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Nightmare Alley (2021)

Bradley Cooper in the film NIGHTMARE ALLEY. Photo by Kerry Hayes. © 2021 20th Century Studios All Rights Reserved

Hollywood has been going through a period of nostalgia in recent years. We have seen an abundance of franchises, sequels, prequels, reboots and remakes dominating the cinematic landscape, and it’s easy to understand why. These films provide a sense of comfort and escapism for audiences as they offer a sense of familiarity. One such example is Guillermo del Toro’s latest release, Nightmare Alley, which is based on the 1946 novel of the same name by William Lindsay Gresham and the second film adaptation following the iconic 1946 film noir of the same name that stars Tyrone Power and Joan Blondell. The film follows protagonist Stanton “Stan” Carlisle (Bradley Cooper), a man who becomes a carny after killing his father and burning his house down. During his tenure at the carnival, he becomes interested in Mentalism, eventually falling in love with carny Molly (Rooney Mara) and the two leave the carnival to embark on their own touring act with dire consequences. With a starry cast led by Cooper and Rooney, while also featuring the likes of Cate Blanchett, Toni Collette, Richard Jenkins and Willem Dafoe among many more, Nightmare Alley is a staggering 150-minute mammoth of a film that chronicles the rise and fall of its protagonist is flamboyant fashion that is every bit a carnival attraction in itself.

The film is directed by Guillermo del Toro who co-wrote the screenplay with Kim Morgan. As expected from a del Toro film, the direction is stellar and captivating with meticulous detail and precision in every frame. Where del Toro’s Oscar-winning The Shape of Water has its fixations on the aquatic and incorporates this element into the aesthetic and flowing nature of the film, Nightmare Alley literally opens in flames as Stan sets his father’s house on fire. This fiery nature runs through the entire film as we see Stan revisit this moment time and time again, especially in moments of reflection. Where the film experiences somewhat of a downfall is in the writing as the pacing doesn’t feel as consistent throughout. The audience is thrown into the events as Stan sets fire to the house and immediately boards a bus that takes him to the carnival; however, the film soon slows down in pacing, especially during the final act and there are far too many endings.

Bradley Cooper takes on the lead role of Stan that was originally played by film noir icon, Tyrone Power in the original 1947 film. Cooper has established himself as one of Hollywood’s best leading men having garnered nine Oscar nominations with four of these being in acting. He is the perfect choice for Stan and has that brilliant Southern drawl and charisma needed for the role as the character works his way up the social ladder. What makes Cooper’s performance so captivating is how unpredictable he is and the way that the audience learns more about him throughout the film. It is within the second half of the film that we discover the whole truth about what happened between him and his dad. While Tyrone Power will always be associated with the role of Stan, Cooper doesn’t try to copy or imitate his performance but provides a darker angle that lends to his unpredictability.

Playing Molly is Rooney Mara, who proves that there is a lot to this role than meets the eye. To assume that Molly is simply Stan’s love interest is to dismiss this incredible performance as Molly has plenty of personal freedom and doesn’t feel pressure to take her time in deciding what she wants to do with her life. Mara is the perfect onscreen partner for Cooper because she is always capable of delivering performances that are more subtle but still pack their punch. While Cooper’s performance is big and loud, Mara provides a nuanced and quieter performance that still holds plenty of power and shouldn’t be overlooked. What makes Rooney Mara one of the best actresses working today is her adaptability and ability to steal a scene while also playing well against others when needed.

The second half of the film is dominated by Cate Blanchett who plays the mysterious psychologist Dr. Lilith Ritter. Her first scene comes later in the film as she attends one of Stan and Molly’s shows, attempting to uncover their tricks. Blanchett’s Lilith seems charming and disarming as she manages to seduce Stan over time as they come together to scam wealthy men by pretending that Stan can communicate with the dead when he is using information that Lilith has been feeding him as they were patients of her. Blanchett’s final scene is genuinely terrifying and shows a darker range to her acting that we haven’t really seen before.

