Tag: soundtrack

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Castle in the Sky (1986)

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

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

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

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

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

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

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

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Hustlers (2019)

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

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

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

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

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

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

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Quentin Tarantino: Film Ranking

If you asked a group of people for their favourite living filmmaker, there is a strong chance that a large percentage of them will say the name: Quentin Tarantino. One of the greatest and most original minds to come out of the film industry in the history of film, Tarantino practically defined 90s cinema with his look into the gangster underworld of Los Angeles. His films are known for their strong use of language, gratuitous violence and the iconic writing style that Tarantino brings to his dialogue. The owner of two Best Original Screenplay Oscars (for Pulp Fiction and Django Unchained), he has yet to win a Best Director gong. With the release of this year’s Once Upon a Time in Hollywood, could this be another successful awards season for Tarantino?

Tarantino had always stated that he intended to make 10 features. Counting Kill Bill as one, Once Upon a Time in Hollywood would be his ninth and, therefore, penultimate picture. I thought it would be a great celebration of his work to revisit his films old and new and see how I would stack them up when compared to each other.

Here are the reviews for the films of Quentin Tarantino:

Reservoir Dogs (1992)

Possibly one of the most (if not the most) iconic debuts ever to be delivered by a filmmaker, Reservoir Dogs follows a group of men who are given colour code names such as Mr. Orange and Mr. Brown and their attempt to carry out a diamond heist. A pretty simple plot but the genius of the film comes from Tarantino’s decision to not show the heist itself. What we are presented with is the run-up to the heist and it’s consequences when it goes wrong. Featuring a brilliant cast including Harvey Keitel, Michael Madsen and Tim Roth. My favourite performance comes from Steve Buscemi who plays the fearfully paranoid Mr. Pink. Among the men, Pink is clearly the outsider from the beginning when he refuses to give the waitress a tip. The script may seem simple but it is anything but. There is a rhythm and style that would come to define a Tarantino feature such as extensive allegories and numerous pop culture references. The soundtrack for this film has also become somewhat of a legend in its own right and has become a reference point for a lot of modern filmmakers. Tarantino himself claims that this film is the closest to being a “perfect” film which although I see the argument for, I would say that he has managed to make even better films. It would be a shame to think that his first film was his best.

Pulp Fiction (1994)

If you had to say one film that defines the 1990s, I think the majority of people would say Pulp Fiction. From the iconic poster design, extreme violence and brilliant dialogue, Pulp Fiction catapulted Tarantino to the top of the A list, winning him the Palme d’Or at Cannes Film Festival as well as an Academy Award for Best Original Screenplay. Starring John Travolta and Samuel L. Jackson as suave hitmen Vincent Vega and Jules Winnifield who work for drug lord Marsellus Wallace (Ving Rhames) and his cocaine-addicted wife, Mia (Uma Thurman in her most recognisable role). Pulp Fiction is bigger and better than its predecessor with an even more starry cast, bigger budget and killer direction. Even 25 years on, it is still commonly referenced for its costumes and standout scenes such as Jules’ biblical recitation before blowing the brains out of a man who attempted to double-cross Wallace. It is undoubtedly Jackson who is the shining star of this gangster masterpiece as he brings his trademark attitude. You know you did a great job when the person who beat you to the Oscar says that you should have won. There’s a reason why Pulp Fiction marked the start of the iconic collaborations between Tarantino and Jackson. Their love of action, violence and strong language makes the perfect pairing. Besides every time Jackson is onscreen, my favourite scene is Christopher Walken’s iconic monologue as Captain Koons, an Army veteran who survived the war and is gifting his son, Butch (Chandler Lindauer and Brue Willis playing the younger and older versions, respectively) his prized watch. Only Walken could deliver the monologue with the sincerity and conviction that his does.

Jackie Brown (1997)

Jackie Brown is one of those films that finds itself among the top of people’s favourite Tarantino films or worst. Sadly, it is among the bottom of my list but not because it is a bad film by any means. It is simply because of its nature as an adaptation. When I watch a Tarantino, I want to see the usual quirks in the dialogue which I think isn’t there as much as other films. Following Pam Grier as the titular air stewardess who becomes embroiled in a smuggling scandal, Tarantino relies on a great cast to carry out this complex web and pulls it off which include Samuel L. Jackson with a fantastic haircut. Known for her starring roles in Blaxploitation flicks, Grier herself is amazing and had such a powerful presence onscreen. She doesn’t just give a great performances, she becomes Jackie. It’s one of my favourite performances in the Tarantino catalogue but I just feel that there are elements such as the odd pacing that let the film as a whole down. It would be nice to see Tarantino reunite with Grier on a new project, perhaps his 10th (and supposedly last) feature. The film is grounded in reality a bit more than the others and I think the fact that any director could have made this film is why it ranks low. When I watch a Tarantino film, I want it to be distinctively Tarantino but I don’t get that from this film and as previously stated, I think that comes from the fact that it is an adaptation. The man thrives from his originality and it’s what the audience loves.

Kill Bill: Volume 1 (2003)

I remember watching Kill Bill for the first time and being blown away by the strength of the protagonist. The film follows the vengeful ex-assassin The Bride who seeks revenge on her former colleagues when they kill her wedding rehearsal party on the orders of Bill, the man who runs the group. Kill Bill is intended to be watched as one film but due to running length was divided into two volumes. The first volume is seen as the Eastern installment as The Bride ventures to Japan to face the first assassin O-Ren Oshii (Lucy Liu). There are so many reasons why my love for this film is unequivocal such as the clear appreciation for Japanese cinema and culture, the amazing use of animation within the film and most of all, the wide abundance of fleshed out female characters. This film is known for its extreme violence and high body count but don’t let this put you off. Playing the woman who lost everything, including her unborn baby, Thurman’s performance is undeniably ruthless, unapologetic and emotionally charged to the max. Even though she seems unbreakable and unemotional on the surface but you sense her pain underneath the surface from the opening scene with Vernita Green (Vivica A. Fox). Tarantino uses various elements such as sound mixing and colour giving the film its flamboyance and elevating it beyond realism and into fantasy.

