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'Under The Silver Lake' (2018) Review

The follow-up of 'It Follows' (2014) is a giant departure from the horror genre, which for upcoming indie filmmakers a lot of the time doesn't end up going well. That, however, is not the case. This is David Robert Mitchell, and his sophomore feature is something worth talking about. To try and summarise the plot in a few sentences is to do the film a disservice, but I will give it my best shot: an aimless man becomes entangled in and obsessed with a surreal conspiracy after a girl in his apartment block goes missing. Imagine the strange lovechild of 'The Big Lebowski' (1998) and 'Mulholland Dr.' (2001), assuming films can somehow mate...

One of this films strongest aspects is the writing. The story has a unique way of unfolding in a way where you feel as if you are accompanying the protagonist along his uncovering of this great mystery. The plot is utterly unique and the twists and turns along the way keep you guessing throughout. There are some genius moments of dialogue, some hilarious and others intellectually placed satirical statements about conspiracy theories and messages in art. The great irony of the film, and the true genius of the writing, is that you become just as enveloped in the mystery as the protagonist you often find yourself deriving meaning from things that the writers have intentionally put there to mean nothing. In a way, the philosophical elements of the film remind me of early Haneke, as they intentionally try to annoy the audience and I love it.

The writing would be nothing if it were not acted properly - and thankfully it is. Andrew Garfield gives his best ever performance hands down (which almost redeems him from those Marc Webb Spider-Man films) and the supporting cast do an amazing job at bringing the quirkiness of this world to life. The protagonist is such a strange character, if it were acted by someone else it could easily come across as creepy, but the charm that Andre Garfield brings to the character means that he is one of the most entertaining I have seen in a long time. A rare occurrence of Patrick Fischler is welcome, and his conspiracy theory-obsessed 'Comic Man' is a joy to watch.

Visually, the film is stunning and original - with animated segments popping in and out, an abundance of wide angle lenses, and a dense colour palette the film is extremely varied in its aesthetics. Surprisingly for its budget, the film has a vast array of locations, which adds to the film remaining visually interesting - along with some exceptional set and costume design. All of these visual elements are complimented by the quirky score and  an interesting editing style, which creates a dreamlike sensation reminiscent of a David Lynch film.

Tonally, the film strikes an impressive balance between comedic and dramatic moments that most directors struggle with (hell, I was even genuinely scared at points). I admire the ambition and scale of this project, and it is clear it was the result of a lot of dedicated, passionate people. These are the types of films I wish would succeed in today's box office. I mean, do we not have enough super hero films?

This is certainly not a film I would recommend to everyone, if you know you are not a fan of absurdity in film then avoid this, as it is indeed very absurd. However, if you can stomach weirdness in film this film is a joy to watch, and I cannot wait to catch it a second time round.

8/10

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‘First Man’ (2018) Review

As a huge Damien Chazelle fan (with both 'Whiplash' (2014) and 'La La Land' (2016) being some of my favourite films of the decade, if not all time) I was going to see his next film regardless of what it was. Then I learnt it was starring Ryan Gosling, one of my favourite actors, and my interest was perked even more. The cherry on top that made my expectations incredibly high was the subject matter, space exploration; a subject matter done to death that seems to fascinate me every time (unless, of course, it gets ruined by Sandra Bullock barking). Despite having absurdly high expectations, 'First Man' managed to meet them - and I can say, without a doubt, it is one of the best depictions of space exploration to arrive on the silver screen.

The film explores the life of Neil Armstrong and the moments leading up to and including the infamous Apollo 11 mission that saw him and Buzz Aldrin be the first men to set foot on the moon.

First of all, to state the obvious, the film looks incredible - with some of the most convincing uses of both practical and computer generated effects I've seen. It is genuinely difficult to determine how much of the film is done practically and how much is CGI, to the point where my girlfriend was convinced they were using real footage of the launch. Other than being convincing through the Paul Greengrass shaky cam/zoom technique, the film has moments of stillness that are simply mesmerising, with a beautiful array of colours to feast your eyes on.