Another brilliant performance worth mentioning comes from the always brilliant, Richard Jenkins, who plays the unpredictable and eccentric Ezra Grindle. Grindle is an extremely intimidating man and incredibly wealthy to the point where the money blinds Stan from the blatant threats that are present. Jenkins provides unsettling energy to Grindle and even though he isn’t in a lot of scenes in the film, he steals the scenes that he is in. Despite the limited amount of screen time, we learn so much about Grindle’s character and want to learn more thanks to Jenkins’ impeccable performance.

Nightmare Alley may not have the same level of magic that del Toro brought with The Shape of Water, but it cannot be denied that he is a true visionary and is always capable of creating beautiful aesthetics and drawing out brilliant performances from the star-studded cast. Where Nightmare Alley falls short is its writing as it feels like two completely different films that have been combined yet don’t quite tonally mesh, while the film’s length runs for too long. If there was more tonal connection and consistency throughout and a shorter running time, this would be viewed as a front-runner in the awards season.

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

Nightmare Alley is out in cinemas now!

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Laika Studio: Film Ranking

We love to discuss animation on this site and I thought it’d be a great idea to delve into one of the most exciting American animation studios and it isn’t Disney. This is all about Laika Film Studio, owned by Nike co-founder Phil Knight. Initially known as Will Vinton Studios before being renamed as Laika in 2005, the studio carried out contract work before diving into exciting features starting with Coraline in 2009. Followed by four more films, Laika has garnered an Oscar nomination for Best Animation Feature for each of its films without a win.

Laika has time and time again grown to become a serious contender in the critical and commercial eye. Using beautiful stopmotion animation with flawless designs and techniques. Their use of textures are particularly brilliant and this can even be seen in their early contract work such as Tim Burton’s Corpse Bride and has only grown over the years. Their films are hugely topical with a particular penchant for exploring identity across a spectrum of races and cultures. Laika’s fearlessness has earned its place among the big animation studios and it’ll be great to see what else they have up their sleeves but for now, this post is all about the five features they have released and includes a ranking which won’t be easy. All five films are of such high quality so I’m doing giving myself an easy task at all.

Here are my reviews for the features from Laika:

Coraline (2009)

Laika’s debut comes in the form of fan-favourite, Coraline. Following the titular character, a young girl who has moved home with her parents to a new mansion that has been split up into apartments. Coraline finds an alternative universe known as The Other World where everyone exists with button eyes but appear to be nicer with the house looking brighter than reality. Coraline enjoys spending time with her Other Parents but the facade quickly fades away as all is not as it seems. She has to figure out how to stop her Other Mother from sewing buttons over her eyes and joining them in the Other World which is revealed to be a dark and miserable place. Directed and written by Henry Selick and based on a book by Neil Gaiman, Coraline brought Laika to the spotlight with its unique stopmotion designs and dazzling story-telling. A wonderfully dark film that has appealed to all ages and accumulated a huge fan base, Coraline is a spectacular achievement and a great start for Laika’s legacy.

ParaNorman (2012)

The follow-up feature released by Laika was the supernatural comedy-horror, ParaNorman. Following Norman Babcock, a young boy who appears normal but has a gift of seeing dead people. This has given Norman a reputation for his weirdness in his town but with the help of his best friend, Neil, he is able to get by. There is a threat from witches who were hunted down centuries before and it’s up to Norman and his gift to save everyone. ParaNorman is an exciting and fresh film, blurring the line between children and adult films. Enjoyable for ages, it isn’t afraid to push taboo subjects and includes the first openly guy character in an animation. It may only be one line and not seem like much, but it had such a huge affect on how filmmakers can approach these topics for children. It was even the first PG rated film to be nominated for the GLAAD Best Film award which is a brilliant step forward and has helped to inspire more discussion in mainstream animation films.

