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Robert Eggers: Double Feature

In my series where I look at the emerging directors this century, it was only matter of time before I discuss the work of horror director Robert Eggers. Usually associated with his A24 cohort Ari Aster, Eggers’ two films are psychological studies of its characters with a darker colour palette than Aster’s work. His 2015 debut The VVitch was an instant success and a major talking point among the film community on release. There hadn’t been a film quite like it and it’s unapologetic take on the breakdown of a family. His 2019 film The Lighthouse couldn’t be more different. Whereas The VVitch was full of female empowerment and the emergence of a strong young woman finding her place in the world, The Lighthouse is heavily masculine and becomes a double character study rather than the spotlight being on a single character. The overall style of Eggers’ films is a perfect mix of gritty realism with a hint of fantasy and magic. Despite the unrealistic elements, the films are definitely grounded in their realism and the audience reaction is unaffected.

Both of his films were distributed by A24 and are currently discussed alongside Ari Aster’s films Hereditary and Midsommar as they are A24 and horror as well but Aster and Eggers have completely different angles. If anything, each film is a great example of how horror has becoming the best genre to look at current topical issues. I have written on Aster which can be read here and recommend watching his films but here are my mini reviews for Robert Eggers’ films The VVitch and The Lighthouse.

The VVitch (2015)

Eggers’ debut was talked about a lot on release because of its unrelenting dismantling of the family home. Following Thomasin (Anya Taylor-Joy), a young girl on the verge of womanhood struggling with her place in the family home after they are banished to fend for themselves after rejecting a Puritan colony. The family are then convinced there is a witch causing mayhem and won’t stop until the entire unit is killed. Starting with the baffling disappearance of her baby brother, Samuel after playing peekaboo with him, Eggers isn’t afraid of tackling taboos that even classical horrors don’t dare venture. Critics were more favourable towards the film whereas audiences weren’t as convinced although it was still a success at the box office. I think that because it was marketed as a straightforward horror, audiences weren’t expecting the many layers that this film has. It is more about Thomasin’s characterisation than the gruesome death scenes or jump scares. Taylor-Joy is nothing short than spectacular as Thomasin and brings that juxtaposition between childlike innocence and the more adult curiousity. She feeds into the fear to her twin brother and sister innocently at the beginning but then the more sinister intentions underlying the film begin to creep out. It’s definitely a horror film for the 21st century and helped to pave the way for more horrors that have intricate character studies. The VVitch could be viewed as a film exploring female empowerment and rejecting the traditional patriarchal society.

The Lighthouse (2019)

One of the most anticipated films of 2019, The Lighthouse stars Robert Pattinson and Willem Dafoe as warring lighthouse keepers, Winslow and Wake, respectively, who are stranded on an island during the storm. It’s not a horror in the traditional sense but the rising tension and characters’ waning sanity are the perfect combination to making one of the best horrors in recent years. Pattinson and Dafoe are pretty much the only characters for the majority of the film with Valeriia Karaman making an appearance as the Mermaid who seduces Winslow. The Lighthouse is a film unlike any other nevermind a horror film unlike any other. FIlmed in black and white 1.19:1 aspect ratio, the film is reminiscent of a claustrophobic vintage horror, reflective of the era it is trying to portray. Loosely based on the short story “The Light-House” by Edgar Allen-Poe, Eggers and his brother Max Eggers worked the script to a late 19th century setting and wanted to keep the focus on the deterioation of its male protagonists. I have written a more in-depth review of The Lighthouse which can be read here. Every aspect of this film is perfect from the casting to the writing to the set design. It was nominated for one Academy Award for Best Cinematography which was very well-deserved but I really feel that it should have been nominated for more, especially Willem Dafoe for Best Supporting Actor. Dafoe consistently brings his A game and the fact that The Lighthouse is among his best says a lot.

Eggers is currently working on his upcoming project The Northman which will star mega stars like Nicole Kidman and Alexander Skarsgard as well as reuniting the director with Anya Taylor-Joy and Willem Dafoe so needless to say there are high expectations. From what I can tell, this new film will be the first Eggers film not to be distributed by A24 as 20th Century Studios have locked it in which shows the faith the big budget studios have in him. Hopefully the studio will give him the freedom to follow his vision through like A24 do. There is no doubt that Eggers has a hugely exciting future ahead of him in the film industry and it will be interested to see what else he comes up with.

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

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Jordan Peele: Film Ranking

When it comes to the best horror visionaries of the 21st century, it is most likely that Jordan Peele’s name will crop up. He rose to fame for his comedic acting alongside Keegan-Michael Key in the hit shows Mad TV and Key & Peele and the two are still often cast together such as their voice work in last year’s Toy Story 4.

Aside from being a comedian, Peele is also an avid horror film fan and turned his attention to writing and directing horror films that have redefined the genre in recent years. He has experienced resounding successes both critically and commercially, which is fantastic for a rising voice in the horror genre especially. His films are original and topical, using the horror genre to explore the African American experience in modern-day America.

A four-time Oscar nominee, Peele is one of a few who has been nominated for Best Picture, Best Director and Best Original Screenplay for his debut, winning the latter for 2017’s stellar Get Out. He has received an additional Best Picture nomination for his contribution as Producer for Spike Lee’s incredible BlacKkKlansman (2018). Peele is on course to become a master of the horror genre and it’s exciting to see what films he creates next.

Get Out (2017)

Peele’s directorial debut was a game-changer in many ways. The hype for this film spread like wildfire and it soon became one of the most critical and commercial successes of 2017. Following African-American photographer Chris (Daniel Kaluuya) who sets off with his white girlfriend, Rose (Allison Williams) to meet her family over the weekend which gradually shifts from a nervous first encounter to a nightmare beyond belief. Peele flips the horror genre on its head with Get Out. Horror films in general tend to exaggerate racial stereotypes a lot more than other genres but what Peele absolutely rejects this and gives us an array of characters who are well-rounded with their own background stories and motives thanks to the incredible script. The film is filled with so many layers that you can notice something different every time you watch the film. From the brilliant supporting performances from Lakeith Stanfield and Lil Rel Howery to Michael Abels’ impeccable score. What sets it apart from other horrors is that the villains are white middle-class liberals whereas a lot of racism in horror is at the hands of the right-wing. The film was nominated for a slew of awards including nominations for Academy Awards for Best Picture, Best Director and Best Actor in a Leading Role for Kaluuya, winning Peele the Oscar for Best Original Screenplay in a year that was incredibly strong in competition. Get Out is only 3 years old and yet has already solidified itself as a horror classic and will certainly be marked as a milestone for the genre.

Us (2019)

Peele’s follow up is another demonstration of his talent as a skilled writer and director. Starring Oscar winner Lupita Nyongo’o as Adelaide, a woman who is haunted by a traumatic encounter she experienced as a child, and her family as they go on vacation. Aside from a couple of weird coincidences, everything seems to be going okay until the family are confronted by a family of doppelgangers who attempt to kill their counterparts. Us is a highly intense film filled with puzzle pieces that are eventually placed together. It is a joy to watch and Nyongo’o’s performance particularly is a knockout. To simply compare this film to Get Out would be ridiculous because they are so different in tone. Again, Michael Abels’ score is absolutely brilliant with its classical elements to reflect Adelaide’s ballet background. Gifted with four times the budget Get Out had, Peele takes advtange using multiple locations and the cast as expected is flawless with Winston Duke playing Adelaide’s husband, Gabe and Elisabeth Moss as family friend, Kitty leading the supporting cast. It’s a shame that this film wasn’t included in the awards circuit, especially for Peele’s screenplay and Nyongo’o’s spectacular performance.

