princess Mononoke is a Medieval set fantasy in the ancient land of folklore and Gods and the battle between Mankind and the spirits in the forest. The film follows Prince Ashitaka who is cursed by a dying boar and must venture to the West to find the reasons for his curse. He ventures to Irontown where the residents, led by the greedy Lady Eboshi, are on a mission to rid the forest of its Gods in order to mine up the iron and invade surrounding areas. In between these two parties is a young woman, San (also know as the titular character), who lives with the wolf Gods in the forest and whose mission is to kill Eboshi and put an end to Irontown’s plot to rid the world of the animal Gods. Ashitaka is immediately taken by San and sides with her to put an end to Eboshi while also finding out the meaning of his curse. The film is more violent than most Ghibli films and doesn’t shy away from showing rotting corpses, dismembered limbs and lots of blood but the film needs this to show the corruption within man’s unnecessary fight with nature. The violence that is perpetuated upon the forest and seeing the animal’s rebellion is heartbreaking. Miyazaki’s brilliant vision of contrasting palettes makes this a true fantasy epic as we venture from the deep jewel colours of natures filled with deep greens and blue hues to the abnormal reds and oranges that flare from the furnaces at Irontown.

Princess Mononoke features some of the best known characters in the Ghibli canon from San, the titular character to the various creatures that populate the forest, particularly the adorable Kodama, tiny spirits that guide the way through the forest. In true Ghibli fashion, San is a posterchild for strong female characters. From her first appearance sucking the bullet out of the wolf God and spitting the blood into the water, San doesn’t care how she looks. She doesn’t aim to please anyone and isn’t there to be sexualised or sought after. Ashitaka is drawn to San but San keeps him at arm’s length. She wants to help him but does not care for any romance. San’s reluctance to identify as human makes it easy for the audience to see her as inhuman. Her seemingly superhuman strength and speed makes her seem otherworldly. On the other side of the conflict, Lady Eboshi is a deeply conflict character who isn’t just a regular villain. In true Miyazaki fashion, she has her own understandable methods and a genuine desire to protect her people but she is ultimately on the wrong side of history in this instance. Eboshi is seen as a woman of civility and forward-thinking whereas the people portray San as an animal and treat her like the animals that she lives with. They do not hesitate in their attempts to kill her even though Eboshi confides her sympathies for San to Ashitaka.

The animation and style from this film is quintessential Ghibli. Drawing in on traditional techniques and meshing with this folklore and a modern feel, Princess Mononoke showcases the best of Ghibli and Miyazaki living up to his usual standard. The combination of nature and industrial is deeply satisfying and you are instantly transported to a different time. Despite being sets centuries ago, the technology feels new and unique. The designs of the spirit god’s, particularly the Forest God bring that sense of command and attention that such a character would demand from its audience. One of the best sequences has to include the opening encounter with the boar which is both grotesque and terrifying, setting the tone for the film. Contrast this with later scenes where the forest comes to life to make way for the Forest God.

If you have read my previous Ghibli related posts, you know that I absolutely love the composing genius that is Joe Hisaishi. A longtime Miyazaki collaborator, Ghibli films would not be the same were it not for Hisaishi’s contribution. This is mostly felt in Princess Mononoke, the soundtrack which I listen to everyday. It truly holds its own as an epic in its own right and brings the film’s overall status to epic proportions. Mixing traditional Japanese sounds with fantastical elements, we are thrown into the conflict between man and nature through Hisaishi’s genius use of pace and crescendo. The ending track titled “The Legend of Ashitaka” is easily one of my favourite musical pieces from any film. The piece feels as though it takes you through the emotional span of the entire film in its five minute running time. Starting off quiet and slow and then building with brass and becoming a loud and brash piece showing the tilt in man’s favour. I love how Hisaishi has his own style like Miyazaki and it honestly feels like you can’t have one without the other.

Princess Mononoke is usually ranked among the favourites and has been a popular choice since its release. It is a film that has mass appeal despite its maturity and content. There is a lot of detail to take in within every scene and such a brilliant use of locations and spaces. The era that it is set in is real but the addition of the Gods allows the creative team to think outside the box and bring their originality to the designs. Even the designs of animals such as the monkeys and the boars have an otherworldly feel to them. They are inspired by animals that exist but they don’t exist in the real world. This is something that Ghibli does best in that it blurs the line between real and fantasy, allowing the imagination to run wild. The film isn’t afraid to delve deep into serious issues with its overwhelming message on environmental destruction, the manifestation of greed in man and the corruption that it builds and the longing for power.