The Boxtrolls (2014)

The third film by Laika comes in the form of The Boxtrolls, a film that follows Eggs, a young boy who is raised by the titular Boxtrolls, creatures who collect and hoard rubbish. It is up to Eggs to save the Boxtrolls when they are threatened by an exterminator. It’s critically known as Laika’s weakest work to date but this is by no means suggesting that it is a terrible film. When faced with films of such high calibre, there will always be a film that falls a little bit short with critics. I am inclined to agree as The Boxtrolls doesn’t have the right balance between silliness and sincerity, often favouring the former which makes for some absurd and overly childish watching. The villains are the best part of the film with Ben Kingsley voice performance as the ridiculous Snatcher an absolute delight but sadly, his character arc doesn’t seem to pay off. The Boxtrolls is a film filled to the brim with creativity and visually it’s great but the script is not as consistent and controlled as it could have been which lets it down slightly.

Kubo and the Two Strings (2016)

Kubo and the Two Strings shows just how big Laika can go. Using the same budget as its predecessors, Kubo and the Two Strings follows the titular character on his quest across lands and sea to defeat his aunts and grandfather who are after his one eye after taking the other when he was an infant. Set in Japan and inspired by origami in its animation style as well as the magic Kubo has, the film is beautifully textured and atmospheric. It also features a brilliant cast led by Art Parkinson as Kubo with supporting turns from Charlie Thereon, Matthew McConaughey and Rooney Mara. There is a real rawness to Kubo and the Two Strings that feels unseen and new in that it has such a mature outlook for a children’s film but is engaging and exciting at the same time. The music scored by Dario Marianelli is astonishingly beautiful taking inspiration from traditional Japanese music with heavy use of the shamisen. Deservedly winning the BAFTA for Best Animated Feature in what was a fantastic win, it sadly lost the Oscar which I think it should have won. However, the BAFTA shows that there is a place for Laika and they will get that deserved Oscar.

Missing Link (2019)

The latest Laika feature to be released is the road film, Missing Link. Following Sasquatch, Mr Susan Link, who is accompanied by English explorer, Sir Lionel Frost, to travel to the Himalayas to be reunited with his Yeti relatives. Sadly, Missing Link was a huge box office bomb despite its universal acclaim and award nominations including a win for the Golden Globe for Best Animated Feature. What makes it even worse is how amazing Missing Link is. Equipped with a massive $102 million, Laika were able to go bigger and better with this film and brought a star-studded cast led by Hugh Jackman, Zoe Saldana and Zach Galifianakis. The results are exquisite with the studio taking advantage of the film’s global journey by creating a brilliant scope of flawless sets. The animation department did a stellar job with this, particularly the Washington woodlands were Susan comes from and the Yeti’s home in Shangri-la which are spectacular and jaw-dropping to look at. Hopefully in time, there will be more love for this film because it is such a light-hearted and beautiful feature that is enjoyable for all ages. A really wonderful addition to the Laika filmography.

With all the reviews said and done, I can’t recommend enough that if you haven’t seen these films then you do so immediately and if you have then watch them again because they are phenomenal and beautiful. Laika has proven that there is a place for stopmotion animation in the modern age with each film looking so distinctly unique from the other. Laika’s refusal to adhere to a formulaic method of filmmaking has made it one of the most exciting animation houses in the world and the critical acclaim it receives only adds to the encouragement and push for even more progressive films. I am so excited to see what the future holds for this studio and hope that they recover from the commercial loss of Missing Link because it is a necessary animation house and one that refuses to conform, inviting its audience to think about what they’re watching.

Without further ado, here is my Laika Studio ranking:

1) Kubo and the Two Strings (2016)

2) Paranorman (2012)

3) Coraline (2009)

4) Missing Link (2019)

5) The Boxtrolls (2014)

So that’s all the reviews and ranking done and dusted. Not easy as I predicted but it’s always great to appreciate the quality of animation, particularly from a studio where the process takes even longer than usual computer or handdrawn animated films.

What do you think of my ranking? Which Laika film is your favourite? Let me know in the comments below!

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A Ghost Story (2017)

One of the most beautiful and somber films to come out of the 2010s is A Ghost Story written and directed by David Lowery. Premiering at Sunday’s Fil. Festival and distributed by the much-loved A24, A Ghost Story follows a young married couple C (Casey Affleck) and M (Rooney Mara) and the aftermath of the former’s untimely death at the start of the film. What makes this film such a standout is its simplicity and minimalist approach with limited locations and characters. The film is primarily filmed in their family home and showcases the figurative and literal destruction of the home as M’s life falls apart without her husband. The home is not a home. The screenplay is written by Lowery and his connection and intricacy in bringing his two protagonists to life with minimal interaction is no easy feat but he achieves this. It is a film that moved me and has provided much inspirational imagery and directorial approach that I feel sad that the film has almost been swept under the carpet.