Kill Bill: Volume 2 (2004)

Following on from Vol 1, Kill Bill: Vol 2 takes us back to America where the Bride has the second half of her list left to kill in the form of Bill’s failure of a brother, Budd (Michael Madsen), the merciless Elle Driver (Daryl Hannah) and Bill himself (David Carradine). This installment has a larger focus on the Bride’s background before the massacre took place and her journey to becoming an assassin. I love how both films have become a genre of their own. The body count may be a fraction of its predecessor but it still includes some of the most terrifying scenes in film (insert buried alive segment here) and is captivating in its own way. We see the Bride’s emotional journey and her guard slips as she makes some unexpected discoveries in her quest for blood. I think that together, Kill Bill makes for a fantastic saga and would definitely be among my favourite films of the 21st century so far.

Death Proof (2007)

I know there are some people that wouldn’t put Death Proof in the list due to it being part of a two-part feature titled Grindhouse with fellow director and friend, Robert Rodriguez directing Planet Terror (2007). Death Proof is a Texan action led by Kurt Russell as a stuntman who murders women with his car. The film is split into two parts with one group of women’s fates determined the first half and another group in the second half. Death Proof is often viewed as Tarantino’s worst and it is but it’s not a bad film. It is entertaining and Russell is brilliant as the killer in the “death-proof” car. It’s not as complex as other Tarantino films and doesn’t perhaps have the gumption or wow factor that the others have. That being said, for what it wants to be, it delivers in spades. The soundtrack is great and Rose McGowan and Mary Elizabeth Winstead are great in their roles as Pam and Lee, respectively. It’s pretty great that Tarantino and Rodriguez cast McGowan in a leading role in both films to spite Harvey Weinstein for what he did to her. McGowan shines in both films and it would be great to see her make a return to films in roles as amazing as the Grindhouse duo.

Inglourious Basterds (2009)

The first Tarantino film I watched and boy was it a great pick. Undoubtedly one of the best opening scenes in film history, Tarantino manages to create tension with a glass of milk. The film is a reimagining of Nazi-occupied France during the war with Brad Pitt playing Aldo Raine who leads a group of men known as “The Basterds” who are set on killing Nazis and collecting their scalps. Inglourious Basterds also includes what I would argue is Tarantino’s best character today in the erringly charismatic SS Officer, Hans Landa. Played spectacularly by Christoph Waltz in a role that would see him in his Hollywood breakthrough and take home every Supporting Actor Award including the Cannes Film Festival, BAFTA and the Academy Award. Landa is a character who commands your attention. He’s despicable and manipulative, the sociopathic changes are intriguing to watch such as him loving his nickname “Jew Hunter” in the opening scene when intimidating a local farmer, to despising the name when realising that the Nazis are set on losing the war. His motives and outlook can never be understood because he is such a whirlwind character. He seems to take his job seriously one moment then not at all the next and flits the fate of others with ease, not finding it difficult to kill if he sees fit. I don’t think there’s a character that has unsettled a global audience as much as Hans Landa has and yet you long for him to be on the screen because the character is so engaging. Tarantino’s screenwriting is possibly his best, which he clearly knows from the final frame when Aldo looks into the camera and says “this might be my masterpiece”.

Django Unchained (2012)

Bringing his love for spaghetti westerns to the frontline for this Civil War epic, Tarantino’s 3 hour Django Unchained follows Jamie Foxx as the titular character and his quest to find his wife Broomhilda (Kerry Washington) in the Deep South were slavery is very much a thriving business. With the help of bounty hunter Dr King Schultz (Christoph Waltz), Django’s adventure sees Tarantino using an endless amount of fake blood and a controversial multitude of n-words throughout which faced criticism from individuals such as Spike Lee. I do think this is a film plagued with indulgence and excess in its violence, language and numerous endings but it does have very strong points. The cast are perfect in their roles particularly Christoph Waltz as Schultz and Leonardo DiCaprio as plantation owner Calvin Candie. Waltz is charismatic and charming as a man set on freeing slaves and hunting killers and would go on to win a second Best Supporting Actor gong although I personally think his role is a lead not supporting performance. DiCaprio’s performance on the other side is chilling and captivating as he relishes in torturing the slaves.

The Hateful Eight (2015)

Concluding the western trilogy in Tarantino’s catalogue, we venture to Wyoming in the aftermath of the Civil War. There’s a heavy blizzard and eight murderous brutes are trapped in Minnie’s Haberdashery including the honourable John “The Hangman” Ruth (Kurt Russell), country hunter Major Marquis Warren (Samuel L. Jackson) and a career-best from Jennifer Jason Leigh as the disgustingly brilliant Daisy Domergue who John is bringing to Red Rock to hang. Like all Tarantino films, this one is also a mash-up of genres. It is primarily western but is also murder mystery, comedy and thriller. The film’s composer, Ennio Morricone stated that he wrote the score for a horror film which would end up being the film’s strongest point and leading to Morricone’s long-awaited Oscar. It’s a truly brilliant soundtrack and elevates the rhythm of the dialogue which is so important in the moments of extreme tension. Tarantino’s writing is tight and every character has been fleshed out, admittedly some more than others, but each one is memorable in their own way. It’s an interesting inclusion and the film shows a maturity in Tarantino’s filmmaking. There is violence, granted, as expected but Tarantino is more focused on his script and positioning of characters than the actual violence.

Once Upon a Time in Hollywood (2019)

I have already written an extensive review on this one (which you can read here) so I won’t go into too much detail. What I will say is that it has a very good chance of scoring some nominations and potential wins going into awards season. It’s nice seeing Tarantino returning to California for his penultimate film and it seems like a film that he was destined to make. The personal touches are definitely here in what seems to be a return to the place where he grew up.

So we’re all up to date and I eagerly await to see what Tarantino has up his sleeve for his tenth and supposed final feature. Undoubtedly, it will be one of the biggest events in film history with actors and crew members alike clambering at the chance to work with him. There’s only one Tarantino and there certainly won’t be another director like him again.

With all that said and done, here is my final ranking:

1) Kill Bill: Volume 1 (2003)

2) Inglourious Basterds (2009)

3) Reservoir Dogs (1992)

4) Pulp Fiction (1994)

5) Kill Bill: Volume 2 (2004)

6) Once Upon a Time in Hollywood (2019)

7) The Hateful Eight (2015)

8) Django Unchained (2012)

9) Jackie Brown (1997)

10) Death Proof (2007)

I know it’s probably shocking having Kill Bill: Volume 1 at the top, but there is something incredibly empowering to me seeing a female character leading a blockbuster four hour saga. I hope people refer back to this when people claim that audiences don’t want to see women in film.