Thanks to his genius and contribution, Peele has helped horror become the best genre to explore topical issues. He is clearly inspired and admires horror films but isn’t afraid to reject the stereotypes and add his own voice to the mix. It’s incredible to think how much Peele has achieved in the space of a few years and only serves for further excitement as to what projects he works on next, including as screenwriter and producer for the upcoming Candyman.

What do you think of Jordan Peele’s films? Let me know in the comments below!

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Steve McQueen: Film Ranking

One of the most revolutionary film directors to emerge this century so far is Steve McQueen. A Turner Prize winning artist who has turned his attention to feature films, McQueen’s realistic and fearless approach to exploring serious topics such as domestic abuse and slavery as well as taboo subjects such as sex addiction. When it comes to mcQueen, nothing is off limits and he isn’t afraid to expose the realities of the film’s subjects. He is also the first black filmmaker to win the Acaemy Award for Best Picture for 12 Years a Slave. I also think he should have been rewarded the Best Director Oscar as well although Alfonso Cuarón did a great job with Gravity.

Given the current landscape, I think it is now more important than ever to highlight the talent and calibre that people of colour bring to the film industry. The film industry is so important when it comes to representation and sadly, it just isn’t where it should be. Film is a fantastic medium to express personal stories, provide escapism and bring relevant topics and subjects to the forefront as point of discussion. I thought it best to take a look into McQueen’s amazing filmography and do a ranking of his films. There are only four films but each one is a standout in their own right so as usual, it will prove to be a challenge.

Here are my mini reviews for each McQueen film follows by the ranking:

Hunger (2008)
McQueen’s feature debut stars Michael Fassbender as IRA protestor, Bobby Sands, who takes part in a hunger and no-wash strike. This is a fantastic debut for McQueen and deservedly won him a BAFTA for Special Achievement by a British Director, Writer or Producer for their First Feature Film. We watch as Sands figuratively and literally begins to fade away as he becomes the symbol for the strike. McQueen doesn’t hide the dirtiness and the discomfort in watching Sands lose the majority of his weight to the point where he can’t function. Technically, the film appears simple but it is comprised of many brilliant shots, one in particular being a 17 minute non-stop conversation between Sands and Father Moran (Liam Cunningham). By bringing a minimalist and realistic angle to the film, it actually exemplifies the horrors of the strike. Hunger put both McQueen and Fassbender on the map and it made way for the former’s unapologetic point of view approach to filmmaking.

Shame (2011)
For his second feature, McQueen reunites with Fassbender who plays Brandon Sulliven, a business executive who has an addiction to sex. Much like Hunger, McQueen does not flinch away from the realities that sex addiction has. There is nudity, both male and female, in abundance as well as underlying issues of family conflict and self-harm. This is not a film to be watched lightly as it is even more uncomfortable than its predecessor but it talks about a topic that people consider taboo. It also explores classism and the idea of the untouchable rich white male. During his usual work day, Brandon religiously watched pornography on his computer and when this is discovered, it is automatically assumed that his intern is the one who has been downloading and watching it. The idea that someone like Brandon couldn’t be associated with sex addiction is an idea that McQueen rejects in Shame. Brandon surrounds himself with sex to avoid the fact that he is lonely and unfulfilled.

12 Years a Slave (2013)
The film that propelled McQueen to the major awards circuit, 12 Years a Slave is possibly the most explicit and “real” feature film about slavery in mainstream cinema. Based on the memoir of the name same by Solomon Northup, a New-york born black man who was kidnapped and sold as a slave in Louisiana. Northup is played by Chiwetel Ejiofor with Lupita Nyongo’o as fellow slave Patsey and Fassbender in his third McQueen film as slave owner Edwin Epps. It’s a star-studded cast but what McQueen does so well is focus so much on the characters and their development that the audience forgets which actors they are watching and it becomes almost documentary like. McQueen does not hold back on the brutality that the slaves face and it goes beyond daily beatings as we see Epps rape Patsey and Epps’ wife feel resentment for Patsey rather than her husband. It’s a film that demands conversation and McQueen refuses to allow the film to be whitewashed or edited to appeal to white audiences in the way that films such as Song of the South does.

Widows (2018)
The latest feature film released by McQueen is an amazing tour de force starring Viola Davis as Veronica, a woman recently widowed after her bank robber husband, Harry (Liam Neeson) and his cohorts are killed when their car blows up. Veronica along with the other widows of the men who died must work together to get some money that is owed to a crime boss. The team comprises of Veronica, Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Belle (Cynthia Erivo) and it’s so empowering watching such a huge film led by women and more importantly such a diverse cast of women. Anyone who claims that women cannot lead a film because it doesn’t bring in money is mistaken as the film was a critical and commercial success. What makes the film so engaging is how well-rounded each of the women are. We get a grip of their backgrounds in a few scenes and yet the audience understands their story and motivations to get the money. Even when Belle, who wasn’t one of the original widows is brought into the plot, is introduced, her backstory as both a beautician and babysitter is made clear highlighting her struggling financial position.

Although it is not the longest filmography, McQueen has proven why he is one of the most exciting filmmakers working today. I have included discussions of each of the films above when talking about Michael Fassbender and Viola Davis’ best roles which you can read here and here, respectively. I think that only demonstrates McQueen’s talent as director that he is able to create career-best films for his stars. His ability to create characters that are well-rounded is flawless and he has only demonstrated improvement as we go from a single standout performance in Hunger to four equally developed characters in Widows where he allows women to take the lead.

Here is my ranking of McQueen’s film:

1) 12 Years a Slave (2013)

2) Widows (2018)

3) Hunger (2008)

4) Shame (2011)

Do you agree with my ranking? Which McQueen film is your favourite? Let me know in the comments below!

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Hayao Miyazaki: Film Ranking

It’s hard not to think about Hayao Miyazaki when choosing what anime film to watch. Known as one of the founders of the Japanese animation powerhouse Studio Ghibli, Miyazaki has established a name among critics and audiences alike as an important figure in helping Japanese cinema reach a global audience with films that are suitable for all ages. So far, Studio Ghibli has only won one film in the Best Animated Feature category which is for Miyazaki’s masterpiece Spirited Away (2001) which, in my opinion, remains the best overall winner in this category. I do think there are times when a Ghibli production should have walked away with the award but sadly, releases directly from Disney Studios tend to dominate the category almost every year.

Ghibli is reliable and consistent, bringing out films that challenge our perceptions on the society we live in by incorporating more mature issues such as loss, mankind’s treatment of nature and identity. There are other directors who have also helped to bring Ghibli the reputation it has today such as Isao Takahata who I will also be writing a separate ranking for but in the meantime, let’s delve into the films of the one and only Hayao Miyazaki.