Damien Chazelle has an ear for music, clearly, and again delivers a film with an excellent score to accompany its visuals (though don't be expecting a jazz theme again). On top of this, the sound design all throughout the film is seriously impressive - with one of my favourite moments coming from the transition between the chaotic crescendo of spacecraft noise to the vacuum silence of space.

Throughout the film I couldn't help but draw comparisons to Kubricks '2001: A Space Oddyssey' (1968). The sterile tone and sleek production design seen in both is another strength of the film, but that being said; the film has a surprising couple of heartfelt moments, even if they are somewhat few and far between. The subtle performances from a glorious cast make these interpretations of infamous explorers feel all the more real, and a nuanced performance from Claire Foy is a showstopper. Ryan Gosling may be doing more of his straight-faced serious man routine, but it feels appropriate given the context of the character.

If you are interested in learning more about Apollo 11, this film is very informative and takes a more factual, unbiased insight into the mission (and those that came before) than the usual Hollywood depiction of U.S. achievements.

I highly recommend this film to most people, although before watching the film I saw that a lot of people found this film to be "boring", which I think is absurd. That being said, they are probably the type of people to think '2001' is boring as well... In that case I guess if you don't like 'A Space Odyssey' then it's very possible you wont like this film either.

9/10

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‘Beautiful Boy’ (2018) Review

The second film I saw at London Film Festival was Felix Van Groeningen’s ambitious adaptation of two coexisting memoirs by father and son, Nic and David Sheff. Starring Steve Carrell and Timothée Chalamet, this brutal yet moving depiction of the impact’s addiction has on a family carries with it a sense of importance worthy of the academy’s attention. 

This is a film that will be spoken about for years for the performances given by Chalamet and Carrell. Although Carrell has more screen time and is the more established actor, it is Chalamet who manages to steal the show. His portrayal of Nic Sheff is raw and honest, and manages to break your heart multiple times throughout the film. 

From the outset of the film, the visuals are outstanding and I was often blown away by the ability to make a film so simplistic yet beautiful at the same time. The visuals are accompanied exceptionally by a versatile soundtrack that I have been listening to since I saw the film. 

Deciding to tackle addiction as an illness is a decision I commend the filmmakers for making. Despite many films about addiction existing (‘Trainspotting’ (1996) and ‘Requiem for a Dream’ (2000) to name a few), these films often represent this drug use as something to be afraid of, and existing in underworlds, away from the suburbs of middle America. ‘Beautiful Boy’ demonstrates that drug use is not exclusive to the most desperate members of society, but a prevalent issue widespread among local communities.  

My only issue with the film would be its pacing. The film starts very quickly, establishing Nic’s battle with addiction immediately, but then slows down as it turns the focus on his father. Although this was somewhat jolting to me, I believe it was a deliberate choice, as opposed to a mistake. The film frames a battle with addiction that, to the audience, has always been there. 

This is a tough watch at times, but an important one. Timothée Chalamet solidifies his position as one of the most talented up and coming stars of our generation, and I have a feeling he will be attending the Academy Awards next February.

8/10

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‘The Ballad of Buster Scruggs’ (2018) Review

As a long-time fan of the Coen brothers’ work I was extremely excited to get a chance to see their latest film at London film festival. The film is their return to the western genre, a genre they have thrived in with modern classics such as ‘True Grit’ (2010) and ‘No Country For Old Men’ (2007). This time, however, their approach to the genre is different, with the film being structured as an anthology. With the film approximating 2 hours in length, each segment lasts around 20 minutes, which for the most part is perfect. The segments, while grounded in the western genre, often find themselves delving into different sub-genres, with aspects resembling comedy, musical, thriller and drama being present. 

This film is beautifully shot, with immense variety in location helping to keep the shorts distinct from each other while all being aesthetically pleasing. Despite some questionable uses of CGI sticking out every now and then, the film is very pretty. 