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

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Nosferatu the Vampyre (1979)

The vampire genre is one that has proven longevity since the popularity of Bram Stoker’s Dracula. Since the inception of film as an artistic genre, we have seen vampires populate horror ever since the 1922 classic Nosferatu. It’s a genre that has become a parody unto itself thanks to its association with teen franchises and the common link between vampirism and sex. What makes Werner Herzog’s 1979 masterpiece so impactful is the sincerity and the minimalism with which it is executed. Herzog brings such a natural approach to the production and yet everything is so clearly calculated. Starring Bruno Ganz as Jonathan Harker, Isabelle Adjani as his wife, Lucy and Klaus Kinski as the titular character, the film follows the story of Jonathan Harker and his encounter with the mysterious Count Dracula who lives among ruins in Transylvania. Dracula subsequently ventures into Wismar and brings along a rat infestation causing a plague in the village while feeling entranced by Lucy. The film is a haunting adaptation of the classic tale and with minimal violence, effectively mounts up fear thanks to the emotionally charged script and the isolating direction.

First thing to talk about is Herzog’s direction and screenplay which I have touched on a bit. What’s genius about Nosferatu the Vampyre is its timelessness. It’s a film that could have been made today and still received in the same way. I think that is a credit to Herzog’s talent as a writer and filmmaker that he is able to create a film that is so unique and provided an impact to the horror genre. The first act of the film follow Jonathan’s journey to Transylvania and is fairly slow burning with the middle portion showing Jonathan’s encounter with Nosferatu and his downfall and the final act sees the plague takeover and final showdown. Herzog successfully creates rounded characters in its main three protagonists: Jonathan, Lucy and Dracula and easily follows their isolated storylines before merging together in Wismar. The film becomes an intricate puzzle and Herzog cleverly manages to slot the pieces in the right place by making it more than a simple linear structure.

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Due to the lack of blood and violence, it’s up to the actors to evoke the fear in the film and the cast does so perfectly. Headed by Ganz and Adjani as the Harkers, we are immediately immersed in their world from the opening shot of Lucy screaming herself awake from a nightmare. Kinski isn’t physically in the film that long and first appears halfway through but his presence can be felt even when he is not onscreen. As we see Jonathan succumb to vampirism, we see his attitude shift from loving husband to isolated madman in a performance that is portrayed brilliantly by Ganz. The highlight for me comes from Adjani for her stellar performance as Lucy. Considering the film was made in 1979, Lucy is such a complex character. Herzog makes the audience believe that she is weak and feeble as she struggles to cope when Jonathan sets off on his journey but her strength shines through in the aftermath of the plague that sets upon Wismar. As we see a society led by men crumble, Lucy can be seen actively trying to solve the problem against the advice of the supposedly wise Dr Van Helsing (Walter Ladengast). The nightmares and instincts that Lucy create a sense of otherworldliness to her as she is viewed as a force for Good against the Evil of Nosferatu.

I don’t think I would be doing the film justice if I were not to discuss the iconic soundtrack provided by Popol Vol and featuring the Vocal Ensemble Gordela. The score brings in new sounds and unexpected notes which exemplify the films various twists and turns. It’s hauntingly beautiful and grabs your attention instantly. The score helps the film’s impact on the viewer and really elevates the experience and horror of the subject matter. The track “Tsintskaro” performed by the Vocal Ensemble Gordela is among the many musical highlights in this film as we see Lucy as she ventures through the town square among the madness of the fellow villagers. The incorporation of this traditional folksong brings forth the culture into the film and it clearly made an impact as it also provided inspiration for Kate Bush who sampled this song in “Hello Earth”.

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It goes without saying that Nosferatu the Vampyre is my favourite vampire film and among my top horrors of all time. I think that there is a strong argument to say it is the best vampire film of all time and struggle to think of a horror film that has impacted me more. It’s brilliance comes in its simplicity and its fear comes from the performances which shows what a fantastic cast and crew this film had. All the components mesh together beautifully to create a film that is still haunting and impactful 40 years on.

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

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Disney Animated Classics: Final Ranking

So after months of reviewing and ranking the Disney Animated Classic library, I have finally got my finished list. I thought it would be a bit easier than what it was and found my opinion and outlook changing on a fair few of the films.

If you haven’t read this series then here’s your chance!

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

Films 46-50

Films 51-57

Here we go with the final ranking from bottom to top:

57) Winnie the Pooh (2011)

56) Chicken Little (2005)

55) Dinosaur (2000)

54) Home on the Range (2004)

53) Meet the Robinsons (2007)

52) Make Mine Music (1946)

51) The Rescuers Down Under (1990)

50) Fantasia 2000 (2000)

49) Melody Time (1948)

48) Saludos Amigos (1948)

47) The Adventures of Ichabod and Mr. Toad (1949)

46) Fun and Fancy Free (1946)

45) The Fox and the Hound (1981)

44) Lady and the Tramp (1955)

43) Oliver & Company (1988)

42) Robin Hood (1973)

41) The Rescuers (1977)

40) Big Hero 6 (2014)

39) Bolt (2008)

38) Ralph Breaks the Internet (2018)

37) Cinderella (1950)

36) The Sword in the Stone (1963)

35) The Jungle Book (1967)

34) Brother Bear (2003)

33) Treasure Planet (2002)

32) Zootopia (2016)

31) Wreck-It Ralph (2012)

30) The Great Mouse Detective (1986)

29) Atlantis: The Lost Empire (2001)

28) The Black Cauldron (1985)

27) Hercules (1997)

26) Dumbo (1941)

25) Frozen (2013)

24) Tarzan (1999)

23) Pocahontas (1995)

22) Pinocchio (1940)

21) The Three Caballeros (1945)

20) Peter Pan (1953)

19) Moana (2016)

18) The Princess and the Frog (2009)

17) Lilo & Stitch (2002)

16) The Hunchback of Notre Dame (1996)

15) The Emperor’s New Groove (2000)

14) One Hundred and One Dalmatians (1961)

13) The Aristocats (1971)

12) Aladdin (1992)

11) Alice in Wonderland (1951)

10) Tangled (2010)

9) The Little Mermaid (1989)

8) Mulan (1998)

7) The Lion King (1994)

6) The Many Adventures of Winnie of Pooh (1977)

5) Bambi (1942)

4) Sleeping Beauty (1959)

3) Beauty and the Beast (1991)

2) Fantasia (1940)

1) Snow White and the Seven Dwarfs (1937)

So that’s the full ranking! What do you think? Let me know what Disney films are your favourites in the comments below!