Here is a mini write up for each in chronological order followed by my ranking at the end of the article:

The Castle of Cagliostro (1979)

Miyazaki’s debut comes in the form of this action packed adventure based on the Lupin III manga series following thief Lupin and his partner Jigen after they successfully rob the Monte Carlo Casino only to find that the money is counterfeit. They travel to Cagliostro, the rumoured source of the counterfeit enterprise in a bid to put an end to the ordeal. The film is credited with being an inspiration to the likes of Raiders of the Lost Ark and The Great Mouse Detective. It’s clearly not completely controlled by Miyazaki himself as it was made before Ghibli’s inception but there are some signature Miyazaki traits that are noticable in hindsight such as the exaggerated expressions and the mix of humour and drama. It’s a faster-paced film than the usual Miyazaki action films but it doesn’t feel rushed. Lupin is a great character and the writing ensures the audience is gripped. Another highlight in this film is the score by Yuji Ohno which has Pink Panther vibes and really helps to elevate the film-watching experience. I think that this film marks a very strong start to what was evidently the beginning of one of the most exciting film careers in Japanese cinema history.

Nausicaä of the Valley of the Wind (1984)

The first film created by the founders of Studio Ghibli comes in the form of this brilliant dystopic epic set in a world where the Toxic Jungle, a forest filled with giant, poisonous insects threatens to eliminate the last of the human race. Though released before Ghibli was officially founded, Nausicaä of the Valley of the Wind is commonly considered a Ghibli and has been re-released under the Ghibli banner. The film follows the titular character as she strives to find a way for the insects and humans to co-exist. Based on the manga series of the same name by Miyazaki, who also adapted it into a screenplay, Nausicaä isn’t afraid to delve into deep issues and question its younger audience. Focusing on the themes of mankind vs nature which would prove to be an underlying topic in subsequent Miyazaki features, the film is also unafraid to showcase loss and fractured relationships. It’s also refreshing to see a female protagonist whose strength is never questioned and is accepted for what it is, another trait that Miyazaki showcases in each of his Ghibli produced films.

Castle in the Sky (1986)

The first official feature to be released under the Studio Ghibli is the action-adventure Castle in the Sky. The film follows Pazu, a young boy who works in the mine of his local village who comes across a girl, Sheeta, who floats down from the sky. They are soon chased by pirates and government agents in a bid to track down the secret locating the mysterious floating island, Laputa, that Sheeta may hold the key to find. I have written a fuller review on this film that you can read here but it is truly a dazzling achievement. The scope and detail in the animation is remarkable and the score by Joe Hisaishi feels timeless. Although it is not as popular as Miyazaki’s later films, I think that Castle in the Sky is such a thrilling and impactful film that has a lot to say on mankind’s relationship with nature, the importance of the environment and people’s relationships with each other. Both protagonists work together to find a peaceful solution against the people who want to use Laputa and its materials for weaponary and world domination.

My Neighbor Totoro (1988)

Arguably the most iconic Studio Ghibli film, My Neighbor Totoro follows sisters Mei and Satsuki as they move into an old house with their father so they can be closer to their mother who is recovering in hospital from a long-term illness. The two girls eventually encounter an array of spirits, including one that lives in the nearby forest who Mei names Totoro and the enigmatic Catbus that provides transport for the spirits. It’s a wonderful film that provides the perfect introduction for younger children to Studio Ghibli. Unlike its predecessors, My Neighbor Totoro is a lot more innocent and childlike in its design and message. This doesn’t prevent it from being a brilliant film, however, as it does a great job on touching on family dynamics, childhood and loss. It has a lighter feel and very striking design, particularly the Catbus who conveys the tone of the film without even saying anything. What is brilliant about Miyazaki’s world is how he integrates traditional Japanese folklore with his own imagination and artistry and My Neighbor Totoro is a beautiful example of this.

Kiki’s Delivery Service (1989)

Following on his successful streak, Miyazaki brings another film geared towards younger children in this lovely tale about a younger witch, Kiki, who sets off to find out what she wants to do with her life. Accompanied by her cat Jiji, Kiki is fascinated by the normal human world and understandably finds it hard to fit in as she is not like them. The film is all about understanding accepting our differences and how we can use them to the our advantage. Kiki is a great protagonist for the younger demographic as she is a strong female who is flawed but she works on those flaws. She is a well-rounded character and it showcases Miyazaki’s strength in being able to create characters that audiences of all age can relate to on some level. It’s not the strongest installment in Miyazaki’s filmography but that doesn’t mean it is a bad film at all. Miyazaki’s work is of such high calibre that it just misses out on the top tier of films for me but it is still an absolute joy to watch.

Porco Rosso (1992)

The last film Miyazaki to be made before he took his first hiatus is a more detailed look into the filmmakers interest with aircraft. Porco Rosso follows the titular character who was a human but was cursed and is now a pig who works as a pilot bounty hunter who catches pirates in the Adriatic Sea. It’s a fun-filled adventure that has inklings of Castle in the Sky with the over the top pirates and allows Miyazaki to go deep on his own family heritage of working in aircraft. Joe Hisaishi’s score is fantastic as always and strikes the right upbeat tone that the film has. For me the film’s highlight comes in the scene in which Rosso sees his dead friends flying in the sky in his own version of heaven. It’s a fantastic scene that lifts the whole standard of the film. It is my least favourite Miyazaki film as it does have some flaws that I cannot overlook particularly the treatment of Fio, a teenage woman who aspires to engineer and make planes. A few jokes and quips made by the pirates are thrown her way that I feel are inappropriate for the younger audience. Fio herself is strongly written and is a brilliantly resilient young woman who is unfazed by working in a strongly male-dominated industry but the comments made by other characters could have been removed and still maintain the toxic masculine environment that Miyazaki was wanting to portray.

Princess Mononoke (1997)

Miyazaki returned after 5 years to make this brilliant epic based on traditional Japanese folklore and spirits. Princess Mononoke is fable on mankind’s takeover of nature and the subsequent consequences that this has. Following Eastern Prince Ashitaka who is cursed by a giant boar god who he kills, he must venture West to Irontown, a place filled with revolutionary industrial technology that threatens to takeover the forest by mining the sources underground. On arrival, he comes across San, a human girl raised by the Wolf gods who violently attacks and attempts to kill the leader of Irontown, Lady Eboshi, any chance she can. The film is by far Miyazaki’s most violent and graphic film thanks to its abundance of blood and graphic injury from the offset. Miyazaki always has a large scope in his imagination but Princess Mononoke has such a richness in detail that I think brings it to another tier. From the larger than life forest spirits to Joe Hisaishi’s spectacular score which is my favourite soundtrack from any Studio Ghibli film. I have written a longer review that you can read here. Despite its Medieval Japanese setting, there is a timelessness in the message that Miyazaki it wanting to convey and I think that that is why it resonates with so many people.