Affleck and Mara both bring their A game to this film and give performances that are among the best in their careers. When C passes away he is reincarnated as a ghost donning a simple white sheet with holes cut out for eyes. We never see his eyes nor what is under the sheet yet Affleck’s presence and character is felt despite not speaking or providing much action. C is a musician and we hear glimpses of his song throughout bringing an unexpected electro and modern sound to the film. The music is what brings the film to its respective time period as the minimalism evokes a timeless quality. Mara is absolutely gut-wrenching in her turn as the grieving wife, M. We see a strong woman who is eventually broken down mentally and physically by the absence around her. We see a few encounters from friends and even a prospective date but the absence of C is too much for her to bear. There is only one scene when M is actually outside of the house and that is when she is identifying her husband’s body. In some respects, she is defined by her relationship to her husband but it could be argued that her struggle is actually a want and inability to move on and continue with her life. She slowly begins to recognise that C isn’t coming back no matter how much she longs for it.

It goes without saying that the highlight scene is the pie scene. This scene is infamous among film fans alike thanks to its raw one take approach to seeing a grieving wife literally eating a chocolate pie for five minutes until she makes herself sick. The scene itself is so simple yet so complex. Mara’s emotional spectrum is on display here as she eats and eats, delving into more and more despair as she longs to feel better following the funeral. The feeling of hopelessness and depression really shoot through as well as upset and loneliness. There are no words in this scene yet it says so much. It’s as if M is hoping her husband will return and stop her from eating herself to sickness but he doesn’t. In fact, no one comes and she is left alone to grieve and process what has happened. I think this scene alone warranted awards recognition but I think the rawness of the characters was probably too alien to the mainstream audience as it does make for uncomfortable and upsetting viewing.

Another scene that causes debates among its viewers is the monologue provided by a party goer, credited as the Prognosticator (Will Oldham) in the house next door. C observes as the Prognosticator talks endlessly about classical music and the Big Crunch which is a theory that claims that the universe is constantly expanding and eventually it will snap like a rubber band and collapse in on itself into a speck as if nothing existed at all. C’s frustration and anger throughout the scene causes him to make the lights flicker as he searches for meaning beyond the life he lived. The speech itself is a bit longwinded, lasting five and a half minutes. Its uneasiness and pretentious nature makes it seem longer because there is no one debating with him. It very much feels as if the Prognosticator is talking out to the audience or even the universe. It is important to note that the film has minimal dialogue so this speech is the true verbal standout the audience is provided with and I think it’s a skillful tip of the scale by Lowery who wants to create that feeling of uncertainty.

The structure of the film is unconventional following a repeat of the time that C and M lived in the house while C observes under his sheet and follows the next family to move in and the subsequent destruction of the home. It feels as though C and M’s memories together are trapped in that endless loop as the universe expands. Just as the Prognosticator claims the works of Beethoven will forever live in human memory, so will the time C and M spent in their house. When C finally reads a note M left and disappears it is sad but also brings closure to that loop and gives him a chance to leave the house just as M did before.

A Ghost Story is not your typical film exploring loss and grief but its impact and power comes from Lowery’s raw approach. Despite its seemingly effortless aesthetic, the films screenplay and character observation pushes through a complexity that transcends its simple storyline. It’s a film that will stay with you long after you watch it.

What did you think of A Ghost Story? Let me know what you think in the comments below!