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Disney Animated Classics: Numbers 51-57 Ranking

We finally made it! After months of reviews and rankings, this is the final post before we are all up to date before Frozen II hits cinemas. This series of posts have taken us through not only the history of Disney but also a history of animation as we transition from hand-drawn to computer animation. Going from more traditional fairytale retellings to complex stories about identity and love, Disney continues to better itself as a studio although there is still a long way to go. Much like the animation studio in Burbank, it is held up by its traditions like the statues of the Dwarfs that hold up the building itself. This bunch of films sees Disney poke fun of its past in a bid to expose the mistakes that have been made in its portrayal of serious issues such as gender stereotypes and racism. In doing so, it tends to fall flat at times as the gestures don’t seem sincere and apologetic but it is made with good intentions.

We also see Disney’s most successful film as well as the first Best Animated Feature Oscar winners that aren’t Pixar. Disney seems to have found its footing in a landscape dominated by computer animation by using nostalgic elements such as Disney princesses but making them modern. With Disney being the most powerful studio in the world, they are able to recruit star-studded casts and the best crew such as Lin-Manuel Miranda’s stellar soundtrack for Moana and Idina Menzel and Kristen Bell as the two sisters in Frozen.

Just in case you need a refresher, here are the previous installments:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

Films 46-50

This list includes the last hand-drawn feature before Disney announced its dedication to computer animation and also includes some of the most progressive films in Disney’s catalogue. These films clearly have an aim to push strong female characters in them and although it isn’t perfect, it’s a step in that direction. There are areas as I have said previously where Disney need to step up such as including LGBT+ characters and a wider array of cultural backgrounds that don’t fall into stereotypical tropes. The films from Disney aren’t perfect but they are trying to right the wrongs of the past while also reflecting modern politics in a way where they please everyone. I don’t necessarily agree with their philosophy but they are a brand and revenue is one of the most important (if not THE most important) factor in the Disney process. Hopefully, they learned from the straight-to-DVD sequel, prequel fiasco of the early noughties and go back to creating films with heart where the audience is the primary focus rather than their pockets.

Without further ado, here are the reviews for films 51-57:

51) Winnie the Pooh (2011)

Marking Disney’s last hand-drawn feature, Winnie the Pooh seems to mark the end of an era as Disney begins to embark on computer-animated films only. I am really sad to say that this film falls flat for me. I just didn’t find it enjoyable in the slightest. The animation is off, the plot is boring and the characters aren’t as lovable. I mean, this is Winnie the Pooh we’re talking about. The characters are loved all around the world but this adaptation mauls the text and tarnishes the franchise. Luckily, we still have The Many Adventures of WInnie the Pooh to enjoy and we can forget about this mess of a film. The animation of the animals isn’t too bad but the design of Christopher Robin and the background looks out of place.

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52) Wreck-It Ralph (2012)

Showing that Disney is still capable of producing original material, Wreck-It Ralph follows the titular character (voiced by John C. Reilly) who is the villain of an arcade game wanting to be the good guy for once like “Fix-It Felix”, the insufferable character who defeats Ralph numerous times a day. Ralph is despised by the fellow tenants of the apartment block that he tries to destroy. Sick of the same routine, Ralph escapes to Sugar Rush, another game where players race through lands of candy. There he encounters the tiny Vanellope von Schweet (voiced by Sarah Silverman), a funny and sassy aspiring racer who is also an outcast due to her glitch. Together, they try to become heroes when the arcade’s future is thrown into uncertainty. It’s a film full of nostalgia with its inclusion of iconic game characters such as Pacman and Sonic the Hedgehog but it isn’t held down by this or overwhelmed.

53) Frozen (2013)

The first non-Pixar Disney film to take home the Best Animated Feature Oscar is also the most successful Disney film of all time. Frozen takes its inspiration from “The Snow Queen” by Hans Christian Anderson and follows Princess Anna (voiced by Kristen Bell) who embarks on a quest to find her sister Queen Elsa (voiced by Idina Menzel) when the latter runs away and covers the entire Kingdom of Arendelle in an eternal winter. The film itself is a huge feat for Disney as it features one of the most iconic songs to come out of the Disney catalogue (Oscar winning song, “Let It Go”) as well as some of the most memorable characters in recent years, notably Olaf the sun-loving snowman (voiced by Josh Gad). Frozen is instantly recognisable around the globe and has become a phenomenon and a brand in itself which is hugely impressive for an animated film. Robert Lopez and Kristen Anderson-Lopez’s songwriting feels like the modern equivalent of the iconic songs from Alan Menken and Howard Ashman as they capture the essence of the film from the opening song. It’s not everyday that an animated feature passes the $1 billion mark at the box office but Frozen did it and with two female protagonists at the helm to boot. Who said women don’t make revenue at the box office?

54) Big Hero 6 (2014)

This is the one Disney film that I hadn’t seen before completing this ranking. I have been meaning to watch it but eventually I forgot and never got around to it. Following teenage Hero, a ridiculously intelligent robot enthusiast who has graduate high school early and doesn’t know what to do with his time, we see his budding friendship with Baymax, a robot made by his late brother. Big Hero 6 isn’t a bad film by any means but just as I had suspected, it just isn’t my cup of tea. I completely appreciate the height though as the animation is among Disney’s best in the modern age. Based on a Marvel comic that is based in a fictional city that combines San Francisco and Tokyo, the film appears to take aspects of Japanese culture such as using the language on shop signs and using Japanese characters names in an English-speaking white American setting. I think it is more of a tribute to Japanese anime than maliciously appropriating but it feels as though Big Hero 6 is more of a “trendy” film due the popularity of anime than a sincere offering. The animation style takes inspiration from anime but the style is more Disney’s version of anime. As I say, I don’t think the film is bad but I feel like it could have been more.