With a star-studded cast, the film is a joy to watch, as familiar faces give often hilarious, authentic performances. There are no real stand-outs, due to the way in which the film presents itself, no character is with us for an extended period of time.

As with all anthology, the film runs into the issue that some stories are more interesting than others. Luckily, 5 out of the 6 stories land and are thoroughly entertaining, but the 3rd short, starring Liam Neeson and Harry Melling manages to outstay it’s welcome significantly. The story is very simple and predictable from around the 5-minute mark, but it insists on matching the other shorts in length and stretches out the story until it is almost excruciating to watch. Thankfully, the remaining stories more than make up for this lull in the middle of the film’s duration.

It may not be their finest work, but the Coen brothers don’t seem to be capable of making a bad film. Definitely check this out when it lands on Netflix in late November, although you may find yourself skipping through the middle segment.

7/10

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‘Unsane’ (2018) Review

A few months back, if you live in the UK, its likely you saw the poster for ‘Unsane’ (2018) plastered on a bus somewhere. For me at least, it was inescapable. As a first impression of the film, I thought it must be the next big horror film and despite the questionable title, I decided to give it a shot. To my surprise, this was a film shot entirely on an iPhone, with a very modest budget. The film had challenged my expectations before the opening credits had even finished. ‘Unsane’ centres around a young woman who accidentally admits herself into a psychiatric hospital, where she believes she sees her stalker. The rest of the film portrays her inner struggles to understand if he is really there, or if she actually belongs in the institution. 

Considering the fact that it was shot on an iPhone, the shot composition is decent. However, I can’t help but feel that the advantages of using such a portable camera are nowhere to be seen throughout the entire running time of the film.  This wouldn’t be much of an issue had the other aspects of the film been strong (‘Tangerine’ (2015) managed to pull of the use of an iPhone excellently), however with ‘Unsane’ this is not the case.

Conceptually, ‘Unsane’ is interesting but lacks depth, leading the narrative to feel predictable and lazy. There were plenty of opportunities to make the film more interesting and involving, but the way in which concepts are executed make the film extremely boring. It is very clear from the outset whether or not the stalker is real, meaning the parts where the film is trying to make the audience question themselves are very tedious. 

Another aspect of this film that lets it down is its poor pacing and editing. While the running time sits at only an hour and a half, it feels like it never ends. This film really was a chore to finish.

In terms of acting, the cast does an ok job, with the lead being a stand out (not by much). Unfortunately, this is not enough to save the mess that is ‘Unsane’. At one point in the film Matt Damon shows up for some reason, which leads me to believe he must have known someone involved in it.

I would not recommend ‘Unsane’ to anyone. It reminded me of a student film quite often throughout, but lacking the creative flair students tend to have. 

2/10 

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Coming of age films you may not have seen

Coming of age films have always been some of my favourites growing up. The relatability of characters, the exciting adventures and the life lessons embedded in them all gel together to create an experience I seemed to enjoy more so than any I could have watching other genres. Despite it not really being a genre of film, they are similar enough to recommend if you enjoy them. I have compiled a list of some of the coming of age films not as popular as the likes of classics like ‘Stand By Me’ (1986) or more recent additions to the genre such as ‘The Perks of Being a Wallflower’ (2012), but that are still worthy of seeing. List in no particular order.

1.‘Boy’ (2010) 

From the director Taika Watiti comes a touching, hilarious look into the life of a New Zealand boy who’s criminal father enters back into his life. This film will transport you into the mind of a young boy in the best ways imaginable.

2. ‘Lean on Pete’ (2017) 

This story of a young boy building a relationship with an old race horse and his dodgy manager is a beautiful, mesmerising look at naivety and it will break your heart.