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

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

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

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

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

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

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A Nightmare on Elm Street Ranking

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

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

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

A Nightmare on Elm Street (1984)

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

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

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

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

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

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

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

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

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

Freddy’s Dead: The Final Nightmare (1991)

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

Wes Craven’s New Nightmare (1994)

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

Freddy vs. Jason (2003)

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

A Nightmare on Elm Street (2010)

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

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

Here is my ranking:

1) A Nightmare on Elm Street (1984)

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

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

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

5) Wes Craven’s New Nightmare (1994)

6) Freddy vs. Jason (2003)

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

8) A Nightmare on Elm Street (2010)

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

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

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Top 5 Joaquin Phoenix Performances

Undoubtedly the man of the moment in the film that has the festival circuit buzzing, Joaquin Phoenix is the frontrunner for awards for his titular performance in Todd Phillips’ origin story Joker. During a film climate that seems dominated by superhero films, Joker seems like it is doing something entirely different by twisting the tone and idea of the superhero movie. It feels that after years of playing the underdog in Indie features and his reluctance to entertain the spotlight, the mainstream media has finally caught up. It feels only right that I compile a list of my top 5 performances although it’s very tricky to do so.

Here’s my top 5 in chronological order:

Gladiator (2000)

I never thought Gladiator would be in a top anything list. Truth be told, I find the film overwhelming overall but the one element of it I absolutely love is Joaquin Phoenix’s brilliant performance as the evil Commodus, the power hungry son of Marcus Aurelius who gives power to Maximus (Russell Crowe) until a new empire is formed. His lust for power knows no bounds as he murders his own father and has Maximus arrested. It’s Phoenix’s performance that brings the real depth to this film. He could have easily played this role as a cartoonish villain but instead brings a snakelike presence to the character. His strength comes from the power that others give him rather than strength that he has by himself which comes to fruition in the final fight scene with Maximus.

The Master (2012)

Undoubtedly my favourite Joaquin Phoenix performance, The Master follows ex-marine Freddie Quell (Joaquin Phoenix) as he becomes involved with a cult called The Cause, led by Lancaster Dodd (Philip Seymour Hoffman) and his wife, Peggy (Amy Adams). I won’t dwell too much on this film, mainly because I have written an extensive review for this film (which you can read here). Phoenix brings his A game to his performance and it truly is a career best. The scene where he initially undergoes “Processing” with Lancaster in which his darkest secrets and even darker past are revealed. It’s a brilliantly shot scene that brings together to titans of acting and should have won both Phoenix and Hoffman Academy Awards.

Her (2013)

Spike Jonze’s romantic Her shows a tender side to Phoenix in the role of Theodore Twombly, a depressed soon-to-be divorcé whose job is writing intimate letters for people who are too afraid to do so. He is so emotionally intense and yet detached at the same time as he begins a sexual relationship with his OS (voiced by Scarlett Johansson). Featuring a stellar cast that is rounded off by Amy Adams and Rooney Mara, this was one of the best films of 2013 and brought Spike Jonze a much-deserved Oscar for his screenplay. It’s a saddening portrayal of love and heartbreak in the 21st century. This is a film that easily could have fallen into ridiculous due to its eccentric plot but the sincerity that Phoenix brings to the role allows the audience to become truly invested in the plot.

Inherent Vice (2014)

Phoenix’s second collaboration with Paul Thomas Anderson brings renowned author Thomas Pynchon to the big screen in what is the only adaptation to date. Based on the drug-infused novel, Inherent Vice, we follow Doc Sportello, an alcoholic, drug-loving cop in 1969 as he tries to bring down a drug lord. It’s a hallucinogenic mesh of colour, music and Joanna Newsom who stars as a narrator only Doc can see. The film itself is hugely underrated, possibly due to the fact that it is too bizarre for a lot of people. Being a big fan of Pynchon, I was so excited to see how it would work adapting one of his books into film and it works perfectly. Phoenix is perfect casting and carries off Doc’s happy-go-lucky attitude with ease. He heads up a star-studded cast fantastically and commands the screen whenever he is on it. He brings the perfect amount of slapstick while also keeping the character’s dignity intact. It’s truly a brilliant film that I think is wrongly overlooked.