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55) Zootopia (2016)

I have marked this down as Zootopia on the ranking as that was the original title although in the UK, this was released as Zootropolis. Set in a universe populated by animals where predators rule the roost and prey are subject to less dangerous careers such as farming. The film follows Judy Hopps (voiced by Ginnifer Goodwin), a rabbit who succeeds in becoming a police officer but is subject to parking duty because she is a rabbit. After numerous predators go missing, Judy eagerly volunteers to find them to prove herself and teams up with con-artist Nick Wilde (voiced by Jason Bateman), a fox who Judy blackmails into assisting her. The film is a clever depiction of racism in American as well as an accurate portrayal of gender politicals and the corruption of authority. Despite the obscure metaphor, the message of equality is easy enough for children to grasp and this is what makes the film more than simple entertainment.

56) Moana (2016)

The latest inclusion of a Disney princess sees us travel to the Polynesian island of Motunui where Moana is destined to become the Chief of her village but she longs to venture out to sea. What follows is a road trip style film where she has to retrieve the Heart of Te Fiti to stop her island suffering from famine. Teaming up with shapeshifting demigod, Maui, Moana must sail across the seas encountering monsters and finding herself along the way. The plot for the film is simple and the structure is reflective of a road-trip movie but elevates this film and makes it special is the soundtrack. Written by Pulitzer Prize winning songwriter Lin-Manuel Miranda, the songs are beautiful and clever, incorporating the language and music style of Polynesian culture naturally. I don’t think the film would be as successful as it is without the soundtrack as the songs really show the character development as Moana grows from a fearful girl wanting to explore to an adventurer who wants to continue her ancestor’s tradition. The animation is stunning and it is by far my favourite inclusion on this list.

57) Ralph Breaks the Internet (2018)

The second Disney sequel to be included on the Animated Classics list, Ralph Breaks the Internet is the eagerly awaited follow-up to 2012’s Wreck-It Ralph. The arcade’s popularity is waning and Vanellope is growing bored with the same racetracks everyday. She wants more and longs to venture to the internet where free-riding games are all the rage. When a player accidentally breaks the steering wheel for the machine after fighting Vanellope for control, Ralph and Vanellope must find $27,000 for a new wheel to purchase before the machine is closed down. They venture into the internet to find the money. The film is even more bonkers than the first and really captures how random the internet really is. The studio even goes as far as to incorporate the dark web by making it sleezy and the creatures that reside there are truly disgusting and disturbing. Unlike The Rescuers Down Under, this is a sequel that feels fresh and familiar at the same time.

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So that’s it! That’s all the reviews for every Animated Classic so far. It’s been a lot of fun but really challenging having to decide where they all slot because every film is so different (except for The Rescuers and The Rescuers Down Under which is the same film set in different countries). Needless to say, I am very excited to see where Disney goes as we enter a new decade and I hope that they also go back to including hand-drawn animation as well. It’d be nice to see their animations explored in all styles.

Here is my final ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Beauty and the Beast (1991)

4) Sleeping Beauty (1959)

5) Bambi (1942)

6) The Many Adventures of Winnie the Pooh (1977)

7) The Lion King (1994)

8) Mulan (1998)

9) The Little Mermaid (1989)

10) Tangled (2010)

11) Alice in Wonderland (1951)

12) Aladdin (1992)

13) The Aristocats (1971)

14) One Hundred and One Dalmatians (1961)

15) The Emperor’s New Groove (2000)

16) The Hunchback of Notre Dame (1996)

17) Lilo & Stitch (2002)

18) The Princess and the Frog (2009)

19) Moana (2016)

20) Peter Pan (1953)

21) The Three Caballeros (1945)

22) Pinocchio (1940)

23) Pocahontas (1995)

24) Tarzan (1999)

25) Frozen (2013)

26) Dumbo (1941)

27) Hercules (1997)

28) The Black Cauldron (1985)

29) Atlantis: the Lost Empire (2001)

30) The Great Mouse Detective (1986)

31) Wreck-It Ralph (2012)

32) Zootopia (2016)

33) Treasure Planet (2002)

34) Brother Bear (2003)

35) The Jungle Book (1967)

36) The Sword in the Stone (1963)

37) Cinderella (1950)

38) Ralph Breaks the Internet (2018)

39) Bolt (2008)

40) Big Hero 6 (2014)

41) The Rescuers (1977)

42) Robin Hood (1973)

43) Oliver & Company (1988)

44) Lady and the Tramp (1955)

45) The Fox and the Hound (1981)

46) Fun and Fancy Free (1947)

47) The Adventures of Ichabod and Mr. Toad (1949)

48) Saludos Amigos (1943)

49) Melody Time (1948)

50) Fantasia 2000 (2000)

51) The Rescuers Down Under (1990)

52) Make Mine Music (1946)

53) Meet the Robinsons (2007)

54) Home on the Range (2004)

55) Dinosaur (2000)

56) Chicken Little (2005)

57) Winnie the Pooh (2011)

I am aware that the final rankings may seem shocking and the new films such as Frozen may seem really low on the list, but consider that the ones at the tops are classics that have been with me through childhood, I think they have done really well. The films at the top have proven to be classics that have stood the test of time for decades and still resonate with audiences today whereas the newer films need that chance to breathe.

I am excited to see where Disney go in the future and I am hoping Frozen II continues to push Disney in the right direction as it has done so far with its feminist outlook.

What do you think of my final ranking? What would be your top choice? Let me know in the comments below!

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The Lord of the Rings Trilogy (2001-2003)

Continuing on in my Favourite Film series, this post looks at the films that opened my eyes to filmmaking and made me realise my passion for film. Based on the huge novel by J.R.R Tolkien, The Lord of the Rings trilogy consists of Fellowship of the Ring, The Two Towers and The Return of the King and follows Frodo Baggins (Elijah Wood), a respected hobbit who lives with his adventurous Uncle Bilbo (Ian Holm) who is forced to carry the One Ring to Mordor where he must destroy it in the fires of Mount Doom before the evil Lord Sauron claims the Ring and uses it to rule over Middle Earth. Frodo is accompanied by the Fellowship that consist of his best friend, Samwise Gamgee (Sean Astin), fellow hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), men Aragorn (Viggo Mortensen) and Boromir (Sean Bean), elf Legolas (Orlando Bloom), dwarf Gimli (John Rhys-Davies) and wizard Gandalf (Ian McKellen), Frodo must resist the lure of the ring and cross Middle Earth in a bid to save mankind from ruin. The trilogy also features a strong supporting cast with Hugo Weaving as elf Lord Elrond, Liv Tyler as his daughter Arwen who is Aragorn’s love interest and Miranda Otto in badass form as Éowyn. I know it seems a bit unfair to cram the whole trilogy in one post but it is impossible not to consider the vast achievement and scope that Peter Jackson has achieved.