3. ‘Mean Creek’ (2004)

This is a darker film than others on this list, but is still full of scenes reminiscent of coming of age classics such as ‘Stand By Me’ (1986). You have likely seen the scene of Josh Peck losing his head on a boat, but it is definitely worth seeing the rest of the film. 

4. ‘Brigsby Bear’ (2017) 

Can it still be considered a coming of age story if the character is no longer a child/teenager? In this instance I think so. ‘Brigsby Bear’ captures the essence of childlike imagination marvellously, and is one of the more uniquely told stories on this list.

5. ‘Hunt for the Wilderpeople’ (2016)

Taika Watiti’s second film on this list tells the story of a child and his grandad, who’s unconventional relationship is tested when lost in a New Zealand woods. This is a quirky comedy with some touching moments and worth checking out.

6. ‘The Kings of Summer’ (2013)

This film blew me away when I first saw it at the young age of 14, and has stuck with me ever since. With an amazing soundtrack, gorgeous visuals and hilarious dialogue its no wonder why. If the idea of building a house (not a tree house) in the woods sounds fun, watch this film, it is a hell of a lot of fun. 

7. ‘Submarine’ (2010)

Stylised, quirky and British, this might be the most polarising film on the list in terms of whether you’ll like it or not. While it is not one of my favourites, I can appreciate it for approaching the subject matter in a different way to most, and would at least say try it - you might love it.

8. ‘American Honey’ (2016)

This film is a free spirit, it was filmed using non-actors for the most part and that only adds to the authenticity of the film. While it may drag in parts, it is visually stunning and is one of the more realistic portrayals of modern youth in this list.

9. ‘Palo Alto’ (2013)

Suburban teenage angst doesn’t sound like the most interesting thing to make a film on, but Gia Coppola manages to make ‘Palo Alto’ (2013) an experience unlike anything I’ve seen before. This is one of the most subtle and realistic depictions of teenage confusion I have ever seen, and for that alone I recommend it.

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‘Isle of Dogs’ (2018) Review

I have always felt strangely towards Wes Anderson. While loving some of his films, and respecting him as a filmmaker, I have always felt his hardcore audience are far too obsessive over his work, and not much outside of it. This often puts me off his work, as I can’t help but be disappointed by films that, while good, are not the masterpieces that the fanbase proclaim they are (with a few exceptions of course). I can safely say however, this is one of Wes Andersons stronger films where I do not feel the praise is over the top. His second stop motion film, following 2009′s ‘Fantastic Mr. Fox’, follows the story of Atari Kobayashi, a young Japanese boy in the search for his lost dog in a world where dogs have been exiled to a place named trash island.

With his experience from ‘Fantastic Mr. Fox’, it is clear Anderson has been able to build upon his skill as a director of animation. The world feels rich and full of detail, with every frame packed full of intricacy. Props to the animation team, who do a wonderful job bringing the characters to life. Painstaking detail such as fur moving in the wind in each frame only adds to the believability that these puppets are living, breathing things. In terms of colour and lighting, the film is very impressive and a joy to watch.

Stylistically, the editing works well, but I did feel as if the Japanese on-screen text appearing as often as it did get old quickly, and became a predictable gimmick that didn’t add all that much to the content of the film.

I have heard people complain that this film is all style, no substance, and despite the fact I have only complimented stylistic elements so far, I can’t say I agree. This film is full of heart, and the way in which it is written (in Anderson’s typical darkly humorous manner) prevents it from turning into a soppy, melodramatic kids’ film. As for the voice acting, the cast do a great job in providing a lot of comic relief, with monotone delivery and comedic timing, accompanied by visual comedy, the film had me laughing on multiple occasions. Bryan Cranston is the only actor that really stood out to me beyond acting as a tool for jokes though, with a performance that drives the film to success. 

If you are a fan of Andersons other work, especially his recent stuff, check this film out. I wouldn’t necessarily recommend this to children though, not because it is inappropriate, but because the film isn’t tailored towards them really at all. 

I honestly didn’t want this film to end, it is a lot of fun.