You Were Never Really Here (2017)

Lynne Ramsay’s gritty New York City based nightmare follows Phoenix as hitman, Joe, who lives and breathes violence and killing all while living with his elderly mother in his childhood home. He specialises in rescuing trafficked girls. He’s a character who’s backstory is stained with violence and abuse and there isn’t much else that he is capable of doing. He is quiet and alone but happy in his loneliness. When tasked with retrieving a Senator’s daughter from traffickers, Joe embarks on his hardest mission yet. The film is bloody and holds no punches. It’s brutal from beginning to end with devastating results. The direction and writing is super tight and brought both Phoenix and Ramsay prizes at Cannes Film Festival in a rare double win.

With the release of Joker, it seems that Phoenix is going to break into the mainstream and he’s the frontrunner come award season. It seems that these awards are long overdue. If it were up to me, he’d have a couple of oscars in his cabinet already but sadly that hasn’t been the case. I’d hope that those who are introduced to phoenix’s talents as the Joker watch him in other films and see his talents beyond that superhero universe.

I’ll be posting a review for Joker as soon as its released and I’m looking forward to seeing whether it would break into my top 5.

What do you think of my list? Do you agree or disagree? Let me know in the comments below!

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Women’s Voice In Film

Women in film has become a huge talking point for film development in recent years, partially due to the #metoo movement that outed the abusive patriarchy in film seeing women given less power both in representation and finance. A lot of discussion on the internet (from men mostly) questioning whether there truly is a problem in the first place, do the women deserve the harassment they face and most importantly, do we really need these gender swap remakes? The answers to these questions are simply: yes there is a problem, no a woman never deserves harassment and of course we need as much female representation as possible.

It’s not secret that the days of Golden Hollywood, although seemingly flawless and iconic, foresaw the way women in film were treated by their bosses (producers and directors). From the infamous “casting couch” to the manipulative studio contracts, Hollywood presented itself as a mecca of dreams but proved to be a breaking point of mental illness, drug and alcohol misuse and domestic abuse. This period sees the breakdown of many stars including Judy Garland, Marilyn Monroe and Bette Davis just to name a few. It seemed that solace could only be found at the bottom of a whiskey glass.

So what does this issue have to do with Hollywood today?

Well, to begin with, despite the elimination of studio contracts in the 50s due to the collapse of the Hollywood studio structure, it appears that female filmmaking is still viewed as a niche rather than as an equal offering. The fact that we even discuss a film as “female” or celebrate female creators and strong female characters shouldn’t be something we celebrate in the 21st century. Especially considering that we’re at a century of accessible filmmaking that has distributed across the globe. AFter everything that has happened globally regarding women’s issues such as voting rights, reproductive rights, fighting the wage gap, it’s unsurprising that the fight for the female experience through a woman’s perspective has been equally difficult. After all, film is a brilliant and affordable medium to translate issues to a global audience using visuals to gain awareness for issues. Take last year’s Oscar-winning short documentary Period. End of Sentence. that looks at female poverty in India where women are forced to quit school due to periods as they are unablt to afford sanitary products. In terms of fictional feature films, we have seen a resurgence of female driven comedies with Bridesmaids accredited with starting this trend. Other offerings in recent years have reverted back to teenage years with 2019’s Booksmart and 2017’s Lady Bird among the big fish. it’s great to see original stories created by women being given mainstream releases and have subsequently done well in the awards circuit. As well as comedies, we have also seen female-centred dramas such as Todd Haynes’ beautiful and iconic LGBT love story Carol (you can read my review here) starring Cate Blanchett and Rooney Mara, which I would argue is the best love film of the century so far. Now these Indie films do incredibly well, but why hasn’t this translated as well into mainstream films? I’ll try to break this down.