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

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Ingrid Goes West (2017)

Looking through the many options on Netflix, I stumbled across this 2017 indie that I have been meaning to watch but never got around to. Matt Spicer’s film stars Aubrey Plaza as the titular Ingrid Thorburn, an Instagram stalker who becomes besotted with an LA based influencer, Taylor Sloane (Elizabeth Olsen), and moves to be near her. Ingrid Goes West lifts the filter and reveals the dark side to Instagram, showing the damaging psychological affects that obsessive social media usage can have. Ingrid is already introduced in her obsessive state and we never quite get to the bottom of her issue but that adds to the eeriness that social media dominates lives without reason. Despite being sent to a mental health facility, Ingrid doesn’t change her ways and still flicks through magazines religiously. The opening shot of Ingrid is her crying as she flicks through her former victim’s Instagram as she is barred from the wedding. The irony of the deep emotion that Ingrid feels with the vacuous status that accompany the pictures only serves to highlight how shallow the obsession is. Ingrid is constantly viewed as an outsider but it is purely because she doesn’t naturally conform to the Instagram type that makes her seem a bit weird.

Given the topic for the film, it only makes sense that Spicer would reflect this in his direction. The film runs like a glossy Instagram page filled with a satisfying colour palette and scenery that would need no filter. It was always going to be a challenge because these are characters who are obsessed with their phones. Spicer wants the audience to see what these characters are missing. The beauty of the location is used by the characters for likes and not really appreciated for what it is. Combine this with sharp dialogue that is filled with plenty of small talk and awkwardness and you’re onto a winner. Spicer cowrote the script with David Branson Smith and I think they did a great job of subtly bringing out the darkness in the other characters. When Ingrid has her meltdown at the end and confronts Taylor, the latter seems emotionless to the accusations of her shallowness which only confirms Ingrid’s claims. Ingrid is an obvious victim of social media obsession but Taylor is also a victim of illusion provided by the grandeur of thousands of followers on Instagram. The soundtrack is a Californian daydream mixing Indie songs with RnB classics, Ingrid Goes West is bolstered by it’s music choices. To an extent, the songs are perfectly picked for their scenes like photoshopping the perfect image. Spicer does not want the audience to forget that this is a film about culture and arguably, the downfall of culture.

Aubrey Plaza is nothing less than stunning in this film. A complete 180 from her usual quirky and sarcastic persona, her performance as Ingrid is ironically her most sincere character. Ingrid is deeply flawed and not necessarily likeable from the offset but she is a victim. We can see that Ingrid is filled with disgust for herself as she finds herself diving deeper into obsession but despite her own attempts, she cannot stop this. On the other hand, whether she wants to stop obsessing is another question but then this conflict is what makes her struggle human. The film is primarily a dark comedy and this makes it a perfect fit for Plaza but she plays the role as though it were a drama and this pays off massively. We feel sorry for Ingrid despite her weirdness and crimes. We know what she is doing is wrong and yet we want her to succeed. A character as conflicting as Ingrid doesn’t happen very often and the combination of Spicer’s script with Plaza’s characterisation was perfect.

Ingrid is clearly the film’s villain with Taylor as the traditional victim. But what the film is also suggesting is whether Taylor herself has allowed herself to become equally as obsessed in a different way. She doesn’t care to notice Ingrid’s obsession until there is danger posed and she doesn’t seem trendy anymore. She is consistently narcissistic which Ingrid completely ignores in her admiration. Taylor had also wanted to be the cool kid that Ingrid longs to be but she rejects Ingrid’s attempts in the end. The film doesn’t aim to excuse Ingrid’s behaviour but it aims to shed light on how shallow both sides of the obsession is. Just as Ingrid is tortured and craving a life that cannot be hers, Olsen revels in her role as the self-absorbed Taylor Sloane. Originally coming across intelligent and cultured with a ton of quotes from many favoured writers such as Joan Didion as well as a regular face on the LA art scene, Taylor has everything that Ingrid could want. Taylor is oblivious the world around and everything is material. Even a simple picture with Ingrid turns into a.impromptu photoshoot with a local shop worker forced to get on the floor to get the perfect angle. Taylor is all about control and image and doesn’t want anything negative coming in and bursting the bubble. We are led to believe that Taylor lives a perfect life but this couldn’t be further from the truth as her husband is a failed artist alcoholic and her brother a drug addict.

O’Shea Jackson Jr also makes a welcome appearance as Ingrid’s landlord, Dan, who Ingrid manipulates into a relationship to impress Taylor. Dan is the only honest and traditionally good character in the film. He is aware that Ingrid is deeply flawed from the moment that she brings a dog to her apartment against his rules but he still develops a deep love for her. When she attempts suicide, no one in the house next door tries to help her. In fact it is Dan, who is in hospital because of her, who saves her life by calling an ambulance. Taylor and her husband Ezra were willing to leave Ingrid for dead in her own home. Their shallowness and obsession with online presence overshadowed someone’s real life. It’s the small details in the writing such as this that exploit the darkness in this film.

What do you think of Ingrid Goes West? Let me know in the comments below!