8/10

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‘Darkest Hour’ (2017) Review

In the midst of WWII, as Nazi forces push deeper into Europe, it looks as if Britain’s best option is to capitulate and negotiate terms with Germany. After unsatisfactory war time results from Neville Chamberlain, a new, unconventional leader is called into the Prime Minister position. What follows is the beginning of an unlikely victory and the story of how Churchill led Britain out of its darkest hour.

Gary Oldman is excellent in bringing Winston Churchill to fruition in this film, and is almost unrecognisable. The amount of subtlety in his performance is incredible, with every aspect of Churchill being replicated with great precision. The narrative unfolds at an appropriate pace due to its tight editing. The threat of war is built upon with every advancing day in the plot, which keeps what could have been a very slow film moving forward and, as a result, it remains engaging throughout.

However, there are some cringe-inducing moments in the way they are executed. One scene on the tube in particular is written in such an unrealistic fashion in comparison to the rest of the film, it feels very out of place. By the time the overly positive scene ended I half expected a musical number to follow. In terms of visuals, the film is passable and doesn’t make many mistakes, but the presentation is not a style I particularly like. Many scenes in parliament use an aged look where the white light is very soft, but still prominent and it just looks bad personally.

While I am not overly informed on Winston Churchill, the film sometimes feels a bit too light hearted in terms of presenting his character. I understand he was a great leader, but I feel the film glorifies his character too much, with barely any negative representation seen throughout the film. This left me feeling slightly disconnected as a result. 

The film succeeds in what it attempts for the most part, but it is not my type of film. 

6/10

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‘Incredibles 2’ (2018) Review

14 years have passed since we first took a look into the life of the Parr family, and yet jumping straight back into ‘The Incredibles’ (2004) universe was a seamless affair. The sequel picks up exactly where the 2004 film left off, with the rise of the Underminer. From here we are put in a similar position to that of the first film, with superheroes being outlawed, Violet being an awkward mess and the rest of the family being mostly unchanged. Helen Parr takes more of a forefront in this film as she encounters much of the action, with Bob having to stay and look after the family. While some recasting took place between the two films, the voice acting remains serviceable, even if some characters do sound noticeably different.

The standard of the animation goes without saying for a Pixar film in 2018, but I’ll say it anyway: the film is visually stunning. In comparing the original to its sequel, ‘Incredibles 2′ (2018) vastly surpasses the first in terms of visuals. While many of the jokes didn’t land for me, there are some genuinely funny moments and those at the screen in which I saw the film were loving it. Jack Jack is one of the focal points in a lot of jokes, so if you were a fan of the short ‘Jack Jack Attack’ (2004) then you will most likely enjoy this film. 

One of the things I was most looking forward to was the Jazz score, composed once again by Michael Giacchino, who did a marvellous job for the original film. The music accompanies the film extremely well and elevates the action scenes beyond the amazing visuals you are witnessing. 

My only real issues with the film would be surrounding the films antagonist. I can’t say much here without spoiling the film so I won’t go into too much detail, but we are only given a very small amount of expository dialogue to understand the motivation behind the character. We don’t ever know the villain well enough to truly care about them, or derive anything from them really. While I did enjoy the Scarecrow-like gimmick of the villain, I was disappointed by how they were handled beyond this. Another issue I have in regards to the antagonist is how their plan in the latter half of the film lacks any real logic, but again I do not want to spoil the film so will leave it at that. 

Ultimately, the film doesn’t quite hit the same highs as the original did for me, but it is in no way a disappointing entry in the franchise, but a solid springboard for future sequels if they decide to go that route. Despite not being particularly unique in its plot or how it unfolds, the film is a lot of fun and is executed very well, which is more than I could ask for from a Pixar sequel.