It cannot be underestimated how well these films did upon release. The trilogy well surpassed the $1 billion mark and became instantly iconic around the world with masses of people en route to the premieres at their local cinemas. All three won big come award time with Fellowship of the Ring winning four Academy Awards, The Two Towers winning seven and The Return of the King sweeping the board with eleven nominations and eleven wins, tying with Ben-Hur (1959) and Titanic (1997) for the most wins at the Oscars. All three were critical and commercial smashes and boasted a spectacle despite being a film with fairly indie roots. It was different from other mainstream films because of this and I think the story’s message of fighting for good and friendship is one that resonates with a lot of people.

The cinematic releases see the films lengths at a minimum of 150 minutes per film but the extended editions bring the total running time an amazing 12 hours and what a 12 hours it is. The film achieved critical and commercial success upon release, has dated extremely well and remains one of the best loved franchises in history. Everything about it is perfect to me. I think it is a brilliant adaptation of the books and think the changes and omissions that were made were completely justified for the big screen. I know some people have trouble with the multiple endings at the end of the third film but remember that it is the end of one extremely long epic and that the ends need to be tied nicely. I think it’s a credit to the brilliant screenplays written by Jackson, Fran Walsh and Philippa Boyens that each member of the Fellowship is loved and has their own story. The films are so spectacular and huge that it becomes an immersive experience for the viewer. Jackson contrasts this with moments charged with emotion such as Sam’s speech at the end of The Two Towers which gives the film its heart and separates it from other blockbuster films that have come before it. I couldn’t tell you how many times I have watched these films and I am still noticing new things every time. It’s such a rewarding experience to watch these films and I think Jackson’s direction captures the imagination that Tolkien gives in the novels perfectly.

Sam

The film is cast brilliantly. There are three main storylines when the Fellowship splits with one following Frodo and Sam, another following Merry and Pippin and the third following Aragorn, Legolas and Gimli. Each actor embodies their character personally, particularly Mortensen and McKellen as Aragorn and Gandalf, respectively. Aragorn’s transition from outlaw Strider to the King is amazing as we see him emerge from the shadows and take the lead in the Battle of Helm’s Deep in The Two Towers (I will be discussing Helm’s Deep in further detail soon). On the other hand, we see Gandalf undergo a physical transformation as we shifts from being Gandalf the Grey to Gandalf the White, giving him even stronger powers. Frodo’s development from a hobbit who has never left the Shire to crossing lands and encountering creatures that he would never have seen before. Much like his Uncle Bilbo, Frodo’s sense of what is right helps to combat his fears but his morality is tested when the manipulative Gollum (Andy Serkis) “assists” in helping him reach Mordor. The rapport between the cast offscreen is reflected onscreen and makes for great viewing in scenes such as the Fellowship’s inception and the scenes when they are forced to split up. The intensity of the Fellowship’s bond is so strong and the direction is so intricate that the audience feels as though they are going on the same journey. When watching the climactic scene of The Return of the King unfold, you can’t help but feel relieved when everything is over.

One of the aspects that also makes these films so spectacular are the special effects which are provided by WETA. Led by the amazing Richard Taylor, CGI is only used when an effect is humanly impossible. The behind-the-scenes on the extended editions are fantastic and well worth watching as we watch the creation of Middle Earth unfold. Richard Taylor is the best of the best when it comes to special effects (his multiple Oscars reflect this) and his team are super brilliant and creative. From the intricate details in the designs and the make-up, every single aspect of the film is thought out and executed beautifully. Taylor and his team tie together the make-up, the props and the special effects together that enhances the fantastical elements in the film. Even the effort that goes into collecting short sounds for sound editing and mixing and the process behind it is remarkable to watch. Seeing the passion and the heart that the crew put into the film is touching as everyone has a respect for each other no matter what job they do. Howard Shore’s score for the trilogy is also something that seems revolutionary and new in film. Somehow, he captures the tone perfectly and created that perfect violin solo for “History of the Ring” that is instantly synonymous with the film itself. My favourite piece in the trilogy is “Riders of Rohan” from The Two Towers because it captures that anticipation for battle perfectly and grandeur of marching. The use of delicate strings contrasting with a strong brass sound helps to elevate the film to its epic heights. Shore is one of the best film composers out there and he knocks it out of the park with these scores.

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I don’t think I could justify discussing these films in length and not bring up the brilliance in structure and execution of the major battle scenes. Helm’s Deep in The Two Towers is probably the best battle in film history. Everything about it is remarkable from the set design to the intricate detailing in the costumes and props and then the performances are on top form to boot. It comes at a point in the story where Sauron has managed to accumulate a large 100,000 strong Orc army thanks to the evil Wizard, Saruman (Christopher Lee). The odds are stacked against the soldiers of Rohan but they still vow to battle until the very end. The arrival of the elves from Lothlórien, led by Haldir (Craig Parker), marks a significant shift in the Middle Earth universe as elves infamously refuse to involve themselves in war but the threat of darkness forces them to fight alongside. It makes for an epic battle and one of the most devastating deaths in the trilogy as Haldir meets his end defending Aragorn. Other scenes that are remarkable include Boromir’s death in Fellowship of the Ring which I remember being the first death that I encountered in film and being perplexed that a “good guy” could die in a film. The great thing about The Lord of the Rings trilogy is that it does not patronise the audience but it is suitable for all audiences (maybe not smaller children but from around 6/7 upwards). Even the ending is bittersweet as Frodo sails off for the Undying Lands, leaving the others forever. It isn’t afraid to delve into serious topics while remaining in that fantasy universe and being larger than life.

I would be lying if I said that these films didn’t change my life and my outlook on film. I watch the extended editions every few months and fall in love more and more. There is a strong argument that they are among the greatest films in history and deserve their place one of the most renowned series for its depth and scope. I remember seeing them for the first time in the cinema and being scared and in awe at the same time. I was so captivated that I would watch them on a loop for months on end. It’s amazing to think that these films were such a huge part of my childhood but they are so important to me and I’ll never stop loving them.

What do you think of the The Lord of the Rings? Which installment is your favourite? Let me know in the comments below!