It’s known that the majority of people who will go and see an original story created and performed by women is going to be seen by women. That’s all well and good but considering that men are the majority of the cinematic audience statistically, it’s important to get men to see films created and performed by women too. This is for a number of reasons and since the film industry is a business, the most important issue is money. If more men see the films then more money is given to the filmmakers and then more films created by women can be made which would eventually make the idea of the “female film” as old and traditional as the Golden Age of Hollywood. This brings me to the gender swap remakes. If you looked at the highest grossing films in recent years, chances are that they are filled with sequels, reboots, prequels and remakes. Using this information, it is a smart idea that in order to bring a female perspective to a high-grossing film, you must incorporate strong female roles into these films. However, this hasn’t been without a share of complaints from a small portion of the male audience. Take the Marvel and DC Universes for example. Admittedly, I am not a huge fan of the Marvel Universe but I have never heard such negativity from a male audience regarding it’s iconic female characters before. It seems that every other film is released with no issue, Marvel films particularly tend to sell out every initial screening and exceed in both critic and audience circles so when they decided to do a film dedicated to Captain Marvel, this should have been a celebration for a strong female character to join the achievements of its predecessors; however, this sadly wasn’t the case. A portion of the male audience was outraged by Brie Larson’s interpretation of the role as well as her feminist statements. It’s all well and good when the male superheros want to prove their stereotyped masculinity (which is an old school trope that Marvel appear to be fighting as well by bringing vulnerability into the male characters) but when Captain Marvel doesn’t need a man to save the world and more importantly, doesn’t want a man with her to save the world, this is a major issue. It was a role that should have been celebrated but instead, while Endgame was adored for bringing its emotion to the male characters (Iron Man specifically), Captain Marvel is viewed in a negative light because she veers away from the traditional “eye-candy” trope that Golden Hollywood has been feeding the audience with for years. I hope that as these franchises expand and more female characters are incorporated into their respected universes, the male audience that openly despises the likes of Captain Marvel and Wonder Woman may be open to the idea of the strong, independent women without thinking of them as simple love interests or sidekicks rather than the leaders of their own stories. Despite this small male audience who tweet outrageously about the femalecentred films, DC is clearly proud of the overwhelming success of Wonder Woman as they are bringing Patty Jenkins back for the second film (I did actually enjoy Wonder Woman! The first segment featuring the Amazonians is astonishing direction and writing).

I am not writing this article to be negative or bash the male audience because the male audience is important to the plight of female filmmaking as well and it is only a small portion. I think that there has to be an understanding that it is much harder for a woman to get a film made than a man. Once that statement is understood and acknowledged then the discussion of female film becomes a welcome idea and celebrated. But in a world where the Indie films created by women are renowned for their originality, why do we need gender swapped films such as Ghostbusters? Do we actually need them?

As I said at the top of this article… yes, yes we do!

Why do we need them? By remaking films with gender swapped protagonists, it gives the audience a new perspective on a femiliar setting. It’s easy to be angered when a classic like Ghostbusters is given an update with the best female comedians much like the original with men. It’s a brilliant film by itself (it obviously isn’t as good as the original) but I don’t think the intention was to “outdo” the original. I think it was to show that women could be given an ordinary role without the woman part being of any importance. I think that if Ghostbusters was remade with a male cast, there would be the usual complaints of “we don’t need a remake” but the abuse hurled at the stars of the film showed that there is sexist view from this portion of male audience. It seems to not only be that women have “taken” the roles, but that women are put in powerful positions without being the love interest. There is also an argument that representation is important and when given the opportunity to make these remakes, it’s another opportunity to put women in the driving seat which is only a positive.

Some of the films I love such as Eternal Sunshine of the Spotless Mind and Frances Ha feature brilliant female characters. Clementine Kruczynski (played fantastically by Kate Winslet) in the former and Greta Gerwig as the quirky titular character in the latter are women who have their flaws and struggles but at the end of the day, are independent and strong. Both films directed by men but show the important of strong female presence in film. Eternal Sunshine’s script won the Best Original Screenplay Academy Award suggesting that there is a demand for these female characters. Another film that is a force of nature is 2016’s Turkish offering, Mustang, about five young sisters who are forced into marriage after wrongly being accused of sexual activity with a group of boys in their class at school. Written and directed by Deniz Gamze Erguven in her directorial debut, Mustang is one of the best films I have ever seen. The film is shown through the eyes of the youngest sister, Lale, giving the audience an innocent glimpse into an oppressive world without explicitly saying so. Much like the message of the film, the writing and directing is subtle with a lot of stillness and peace in moments of chaos. Another brilliant female-led offering is 2018’s The Favourite which was hugely snubbed in the Oscars this year and has not one, not two but THREE stellar leads in the form of Olivia Colman as Queen Anne (who deservedly won an Oscar for her performance) and Rachel Weisz and Emma Stone as the women vying for the queen’s attention. It’s a complex triangle of lust, power and manipulation. This answers the question whether women can carry a film with a resounding YES!