Spirited Away (2001)

The film that finally gave Miyazaki a long-awaited Oscar, Spirited Away is usaully the go-to film that beginners to Ghibli go for and with good reason. Following Chihiro, a young girl forced to move away with her parents and is sad to leave her friends, Spirited Away sees the family accidentally trespass on the land of the spirits. After her parents are turned into pigs, Chihiro must work in the Bathhouse while she figures out a way to get her parents back and return home. This film is nothing short of a masterpiece between the wide array of memorable characters as we venture in the spirit world including Haku, a young man who befriends Chihiro and No-Face, a mysterious spirit who suddenly appears and causes mayhem. Everything about it is iconic and it really is a beautiful film to watch. I have done a longer review which you can read here but words really don’t do this film justice.

Howl’s Moving Castle (2004)

Probably the most accessible Miyazaki film storywise, Howl’s Moving Castle is based on the best-selling book by Diana Wynn Jones and follows SOphie, a young woman discontent with her appearance who is cursed by the Witch of the Waste and turned into an old woman. She is then picked up by the mysterious Moving Castle and agrees to work as a cleaning lady for wizard Howl. The film is gloriously magical and is filled with whimiscal design which has made it a favourite amongst fans. The Wales-inspired landscapes are beautiful and vast and some maintain a very high level of detail that remains captivating long after the first viewing. This world that Sophie lives in differs to that of Howl, who longs for beauty and perfection in a world ridden with darkness and chaos. He refuses to take part in the war that is tearing the country apart and provides a bleak backdrop to the natural beauty where the story takes place. Hisaishi’s score is wonderful as always with the main theme waltz reminiscent of a merry-go-round piece. What Miyazaki does so well that he incorporates into this film particularly is showing how blurred the lines are between good and evil.

Ponyo (2008)

After his second hiatus, Miyazaki returns with another film geared towards the younger audience that follows Brunhilde, a goldfish who lives in the sea with her father and sisters, who escapes and is captured in a glass jar by a young human boy called Sōsuke. Brunhilde develops a desire to become human and changes her name to Ponyo after she is accidentally fed blood after Sōsuke shatters the jar which cuts him. Based on The Little Mermaid by Hans Christian Anderson, Ponyo is a less traditional retelling of the fairytale but still maintains Miyazaki’s vision and charm irregardless. It is an adorable film about friendship and love and despite there being hints towards a negative shift in the balance of nature due to Ponyo’s wishes, it still remains upbeat. Despite her young age, Ponyo is a strong-willed character who knows that she is out of place at the start but doesn’t understand why and makes it her mission to discover where she belongs.

The Wind Rises (2013)

The lastest Miyazaki feature to be released is absolutely astounding and comes in the form of The Wind Rises, which follows protagonist Jiro Horikoshi, an aircraft designer who works for Mitsubishi during World War II. Based on the manga by Miyazaki, it clearly is a project that the director is passionate about and I think this is emphasised by his realistic approach and design. The film tells the story of an aspiring pilot who eventually becomes an aircraft designer due to his poor eyesight and shows him falling in love with a young woman he meets. The Wind Rises is absolutely beautiful and everything about it from its writing and character design to the score by Hisaishi is flawless. Like most of the other Studio Ghibli films released since the inception of the Best Animated feature Award at the Oscars, this was nominated and it expectedly lost to Frozen but I personally would have given my note to this film because the passion that is conveyed goes beyond Miyazaki’s previous projects.

Unlike a lot of directors, there aren’t as many films that Miyazaki has directed in his 40 year career but that is because creating his films is time-consuming due to his insistence that they stick to hand-drawing their images. In the last 3 years, only 36 minutes have been created for his next feature How Do You Live? which Miyazaki has advised is his last film before retiring for the third (or fourth?) time. The calibre of his films is so high so even the ones that rank a bit lower are so strong in quality. Miyazaki has a reputation that many film-makers and lovers dream of and I have seen these films multiple times and will undoubtedly watch them again and again.

Anywho, here is my final ranking:

1) Castle in the Sky (1986)

2) The Wind Rises (2013)

3) Princess Mononoke (1997)

4) Spirited Away (2001)

5) Nausicaä of the Valley of the Wind (1984)

6) Howl’s Moving Castle (2004)

7) Ponyo (2010)

8) My Neighbor Totoro (1988)

9) The Castle of Cagliostro (1979)

10) Kiki’s Delivery Service (1989)

11) Porco Rosso (1992)

So there we have it! What do you think of my list? Which Miyazaki film is your favourite? Let me know in the comments below!

 

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Top 5 Michael Fassbender Performances

One of the best actors working today without a doubt is Michael Fassbender. Born in Germany and raised in Ireland, Fassbender’s career has gone strength to strength showcasing his range from small-budget indies to massive blockbuster franchises. Garnering critical and commercial acclaim winning a slew of awards including the Venice Film Festival’s Volpi Cup for Best Actor (for Shame) as well as two Academy Award nominations for Best Actor in a Leading Role and Best Actor in a Supporting Role (for Steve Jobs and 12 Years a Slave, respectively). Fassbender never fails to push the bar and standout in whatever film he is. He has worked with a variety of huge directors such as Steve McQueen, Quentin Tarantino, Ridley Scott and Danny Boyle to name a few and is currently working on Taika Waititi’s new film Next Goal Wins.

There are so many performances that I could list but I managed to compile a list of my top favourite performances which I think are the best of the best. Hopefully if anything, this list will demonstrate the range that Fassbender displays from an Irish activist on a hunger strike to an English soldier in World War II to an American billionaire. He has really established himself as one of the most exciting method actors working in Hollywood today.

Without further ado, here are my top 5 Michael Fassbender performances in chronological order:

Hunger (2008)

The role that catapulted Fassbender to the A List is not one to be overlooked. The first collaboration between Fassbender and  Steve McQueen already shows the fearlessness that they both have in their filmmaking and the roles that Fassbender chooses to take on. Fassbender plays IRA member Bobby Sands who takes part in a hunger strike for 66 days and also participates in a no-wash strike. The film also marks McQueen’s feature debut and won him the Camera d’Or at Cannes Film Festival. McQueen’s minimalist direction combined with a character driven script includes an incredible 17 minute shot in which Bobby is challenged to end his protest by Father Moran (Liam Cunningham). What Fassbender does so well in this film and his subsequent performances is his ability to pull off performances that are memorable but not over the top. What Hunger does is allow the focus to be on the performances of the actors because the film doesn’t have bells and whistles and special effects. Fassbender’s performance earned him a British Independent Film Award for Best Leading Actor and it’s easy to see why. His preparation for the role is evident in his dramatic weightloss pre-production. Hunger proves to be a great start when looking at the filmography for Fassbender as it shows his willingness to pick good roles and his dedication to method acting.  

Inglourious Basterds (2009)

Following his stellar lead in Hunger, Fassbender starred in Quentin Tarantino’s fantastic revenge thriller Inglourious Basterds which is a fictional retelling of Nazi-occupied France during the peak of the War. The cast is led by Brad Pitt as Aldo Raine, the leader of the Basterds and stars Christoph Waltz in an Oscar-winning dazzling supporting turn as SS Officer Hans Landa, the latter of which was the major talking point for critics and audiences alike and with good reason. ANother brilliant aspect that comes from this film is Michael Fassbender’s small role as Leiutenant Archie Hicox, an English soldier drafted to France to assist the Basterds with their plan. His role is only short-lived in the film but what he lacks in screentime, he makes up for with charisma. Fassbender is memorable as the quick-witted soldier as he struggles to fit in with the others who are hellbent on revenge. The scene in the underground bar remains one of the best Tarantino moments and it’s largely thanks to Fassbender’s control of the character. As expected in a Tarantino film, the characters are larger than life and it’s clear that Fassbender is enjoying playing Hicox. As mentioned before, this is only a small role but it is a rewarding point in Fassbender’s career as it shows he can standout in a star-studded cast.