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Disney Animated Classics: Numbers 46-50 Ranking

This post has been a long one coming as I have been slow reviewing and uploading this series of posts but we are almost there. This is the penultimate post before we are completely up to date just in time for the upcoming release of the much-hyped Frozen II. After featuring Disney during its slump, we see the last of it here and begin to move forward into the era of today known as the Revival. I can’t believe we’re almost at the end but some of the films in this list, I have watched countless times.

As ever you can read the previous instalments here:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

With the introduction of the new era, we begin to see Disney pushing itself into the 21st century and reflecting the politics and society of today. With that in mind we begin to see a reintroduction to new Disney princesses who are more diverse and independent, inclusion of characters of different races and backgrounds. Disney has a long way to go with this as we eagerly await the first openly LGBT+ character in an animated film from them whereas other animation studios such as Laika have been more inclusive and fearless. However, the films in this list show Disney starting to go in the right direction.

Here’s the reviews for films 46-50:

46) Chicken Little (2005)

This film was everywhere on its release and marked a start for Disney beginning to incorporate computer animation more in its repertoire. The result, however, was extremely disappointing. Chicken Little sees Zach Braff as the titular character who convinces his town that the sky is falling and becomes a laughing stock. What the townspeople don’t know is that it is actually true and the town is on the brink of an alien invasion. The story itself is sweet but what lets it down is the animation, poor character development and overly tortured dialogue. The film reeks of noughties trends and tries so hard to be relevant that it becomes cringy to watch. The character of Chicken Little isn’t particularly well-rounded as he spends most of the film falling over or not communicating properly with other characters, mainly his father. Unlike Pixar, the animation doesn’t feel as modern as it should be (Pixar released The Incredibles in 2004 for comparison) and it seems that the plot is disjointed and isn’t pulled off as they imagined. The film did well commercially but not critically and I think that the team did take this on board. There’s a reason that we don’t see or hear of Chicken Little at the Disney Parks and I don’t think it’d even be considered for a reboot at any point. This definitely seems like Disney’s lowest point.

47) Meet the Robinsons (2007)

This was an interesting film for me to watch as I had only just seen it the once previously. Following orphan Lewis whose inventions prevent him from being adopted, he invents a machine to help him remember his mother’s face. At a science fair to debut this project, he is encountered by Wilbur Robinson, a teenager from the future who tells Lewis that the future is in jeopardy if his machine is stolen. Inspired by Tomorrowland at Disney’s park and using Disney’s philosophy “keep moving forward”, the film has a beautiful story and message but sadly it is overwhelmed by one dimensional characters and a strained first act. On rewatching, I did like the film a lot more than the first time but to me it is on the lower tier of Disney films. This is only because there is an abundance of characters and none of them feel really well-rounded. The animation is also problematic at times although a big improvement on Chicken Little. Scenes such as the incident with his peanut butter and jelly gun looks out of place and doesn’t match the aesthetic of the film.

48) Bolt (2008)

It seems hard to believe that Bolt was released a year after Meet the Robinsons. The animation looks so much more advanced and it feels like Disney going back to its original formula while pushing the studio into the future with the critical success that they had hoped for Chicken Little. Bolt (voiced by John Travolta) is a Hollywood stunt dog with his own TV show with his owner, Penny (voiced by Miley Cyrus). When he is mistakenly shipped to New York, he must team up with Mittens the cat and Rhino the hamster to reunite with Penny in Hollywood. The plot is a simple road movie and Disney goes back to using a big star ensemble to draw in the audiences but it works. It’s a film that shows that Disney are capable of bringing quality and heart to their films and starts to mark their presence in the 21st century in a computer animated dominated landscape. The soundtrack is another highlight for this film with the closing song “I Thought I Lost You” sung by Travolta and Cyrus a nice ending and ridiculously catchy.

49) The Princess and the Frog (2009)

After a few unsuccessful attempts at computer animation, Disney returned to hand-drawn animation for this seemingly classic retelling of The Princess and the Frog. Set in 1920s New Orleans, waitress Tiana kisses Prince Naveen, a talking frog, and is ultimately turned into one herself. Together, Tiana and Naveen have to figure out how to undo the curse before they run out of time and become frogs forever. This film was a significant step in Disney history as it features Disney’s first black princess. Unlike the previous films of the 2000s, the film feels sincere and harks back to the classic fairytales and yet sits nicely in a 21st century landscape. The soundtrack is standout and Facilier is one of the scariest villains in Disney history. The animation also feels traditional with its bright New Orleans carnival colours mixed with the Bayou landscape. It’s a gorgeous film that is a true testament to Disney getting itself back on track. There’s great character development and a nice cast of characters who are also developed, particularly friendly firefly, Ray and the jazz loving alligator, Louis.

50) Tangled (2010)

My favourite film on this particular post, Tangled is a quirky retelling of Rapunzel, a princess with long hair who is locked away in a tower. In this film, Rapunzel (voiced by Mandy Moore) is an anxiety-ridden young woman seeking adventure who, along with her sidekick, chameleon Pascal, heads on a quest to visit the “floating lights” with outlaw Flynn (voiced by Zacahary Levi). The animation is fantastic, the soundtrack is beautiful and the film as a whole knocks it out the park. It’s a shame that this was released the same year as Toy Story 3 which outshadowed every animated film that year. Fortunately, Tangled has succeeded in maintaining a legacy and a loyalty among fans with merchandise constantly updated and appearances by the characters in the parks. I think that “I See the Light” is one of the best songs and scenes in Disney history. Everything about it is perfection and brings what we love about Disney films to the surface. The animation of the lanterns and the accompanying scenes in the kingdom are amazingly detailed and filled with texture. It’s one of the most popular modern DIsney films for a reason and deserves more than one watch.

That’s the end of the penultimate post with one extended post to go for films 51-57. We’re deep into the Revival now and the next post features the first non-Pixar Disney films to win the Best Animated Feature Award at the Oscars showing that they are at the height of their game. The next post sees Disney venture into reboots, sequels and originals that vary in topics such as friendship, love and isolation.

I promise I will try to be quick with uploading the next post so I can be up to date and ready to see where Frozen II will slot into the list.