At the end of it all, more needs to be done to finance and distribute mainstream films created by and starring women but this isn’t to say that none exist at all and the offerings we have had in recent years particularly show a huge improvement to the films of the Golden Era. Women have proven time and time again that they can create films that are both critical and commercial (when given the chance) successes.

What are your favourite films created by and/or starring women? Let me know in the comments below?

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Carol (2015)

One of the best films of the 21st century so far and a defining mark of LGBT+ cinema, Todd Haynes’ Carol is a film swimming in emotion as it explores the realities of a lesbian relationship in the 1950s. Adapted by Phyllis Nagy from Patricia Highsmith’s controversial novel The Price of Salt, Carol tells the story of Therese Bellevet (Rooney Mara), a young twenty-something trying to find her way in 1950s New York. Whilst working as a Christmas temp in a busy department store, Therese has a love at first sight encounter with Carol (Cate Blanchett), an older soon-to-be divorcee who is a darling to New York society. Much like the Christmas backdrop, the film is a present revealing more layers with every watch.

Haynes pulls out all of the stops for this production, playing all of his cards as a visionary. He managed to take the words on the page and create a universe that seems to belong to Carol and Therese. From the costumes by Sandy Powell to the music by Carter Burwell, the film is orchestrated by a beauty that stays throughout the film. What made the novel so controversial on release was its happy ending which was unheard of for stories regarding homosexuality and Haynes wanted to keep that. He wants the audience to know that this is their world and it is a beautiful one. The film appears traditional on the surface and yet groundbreaking in subtext. I think it is a huge mark in LGBT filmmaking.

The script by Phyllis Nagy is nothing short of phenomenal and is brilliantly faithful to the book. The changes that are made from the book are minimal but also crucial as I think the right choices were made to tell this story onscreen. My favourite scene in the film is when Therese agrees to go to lunch with Carol and the two get to know each other. It is natural and intimate with the sexual tension cutting through the undertones. Nagy makes every word linger and makes sure that no line is wasted. The film is fantastically paced, feeling like a slow train chugging forwards towards the inevitable climax that causes their bubble to burst. The sharp focus on the women themselves makes their love appear literally timeless, as if the world around them doesn’t matter. When the outside world does interfere and threaten them, it is done so that the audience is jolted back into reality from the dream that the women’s relationship had given.

Cate Blanchett’s performance as the titular character is glamorous to look at but tinged with the pain that has fallen on her and her family as her relationship with her husband, Harge (Kyle Chandler) has broken down. Carol has been known for her relationships with women, namely her best friend Abby (Sarah Paulson), who has remained a constant in her life after their romance ended. Blanchett takes control of the screen and is so captivating with every glance and word. There is an inevitable sadness that surrounds Carol even as she embarks on her love affair with Therese as she knows that the chances of their relationship surviving against the 1950s society isn’t likely. Her maturity and knowledge of the world allows her to be a mentor of sorts towards Therese as she knows how she is feeling.

Rooney Mara’s performance as Therese is the audience’s way into the events of the film as hers is the primary perspective throughout the film save for one or two scenes regarding the custody of Carol’s young daughter. Mara won the Best Actress Award at Cannes Film Festival and it’s easy to see where. Therese is at a very conflicting time in her life. Where Carol is assured and secure in her own sexuality, Therese doesn’t quite know what she wants or even understand her feelings at first. As the film unfolds, Therese becomes more confident and independent, breaking off her relationship with partner, Richard and focuses on her career and blossoming relationship with Carol.

Overall, I really recommend you check Carol out if you haven’t seen it. I can’t count how many times I have watched it despite it only being a few years old but I always found something new to focus on whether that is the score or set design. A film that was sorely overlooked by the Academy when it came to the Oscars, Carol will no doubt be a film that critics and film buffs will be looking back on fondly.

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