Shame (2011)

Fassbender’s second collaboration with Steve McQueen is a deeply explicit look at sex addiction. Fassbender plays Brandon, a high-living bachelor living in New York who is constantly having sex with prostitutes and masturbating in his workplace where he holds an Executive position. Brandon’s addiction is initially his lifestyle. Just like any other addiction, he is subconsciously engaging with sex in any way he can. The film documents the downward spiral Brandon experiences as his lifestyle begins to fall apart with the arrival of his self-harming sister, Sissy (Carey Mulligan) who stays at Brandon’s apartment as she has a few gigs as a lounge singer in the City. Sissy is openly lonely and upset, longing to bridge the broken relationship with her brother who has deluded himself into believing that he is not alone because he is constantly engaging with sex in some way or other. It is the slow-burning realisation that he is alone and that he is incapable of forming “real” connections that make way for Brandon’s downfall. The film earned an NC-17 rating in the US thanks to its explicit scenes which includes Fassbender appearing full-frontal. In an industry where full female nudity has become normalised, there is still a stigma around showing full male nudity. This role is understandably challenging and uncomfortable but Fassbender gives everything to the film. Brandon is deeply flawed and is looking for the puzzle piece that is missing in his life. Fassbender won a second British Independent FIlm Award for Best Lead Actor for his performance. It’s not the lightest film to watch by any means but it is an unafraid look into a common topic that is taboo in a very realist way.

12 Years a Slave (2013)

The third and (to date) latest collaboration between Fassbender and Steve McQueen is an adaptation of the memoir of the same name by Solomon Northup, a New York-born man who is kidnapped and sold into slavery in Louisiana in 1841. Featuring Chiwetel Ejiofor as Northup, Fassbender portrays plantation owner Edwin Epps, a despicable and inhumane person who takes pleasure in beating and raping the slaves who work for him. Fassbender is truly terrifying as Epps and the performance gives goosebumps due to his unpredictability. The scene in which he demands Northup whip Patsey (Lupita Nyong’o) and then proceeds to violently do so himself to a point where she almost dies is horrific to watch and shows a fearlessness in Fassbender’s performance. He is clearly not afraid to go the extra mile and show Epp’s evilness while keeping complete control of the character. This performance shows a different side to Fassbender’s range that we have not seen before, even in his previous antagonist roles. Epps is a man void of compassion and embodies evil incarnate. Thanks to McQueen realist and relentless direction, Fassbender successfully shows this and really gets under the skin of the character and presents this to the audience in a way that no filmmaker has done before. Everyone in the cast does justice to Northup’s story, especially Ejiofor, Nyongo’o and Fassbender, garnering awards attention for each. Fassbender was nominated for his first Academy Award for Best Actor in a Supporting Role.

Steve Jobs (2015)

My favourite Fassbender performances sees him take on the titular character in this Danny Boyle biopic. Fassbender practically becomes the Apple CEO and co-founder as we follow Job’s life from the launch of the Mac that lead to his firing ending with the launch of the iMac which is seen as his Apple comeback. It is such a subtle masterclass of acting that you forget that you are watching an actor. He perfects the accent, the mannerisms and manages to create a deeply complex character that allows the audience to form their on opinions on the man. Aaron Sorkin’s script is a brilliant foundation that Fassbender takes and adds that extra dimension to the film. It is his command of the screen that constantly grabs the audience’s attention and elevates the film to something more than a biopic. The film also features a strong supporting cast led by Kate Winslet, Seth Rogan and Michael Stuhlbarg but it is Fassbender’s lead turn that will leave a lasting imprint long after the film’s ended. The scene in which Jobs and Steve Wozniak (Rogan) argue whether the former should acknowledge the Apple II team in his speech at both computer launches. Jobs is clearly a highly intelligent man but his stubborness and pride hinders him and makes him appear alien and detached from those around him. Fassbender was deservedly nominated for the whole round of major awards and, in my opinion, I think he should have won because the performance is top tier. However, this was the year that Leonardo DiCaprio won all of the awards for his brilliant turn in The Revenant which made the competition one of very high standards.

It’s clear that Fassbender thrives in an environment where he is given challenging and different material. He clearly is wanting to consistently show more range and depth by starring in different genres and working with varying directors and budgets. He is an actor who wants to challenge topical taboos and portray characters who bring discussions among critics and audiences alike. I know that there are tons of performances I could have included such as his performance as Connor in Fish Tank, Magneto in the rebooted X-Men franchise and the titular role in Frank but each of the films I listed are the real standouts in terms of him pushing his range and his charaterisations. I look forward to seeing him in Waititi’s new film and what roles he takes in the future. hopefully this will include a film that sees him sweep the major awards that he is long overdue.

What are your favourite Michael Fassbender performances? Let me know in the comments below!

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Why Parasite’s win is important

Going into the 92nd Academy Awards, it seemed that pretty much every category was a lock. Joaquin Phoenix was favoured to take home the Best Actor gong for Joker, Renee Zellweger winning Best Actress for Judy and Sam Mendes was the strong favourite to win Best Director for 1917 with the latter ultimately winning Best Picture. How much the Academy surprised us then when the Best Director trophy was awarded to Bong Joon-ho for Parasite and then his film won the Best Picture award, beating the odds. Personally I was very happy as I had placed a bet on Parasite to win so there was a monetary reward for myself but the happiness goes to another more serious level. 1917 is a prime example of a quintessential award film. Don’t get me wrong, 1917 is a brilliant film that is full of revolutionary technical achievement, particularly Roger Deakins’ cinematography but it is no secret that the Academy and other Western award bodies have a love affair with war films. So much so that it has become a running joke in the film industry that to win awards, you have to make or star in a war film.

For those who are not in the know, Parasite is a Korean film exploring classism and inequality in a society that only benefits the rich and leaves those poorer to live in the gutter (quite literally). It has been the source of much hype since its premiere at last year’s Cannes Film Festival where it won the top prize, the Palme d’Or, in a rare unanimous vote, marking the first Korean film to win the prestigious award. Korean cinema is among the best in the world and has been a leading institution for years for filmmakers and film lovers and it felt like it was finally getting its due in the mainstream. Bong Joon-ho has previously delved into English-language with Snowpiercer (2013) and Okja (2017) which have become much-loved modern classics and released to acclaim; however, I think it’s poignant that Bong’s ascendance to the global audience has come from a Korean-language film that explores Korean society. It is very much detached from Western society in both its subject matter and filmmaking technique, allowing Bong to direct without the restrictions that Western studios demand. The fact that a film like Parasite, a film that is inherently unique in its style and content can beat a film like 1917 shows that there is an appetite for a different kind of film experience. It also shows a promising step forward in what audiences now expect. Naturally, franchises such as the Marvel and DC films still top the box office but Parasite concrete proof that people want more variety in the cinemas as well. Parasite’s subsequent box office success after its award wins confirms this. Now that it’s been given the chance to screen in more cinemas, it’s been able to demonstrate that there is an audience who want to watch foreign-language films, snubbing the assumption that Western audiences don’t want to watch films with subtitles.