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Beauty and the Beast (1991)

4) Sleeping Beauty (1959)

5) Bambi (1942)

6) The Many Adventures of Winnie the Pooh (1977)

7) The Lion King (1994)

8) Mulan (1998)

9) The Little Mermaid (1989)

10) Tangled (2010)

11) Alice in Wonderland (1951)

12) Aladdin (1992)

13) The Aristocats (1971)

14) One Hundred and One Dalmatians (1961)

15) The Emperor’s New Groove (2000)

16) The Hunchback of Notre Dame (1996)

17) Lilo & Stitch (2002)

18) The Princess and the Frog (2009)

19) Peter Pan (1953)

20) The Three Caballeros (1945)

21) Pinocchio (1940)

22) Pocahontas (1995)

23) Tarzan (1999)

24) Dumbo (1941)

25) Hercules (1997)

26) The Black Cauldron (1985)

27) Atlantis: the Lost Empire (2001)

28) The Great Mouse Detective (1986)

29) Treasure Planet (2002)

30) Brother Bear (2003)

31) The Jungle Book (1967)

32) The Sword in the Stone (1963)

33) Cinderella (1950)

34) Bolt (2008)

35) The Rescuers (1977)

36) Robin Hood (1973)

37) Oliver & Company (1988)

38) Lady and the Tramp (1955)

39) The Fox and the Hound (1981)

40) Fun and Fancy Free (1947)

41) The Adventures of Ichabod and Mr. Toad (1949)

42) Saludos Amigos (1943)

43) Melody Time (1948)

44) Fantasia 2000 (2000)

45) The Rescuers Down Under (1990)

46) Make Mine Music (1946)

47) Meet the Robinsons (2007)

48) Home on the Range (2004)

49) Dinosaur (2000)

50) Chicken Little (2005)

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

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Joker (2019)

I don’t know if there has been such a hype around a film with added polarisation to boot. Todd Phillips’ origin take on iconic villain in Joker shows how Arthur Fleck, a failed stand-up crippled with mental illness who rebels against a system that seems rigged and only rewards those born into riches and fortune. Arthur struggles to navigate his way in Gotham City which has gradually become more violent as the rich continue to cut public funding. I previously did a Top 5 Joaquin Phoenix performances post which you can read here in anticipation for this film. As I predicted, Joker would easily slip into the best of the best from an actor who can’t do any wrong. Joker also won the Golden Lion at Venice Film Festival which is unheard of for a franchise superhero film because of its groundbreaking venture and reluctance to fit in with a particular aesthetic that audiences and critics are used to.

Todd Phillips shows his talent for direction with this film. Taking inspiration from some of the best directors in history, mainly Martin Scorsese, Phillips achieves in making an epic based not on a superhero franchise but on a character. This film is rich in character development that it would weirdly fit in with the films of Paul Thomas Anderson. It’s refreshing to see someone venture into a different genre of film despite his ridiculous motive. An obvious element to point out would be that the film is told from Arthur’s perspective in contrast to the numerous Batman films that only see the Joker from Bruce Wayne’s point of view. Phillips allows us to not necessarily sympathise Joker’s actions but to understand his view of a city that ignored him for years and stomped on him daily. Phillips throws us into a specific period of his life rather than showing us his life thus far. What we learn about Arthur’s background is varied and unreliable so it becomes hard to grasp Arthur as a person. What we do gain is that he has lead a life that has pulled him in all sorts of uncertainties and directions but when he is dressed as a clown, he feels comfortable behind the guise.

As expected, Joaquin Phoenix is nothing less than extraordinary and this role will almost certainly bring him an abundance of award wins I think. He is arguably the best working actor today. This may be his time to win a long overdue Oscar (he should have won for The Master really) but that’s not to say that it wouldn’t be deserved if he won for this. Arthur Fleck is a deeply complex character. His mental illness leaves him extremely vulnerable as seen in the opening scene when a group of teenagers take his sign and subsequently beat him up, he’s physically malnourished with Phoenix losing 50 pounds for the role. There are so many layers and sides to this character that he becomes increasingly unreliable and the uncertainty in his actions makes for a terrifying experience. There’s no predicting his motives or what he will do next. If I had to draw comparisons from another Joker, it would have to be Jack Nicholson’s particularly in the chat show scenes but that’s only a glimmer as Phoenix has managed to pave a way for his own Joker. Phoenix is an absolute powerhouse of acting and even those who dislike the film have respect for his portrayal. It’s a performance that shows the physical and mental consequence to actions made by those seen as “higher” and “superior” than himself.

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As far as other characters go, we have a supporting role led by Robert De Niro who is making a welcome return from a few years of very questionable choices in film as Murray Franklin, Gotham’s most popular talk show host. Arthur idealises this man but what he doesn’t realise is that Murray is a product of the society that threatens to marginalise him further. He broadcasts a portion of Arthur’s failed stand-up routine for the whole of Gotham to see and isolate him further. Arthur appears oblivious to Murray’s behaviour initially and eagerly accepts and invitation to be on his show in which he is ridiculed further but Arthur isn’t as vulnerable as it seems and his appearance on the show makes for one of the most intense scenes in film this year. I hope De Niro keeps this up and with The Irishman coming out later this year, I am hoping this marks a return to the actor that we loved before Dirty Grandpa.

My favourite scene would have to be the Bathroom Dance scene in which Joker finds his way to a grimy public bathroom and dances with himself. The combination of Phoenix’s whimsical nature and the dark, vibrant score that provides an undertone for what had occurred in the previous scene. Hildur Guðnadóttir’s award-winning score for Joker was one of my major highlights aside from Phoenix. It feels that the score and the character are connected as the score weaves its way through Arthur’s movement. In this scene, the two are combined as one and it is as if this is the music in his mind. If any scene could be used to sum up the film, it’s this one. The Joker is known for his violent outbursts but this scene sees him literally celebrating a triple murder. It’s a different side that we see for a character who had thus far been victimised and pushed down.

I was excited for Joker since I am a huge Joaquin Phoenix fan but, to be honest, the hype surrounding the film made me less and less excited and I was unsure whether I would enjoy. However, I was not let down and thoroughly enjoyed the film from beginning to end. As someone who has experience with mental illness, it was refreshing to see mental illness portrayed in a way that seemed unfiltered and honest. Of course, the character of Arthur Fleck isn’t one to aspire to but the film shows a picture of how those less fortunate are left to fend for themselves when thrown into difficult situations. Joker is a film that lends itself well to the DC franchise but also as a standalone in its own right. It’s depiction of a broken character who becomes even more fragmented is unafraid and undoubtedly a reflection of society today. The film feels progressive and risky while also remaining loyal to a character that has been well-loved for decades.

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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!