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Castle in the Sky (1986)

Hayao Miyazaki’s 1986 family action film, Castle in the Sky was the first film made under the Studio Ghibli brand (Nausicaä of the Valley of the Wind was made before Ghibli’s inception although it is now included in the Ghibli catalogue). The film follows young orphan Pazu who catches a girl, Sheeta, after she falls from the sky and their mission to find the mysterious floating island of Laputa. Running up against pirates, the army and government, Pazu and Sheeta are thrust into a world full of corruption, greed and the abuse of nature. The world is crumbling thanks to the adults and it takes their childlike view to right the wrongs. On one level, the film is an engaging action movie that features extensive chase scenes and a variety of exciting locations. On a deeper level, the film can be explored as an analytical portrayal of mankind’s war on nature and the importance of working with nature and not fighting it.

What Ghibli achieves brilliantly in all of its films is that the films are never patronising to the audience. There is always something to think about. Even the child-friendly films like My Neighbor Totoro include undercurrent themes of death and loss. With Castle in the Sky, we are following two protagonists who don’t have families of their own but are there for each other throughout. That in itself is a hard fact to swallow as the characters are barely 10 years old and yet they survive with no complaints in this corrupt universe. When thinking of the most iconic Ghibli films, it’s easy to think of the likes of My Neighbour Totoro, Whisper of the Heart and of course the Oscar-winning Spirited Away, but I think somewhere Castle in the Sky has been lost in the conversation. There is something about this film that centres of the childlike vision that Ghibli likes to explore but blurs the lines by incorporating flawed heros and insightful dialogue. Every time I watch this film, I feel equally inspired and affected as the passion behind this film is impossible to ignore.

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Aside from the two protagonists, there are several parties who aim to find Laputa first. A group of pirates led by matriarch Captain Dola who is a fantastic character. The only female on the ship that includes her husband and multiple sons, Dola smashes the patriarchy and in many ways is a more fearing character than the actual villains. The pirates’ encounter with Pazu and Sheeta shows that they are not your typical blood and guts pirates as the film want you to believe but show that they do have a heart. Although I do prefer to watch the Japanese original with subtitles, I do have to mention the voicework of Cloris Leachman in the English dub. She becomes Dola and gives the character this commanding quality with an undertone of softness that makes the shift in storyline believable. On the other hand, we have Muska, a government agent who is consumed by the idea of power that he is willing to betray all those who work for him to climb to the top. Initially, Muska seems rational and good-natured but his plans are soon revealed as he plans to use Laputa as a military weapon of destruction.

The animation is spectacular and sets the standards for Ghibli films of the future. Incorporating a steampunk aesthetic with classic anime styles, Castle in the Sky becomes an oxymoron in scenery. It is so clearly an alternate universe but not wholly outlandish. The world the film inhabits could be described as a grounded fantasy. This could be because the issues explored in the film are very real issues but through the metaphor of Laputa, a physically and figuratively detached land that represents a country before military invasion. One recurring feature in Ghibli films is the satisfying attention to detail such as the intricate blades of grass, beautiful colour mixtures and palettes and food that makes your mouth water. There are so many beautiful aspects in this film but the most stunning creation has to be the robot and particularly, the robot who lives among the natural world within Laputa. It’s a contrast that flows together seamlessly and has formed one of Ghibli’s most recognisable icons.

My favourite part of any Ghibli film is by far the score and in particular, the scores composed by Joe Hisaishi. I would class Hisaishi as an unsung hero in Ghibli history as his music encompass the magical qualities that the films possess. The music for Castle in the Sky is no different and in fact ranks highly for my all-time favourite scores. Each character has their own unique piece of music and even the crystal has a distinctive piano run that sounds like a twinkling star. Every piece is beautifully crafted but for me, the highlight of this tremendous achievement is the track that follows the Forgotten Robot when Pazu and Sheeta arrive at Laputa. The track is haunting yet full of hope and keeps qualities of the Laputian themed music that has been featured up this point. In the dub, there were improvements and additional tracks included that elevate the experience even more although the original Japanese is still just as beautiful. The music overall is classic and traditional in style until we get to moments of conflict were synthesizers are included and bring a more fantastical element into the mix. The soundtrack reflects the themes of the film.

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Picking a highlight scene is difficult for this film because I find it so captivating throughout but in a situation where I am forced to choose, it would be Pazu and Sheeta’s entry into Laputa. Entering the vortex in their tiny glider, they venture into the eye of the hurricane and are forced to endure heavy thunder and lightning. It’s an exhilarating scene to watch as the traditional scenery is stripped away and makes way for a black background with flashes of purples and white. The audience is taken to a different realm and it is reflected in the quick change in pacing, music and perspective as the glider becomes even smaller among giant lightning strikes. It’s a brilliant scene that is then beautifully contrasted with the sudden break as they float down to Laputa and everything seems back to normal. The angry and defensive nature of the weather is a representation of Laputa hiding itself behind the mask and reputation it has gained as a weapon.

What do you think of Castle in the Sky? Which Ghibli film is your favourite? Let me know in the comments below!

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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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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!