There are many people who dismiss award season as pointless and dim, viewing it as celebrities patting themselves on the back. I don’t think it is as simple as that though. The truth is people do pay attention to awards season and follow the films that are successful. Of course, a lot of time there are the usual suspects who are nominated time and time again, sometimes undeservedly but when you have a film like Parasite that isn’t given the same chance as a mediocre English-language film then the exposure that award season brings is crucial for the film’s box office success.

Overall, there were some brilliant films this award season but Parasite was the clear standout. The fact that it won the major awards is a sign that the Academy is looking at artistic merit and not just succumbing to making it a popularity contest. Parasite’s win may not seem significant but the importance cannot be understated. Hopefully this will spark the beginning of an awards body that seeks to be more inclusive and diverse, giving all films an equal chance.

Here are my reviews for some of the films of the 92nd Academy Awards:

Winners: 1917, Joker, Jojo Rabbit, Judy, Marriage Story, Once Upon a Time in Hollywood, Parasite, Toy Story 4

Nominees: A Beautiful Day in the Neighborhood, Bombshell, The Irishman, The Lighthouse, The Two Popes

Snubs: Dolemite Is My Name, Hustlers, Midsommar, Uncut Gems

What did you think of Parasite’s winning streak at the Oscars? Let me know in the comments below!

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A Beautiful Day in the Neighborhood (2019)

Marielle Heller’s third feature A Beautiful Day in the Neighborhood is a poignant glance into the morals of Fred Rogers, known as Mister Rogers, an icon of American children’s television. The film follows Lloyd Vogel (Matthew Rhys), journalist who holds onto the darkness of his past which shapes his pessimistic outlook on life. When tasked with interviewing Mister Rogers (Tom Hanks) for a profile in Esquire magazine. A sharp contrast to her previous films The Diary of a Teenage Girl (2015) and Can You Ever Forgive Me? (2018), A Beautiful Day in the Neighborhood is a wonderful film that allows Heller to incorporate her realist storytelling with hints of art and quirkiness through the use of puppetry. The film marks Tom Hanks first Oscar nomination in 19 years (he was last nominated for Cast Away in the Best Leading Actor category) and features a welcome lead performance from Welsh actor Matthew Rhys who is more known for his TV work. A Beautiful Day in the Neighborhood is a quieter film than its award season competitors but its message on love and forgiveness speaks volumes. What Heller manages to do is bring the softness of Mister Rogers’ personality and apply this to Vogel’s life, creating a friction and discomfort to Vogel’s character. 

During an award season that has seen female filmmakers snubbed in the directing categories, it seems that Heller has yet again been overlooked. When comparing Heller’s vision to some of the contenders in the Best Director category, I do think she is more deserving. Her film seems simultaneously grounded and innovative at the same time bringing an effortless flair. What Heller does so well is drawing out the best from both her lead and supporting actors (see Bel Powley and Kristen Wiig in The Diary of a Teenage Girl and Melissa McCarthy and Richard E. Grant in Can You Ever Forgive Me? as prime examples). I think that Heller has really come into her own and on her third feature, has managed to show us how varied her talent is and her fearlessness in tackling various genres and topics. Despite being overlooked, I think that Heller will continue to wow in her future projects and she’ll only receive more attention and acclaim.Matthew Rhys (Finalized)Performance-wise, the cast is really strong, particularly from Rhys and Hanks. Rhys brings out the protagonist’s inner conflict where the hurt that he feels is overshadowed by the anger. In fact, it seems that Vogel is more of an antagonist in the first act but as he lowers his guard, we begin to understand why he is how he is. It is ultimately a film about forgiveness and acceptance and no revelation is more important than the moment when Vogel accepts himself and his situation. The moment when he confronts his mum is heartbreaking and provides a bittersweet release for him as he allows himself to move forward with his life and enjoy the life that he has. I think that Rhys provides a side of his acting that we have not seen before and although Hanks is undoubtedly the highlight of the film, I think that Rhys will only get better from now on and has managed to successfully break into mainstream films.

In the supporting role, Hanks excels as Mister Rogers and was the big draw for critics and audiences alike and with good reason. From the moment he enters the screen, he is charismatic and gentle and truly becomes Mister Rogers. Admittedly after watching this, Hanks became my favourite for the Best Supporting Actor Oscar, although I completely appreciate that Brad Pitt was nothing short of phenomenal in Once Upon a Time in Hollywood. There was something about Hanks’ performance that harked back to the 90s when he was King of the Silver Screen that is a stark reminder that he is capable of truly captivating performances. I love Hanks in everything he does (I even compiled a top 10 which you can read here) and will admit that I find the Dan Brown adaptations entertaining but A Beautiful Day in the Neighborhood is among his best. 

Another aspect of this film that I adored is the costume design. Simply and quintessentially American, Indian costume designer Arjun Bhasin does a brilliant job at encapsulating the late 90s style and mixing it with a nostalgic 70s feel when it comes to Mister Rogers. Particularly, the standout for the costume department is the iconic Mister Rogers cardigan. As an avid knitter, I was interested in reading about the conception and process of the knitting process for this film. Yasemin Esmek spent nine weeks making each cardigan and the results are amazing. The craftsmanship is so good and the details are beautiful. The costume designs overall are simple but it was important that they get the cardigan correct due to its association with Mister Rogers. I think that the costume team deserved award recognition for their work but it wasn’t to be and hopefully this only continues the interest in handmade knitted costumes in film. Much like the puppetry used for scene transitions, I love the craftsmanship and passion that was brought to the costumes and production design and feel that it is a shame that this wasn’t praised as much as other films were that were less creative. rogers3.0I wasn’t expecting to love A Beautiful Day in the Neighborhood as much as I did as I thought it was going to be run-off-the-mill Oscar bait but I left the cinema feeling a mix of emotions. It was funny, dramatic, heartbreaking and hopeful all rolled into one. Despite being set in the 90s and reminiscent and nostalgic for the 70s, A Beautiful Day in the Neighborhood feels fresh and seems to be a new kind of family film. It isn’t afraid of delving into dark topics while remaining appropriate and light at the same time. It stayed with me long after the credits rolled and is among my favourites of awards season. It is a shame that the film didn’t garner more than its single Oscar nomination because Heller’s direction and Nate Heller’s score are brilliant and deserved the recognition. 

What did you think of A Beautiful Day in the Neighborhood? Let me know in comments below!

 

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Parasite (2019)

The most original film to come out of this year’s award season, Bong Joon-ho’s Korean masterpiece Parasite which can only be described as brilliantly bizarre. Since its premiere at Cannes Film Festival, the film world has been abuzz for this film. It subsequently took home the prestigious Palme d’Or beating out Quentin Tarantino’s mainstream favourite Once Upon a Time in Hollywood (you can read my review here) and has become a huge favourite this awards season, breaking the mold by being the first Korean film nominated for major awards. Particularly for non-English language films, Parasite has managed to achieve the impossible but it has done so for a reason. Joon-ho’s flawless mix of genres means that you cannot really place Parasite within a particular set. It is a perfect mix of drama, comedy, horror and thriller while also discussing a variety of topics including classism and gender. Parasite refuses to conform and because of this, it stands out as one of the most original pieces of the 21st century.

The film follows the Kim family made up of father Kim Ki-taek (Song Kang-ho), mother Chung-sook (Chang Hyae-jin), son Kim Ki-woo (Choi Woo-shik) and daughter Kim Ki-jeong (Park So-dam) as they struggle to make ends meet by working temporary jobs that pay little and are living in a semi-basement that is constantly subject to flooding, public urination and fumigation. When Ki-woo is given the opportunity to work as an English tutor to a daughter of the affluent Park family, the Kim family concoct a plan to create jobs for themselves in the stylish household thus earning a decent wage and living the high life themselves as the Park family’s household grows evermore unstable. On the other side, there is the Park family consisting of father Park Dong-ik (Lee Sun-kyun), mother Yeon-gyo (Cho Yeo-jeong), daughter Park Da-hye (Jeong Ji-so) and son Park Da-song (Jung Hyeon-jun) and their housekeeper Gook Moon-gwang (Lee Jung-eun). It is a film that presents the extreme balance of classism from either side with the housekeeper acting as the literal and figurative gatekeeper in the middle.

parasite2

Joon-ho’s direction feels unique and innovative as he manipulates setting and space to create an alternative universe within a very grounded and real place. The physical placement of the Kim family’s house being below the ground and the Park’s mansion placed high up on a hill creates a physical hierarchy. The airy, spacious setting and architectural minimalism of the Park home screams luxury and relaxation which is a stark contrast to the crammed and narrow corridors of the Kim basement where the toilet sits on a higher level to the rest of the bathroom. Joon-ho’s decision to only show the two homes as primary location only exemplifies the issues of class and belonging even more. It is no surprise that it is the smell of the basement that lingers with the Kim family and creates a separation between the two families. Despite being treated as such, they can never truly be equals. Joon-ho’s script, co-written with Han Jin-won is sharp and natural. They know when the film benefits from minimal dialogue and when to create chaos as the two families clash. As mentioned before, the film is a mix of many genres and doesn’t really have a place within one category. This isn’t a bad thing at all because in a way, it has shown Joon-ho’s skill as a filmmaker.

The main cast capture the film perfectly. One particular highlight is Song Kang-ho who brings a phenomenal performance as the Kim patriarch Kim Ki-taek who finds work as the Park family driver, mainly working for the family patriarch Park Dong-ik. He doesn’t hesitate to manipulate the Park family and take advantage of the luxury lifestyle but becomes deeply affected and paranoid when the comments of the Kim family smell arise. It is these moments that ground Ki-taek and make him realise that the lifestyle they think they are living is only an illusion. Despite their hardest efforts, they cannot rid the stench of the basement. Aside from being a film that explores the differences in class, it also does a great job at showing acceptance and place of belonging. Ki-taek doesn’t wish to change anything really and eventually begins to despise Dong-ik. Choi Woo-shik also brings his A game as Ki-woo, a young man who aspires to get out of his current situation. Working as Da-Hye’s English tutor gives him an insight into the life that he wants but not all is as it seems. Ki-woo starts a web of lies as he manages to coerce his employers to hire members of his family without them realising.

parasite3

Parasite is a fantastically bonkers film bursting to the seams with originality and I hope it triumphs at the Oscars and wins the major awards. As much as I did enjoy Sam Mendes’ frontrunner 1917 (you can read my review here), Parasite is a film that brought more to the table and something different. Not only would it be an incredible moment for film history to see a Korean film sweep some major awards that are often excluded to English-language films only (insert Roma snub here). The hype that Parasite has generated is truly deserving and it’s great to see that it is connecting with a global audience.

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

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1917 (2019)

1917 is a World War I epic that seems to be the one to beat when it comes to the Best Picture award. Co-written, directed and produced by Sam Mendes, the film acts as a tribute to his grandfather, Alfred Mendes, based on stories that he would tell about the war. Following two young soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) who are tasked with travelling across enemy lines to warn off a British attack before they fall into a trap set by the Germans. The film has become well-regarded for its flawless editing, designed to look like two continuous shots. As well as beautiful technique, 1917 also boasts a stunning cast that includes well-loved actor of the big screen such as Colin Firth and Benedict Cumberbatch as well as TV favourites such as Daniel Mays and Andrew Scott. As expected, Mendes delivers and the continuous shots and editing only exemplify the non-stop nature of war. There is only one point in which the audience is allowed to relax at the start of the third act of the film. The writing is simple as Mendes lays focus on the physicality and the atmosphere rather than the dialogue. There are few monologues and those with speeches such as Andrew Scott’s Lieutenant Leslie are at rare moments of stand still. Co-written by Mendes and Krysty Wilson-Cairns, the script is minimalist in dialogue. Even when following the two Lance Corporals on their journey, we never really hear Schofield’s backstory because he is so withdrawn. One brilliant scene is when Schofield is picked up by a passing British unit and they are sat in the back of a truck. Schofield sits silently as the soldiers around him comment on their various backgrounds, imitate their General and comment on whether occupying other countries is worth the damage. It’s a poignant scene which brings in a humane aspect that is often missing from World War films.

The performances are impressive, particularly by George MacKay who is always on camera. He carries the film in the same way that he carries the message to the troops. It is no easy feat as an actor to hold so much pressure from such a big film but MacKay has shown promise from the early days in his career and his subsequent breakout performances in Pride (2014) and Captain Fantastic (2016). 1917 exploits MacKay to a mainstream audience that he won’t have been subject to in such a way previously. His Lance Corporal Schofield is reluctant to go on the mission and keeps his cards close to his chest but his determination to see it through is fearless, particularly in the final scenes as he runs through the trenches. Schofield and Blake appear to have different takes for their mission at the beginning. Blake is insistent on setting off immediately whereas Schofield logically believes in waiting until dark. Because of the emotional stake that Blake has in the mission (his brother is among the troops heading into the trap), Schofield has to ensure that Blake’s heart doesn’t lead his head.

1917

The two protagonists balance each other out as Blake risks his own life to save Schofield when a bomb is set off in a German trench. Chapman is also fantastic as Blake who appears naïve due to his sentimental nature. When encountering a German soldier whose plane was shot down in a dogfight, Blake’s gut reaction is to assist and get the soldier some water to ease the pain whereas Schofield doesn’t hesitate to shoot at the enemy. As mentioned before, the supporting cast is littered with stars from the small and silver screens. Admittedly, the supporting cast are granted one scene each so it’s more of a cameo, but each actor makes the most of their moments. Andrew Scott particularly delivers a brilliant monologue as a Lieutenant who has little hope in winning the war whereas Benedict Cumberbatch’s Colonel Mackenzie views he retreat from battle as a sign of defeat. The fleeting appearances from the supporting characters is thanks to the perfectly linear narrative of the film itself. We see the two Lance Corporals setting off to warn the Devonshire Regiment and ending with Schofield sat beside a tree in a mirror image of the opening shot.

It would be a big misjustice not to mention the revolutionary cinematography and editing provided by Roger Deakins and Lee Smith, respectively. Both men are at the top of the game in their respected fields and they work fantastically as a team. What these men have managed to achieve feels as claustrophobic and in your face as the war itself. There are many comments from people saying that the continuous effect took some getting used to but for me it felt natural and flowed perfectly. The editing is in a similar vein to the technique used in Birdman but on a bigger scale. What Deakins does so brilliantly is simultaneously provide big explosions shots filled with action while also maintaining great focus on the individual protagonists’ faces. Despite everything that is going on around the soldiers, the audiences’ eyes are fixated on the characters. Deakins’ colour palette is muted as expected in a war film with greens and browns. There are no exaggerated colours or futuristic spectacles. Deakins ensures that the film is very much grounded in its reality. Together, Deakins and Smith manage to create a film that is visually captivating and stunning, making the best use of the environment given and its limited landscapes.

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On the musical side of things, Thomas Newman’s score for this film is beyond incredible and has deservedly earned him his 15th Academy Award nomination. This year has seen a strong competition in the score category with both Thomas and Randy Newman pulling punches for their scores for 1917 and Marriage Story, respectively. Undoubtedly, the Best Original Score gong will go to Hildur Guðnadóttir for her stellar work on Joker making her the first woman to walk away with the award. It shouldn’t go unnoticed, however, that Thomas Newman’s score is among his best. Much like the editing, the film is reliant on its score which acts like a thread connecting the scenes. Needless to say, if Newman does end up winning, I wouldn’t be disappointed.

Overall, 1917 has proven to be a much better film than I had originally anticipated and I found myself moved and stunned by the technical and artistic achievement that Mendes has managed to pull off. I’m not sure if it’s a film that you need to watch more than once as I personally got everything out of the film that I needed in one go. I imagine that in time, it will become renowned and known for its technical aspects and the uniqueness in that field rather than the characters.

What do you think of 1917? Let me know in the comments below!

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Bombshell (2019)

One film that has brought much buzz among the acting categories is the Fox News centred biopic Bombshell. Following numerous women working at Fox and their experiences of sexual harassment at the hands of their boss, Roger Ailes, the audience follow the lives of three women at different levels of their careers are observed. At the top of the game there is Megyn Kelly (Charlize Theron), then there is recently fired anchor, Gretchen Carlson (Nicole Kidman) and at the bottom of the tier is newcomer Kayla Pospisil (Margot Robbie) who is based on a culmination of women who worked at Fox. This was not a film I thought would be as gripping or exploitive as it was but this film contains some very upsetting material that shows the trauma that women are forced to endure in order to be successful. The event that acts as a catalyst is Kelly’s encounter with Presidential candidate Donald Trump who tweets various misogynist insults her way after a challenging exchange during the Presidential debate. We see Kelly’s world turned upside down as her and her family’s livelihood is at stake at the hands of a ruthless paparazzi and a passionately threatening audience. Simultaneously, Carlson is fired from her position and seeks to sue Ailes for sexual harassment which is described as a money grab from those at Fox. Overall, it is a film that shows the hardship of women and how dangers in the workplace seep into their personal lives. Directed by Jay Roach and written by Charles Randolph, Bombshell allows its female protagonists to develop and grow while showing their vulnerability and resilience in their quest to end the patriarchal harassment that has humiliated women at Fox over the years.

Charlize Theron is so brilliant as Kelly. In the same vein as Monster, Theron transforms into her subject and manages to perfect every detail about them. Completely deserving of the nominations that she has received, Theron’s Kelly is poised, collected and observant. She is a woman who will not be messed around. This makes the scene in which she opens up about her experience with Ailes shocking considering her strength and influence in the workplace. During the conflict with Trump, Kelly doesn’t make any vengeful comments back and instead is aware that Fox’s access to Trump during the Presidential campaign is crucial. She is able to put her own motivations to the side. It is when she puts herself first that a wave of women from Fox come out and discuss their experience. It’s no surprise that Theron has garnered her third Oscar nomination for her portrayal as this controversial figure. She has this command when she is on the screen and a strength that makes it even more shocking when comments about her menstruating are used as an excuse for her challenging nature. She is constantly given a harder time because she is a woman and not taken as seriously as her male counterparts. Equally, Kelly has respect for Ailes and when the accusations come to light, she faces a struggle between her genuine loyalty to him and the truth. In the end, she realises that she must go with the latter but this isn’t a decision that comes easy or without consequence.

In terms of our supporting protagonists, we are given Margot Robbie and Nicole Kidman as newcomer Kayla Pospisil and fired anchor Gretchen Carlson, respectively. Robbie is beyond outstanding in support and continues a stellar year. The scene in which her character is harassed and forced to show her crotch to Ailes is extremely upsetting and difficult to watch. We see Robbie’s brilliantly layered expression as she is clearly distraught and uncomfortable herself at having to do this but she knows she must grin and bear it for risk of being fired. Kayla is a fictional character but the development of her character and the depth that she is portrayed with feels very real. The idea to accumulate multiple women into one has served Randolph’s script well as it allows various perspectives to be shown without confusing or overloading the audience with too many characters. Robbie gained an Oscar nomination for her portrayal and it is so deserved. Time and time again, Robbie is showing us her range and has managed to compile a really impressive filmography following her departure from Australian soap opera Neighbours. Kayla is a character who shows a side of Robbie that we haven’t been able to see before and makes it all the more exciting to see what roles she will take on in the future.

On the other hand, Kidman is definitely underused but packs a punch when she is onscreen. I understand that with three prominent protagonists, it can be tricky to prioritise whose story to go more in depth on but it would be wrong to underestimate Gretchen’s important in this narrative. She is the initial driving force and brings this story out to public knowledge. The opening scene shows other female anchors following the rules followed by a collection of clips of Gretchen being told that her outfits are lovely as well as comments on her body with Gretchen looking uncomfortable but laughing it off. She is immediately presented as an outsider from the get go. When confronted by a woman in the supermarket who tells her that her show and Fox News are a disgrace, Gretchen doesn’t understand and twists it back on the woman. The performance doesn’t require the same level of depth and development that Theron and Robbie have to bring because Gretchen is already at the stage of rebellion but Kidman loses herself in the role. We don’t see Kidman, we see Gretchen. It would also be wrong not to mention the eerie performance from John Lithgow as Ailes. It isn’t easy to play a role like Ailes as someone who seems kind and respected but so manipulative and abusive beneath the surface. Despite having limited screen time, Ailes has a horrifying and lingering presence over the whole film and that is thanks to Lithgow’s intimidating command that he has when he is onscreen. He is very much a puppet master.

Bombshell was a surprisingly intense and thrilling film to watch. The limited use of location, primarily the Fox studios makes for a claustrophobic experience that reflects the entrapped environment that the woman work in. The intriguing part about it is how the women start speaking out without really talking to one another for fear of being outed as a traitor. Thanks to its controversial subject matter and triple female protagonist set-up, it probably will have limited success at awards season but the fact that it has received nominations is a great achievement. Theron, in particular, really brings her A game and delivers her best performance in years.

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