7/10  

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Documentaries you may not have seen

While everyone has seen ‘Blackfish’ (2013) and ‘Farenheit 9/11′ (2004), and we like to praise the likes of Theroux and Attenborough, there is a lot more out there in the form of quality documentaries. I have picked out my favourite documentaries that not everyone has heard of or seen, and ones that I think deserve to be among the likes of those mentioned prior to this. I hope this helps you discover something new. (List in no particular order)

1. ‘An Honest Liar’ (2014)

This character study of The Amazing Randi is fascinating to watch. Not only are his stories of exposing psychics and televangelists covered throughout this documentary, but you gain an insight into his private life which makes the latter stages of the film feel intimate and personal. 

2. ‘The Internet's Own Boy: The Story of Aaron Swartz’ (2014)

Aaron Swartz is a very important contributor to the construction of the internet we know today, and in a society where the web is so integral to our lives it is an injustice that he is not more well-known. This documentary is an emotional one which is bound to make you question the logic of the American judicial system

3. ‘All This Mayhem’ (2014)

A story of two brothers whose professional skateboarding careers lead them to dark places in their lives. This one is full of twists and turns that will keep you guessing. 

4. ‘Tickled’ (2016)

‘Tickled’ is a film that is hard to take seriously at first, the concept of competitive tickling is just absurd. However, the film soon takes a hard turn, as the organiser of these events doesn’t take too kindly to the filmmaker’s interest in their niche. The tagline says it all really: it’s not what you think.

5. ‘Jim & Andy: The Great Beyond’ (2017) 

Jim Carrey is a fascinating man and this insight into his thought process is a joy to watch. The documentary focuses on the making of ‘Man on the Moon’ (1999) and the extent of Carrey’s method acting. The story isn’t as expansive as others on this list, but the character study of an actor as famous as this is something you don’t see too often. 

6. ‘Tower’ (2016)

Unique in its presentation, ‘Tower’ tells the tale of a shooting on a university campus in Texas, 1966. Animation is used in place of archive footage in the form of rotoscoping actors recreating the events that unfolded, accompanied by archive sound from the tragedy. The presentation alone would be enough for a recommendation, but the story told is equally engaging. 

7. ‘This Film Is Not Yet Rated’ (2006)

This exposé on the MPAA brings light to several issues in how films are given their age rating and the hypocrisy of many guidelines within the certification process. With a plethora of well-known Hollywood stars being interviewed about famous films with controversial ratings, this documentary is a must-see for a film lover.

8. ‘We Are Legion: The Story of the Hacktivists’ (2012)

While Anonymous are becoming increasingly irrelevant and their identity is becoming more and more diluted thanks to bandwagoning, it is easy to assume they have always been like this. However, this documentary showcases the good that these activists have accomplished while also explaining the reasoning of their recent decline. A very informative documentary which may change your opinion on Anonymous.

9. ‘Your Father’s Murderer: A Letter to Zachary’ (2008)

A documentary has never affected me like this one did. It is the perfect portrayal of the tragedy that comes with the loss of a loved one, and how many people it impacts. This is a soul crushing, yet beautiful tribute of a man who was murdered, and one that you won’t finish with dry eyes.

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The Directors exciting me the most right now

When asked what your favourite directors are, a lot of people jump to those with an entire filmography under their belt, the likes of Kubrick, Scorsese, Tarantino and Fincher. While these guys are great, they’re rather predictable answers to give. The problem is (at least in my experience) if you give the answer of a current director, people ask “what about so and so?” and act as if you should have given the answer they were expecting to hear. Anyway, if you were to ask me in 20 year’s time who my favourite directors are, I’m willing to bet some of these guys will be on there. These are directors that have proved to be extremely talented and are people I am looking forward to seeing make more films. This list could be hundreds long, but I’ll try to keep it short and sweet. (List in no particular order).

1. Sean Baker

Known for: ‘The Florida Project’ (2017), ‘Tangerine’ (2015) & ‘Starlet’ (2012)

‘The Florida Project’ was easily one of my favourite films of last year, and Tangerine is one of the most resourceful films technologically to be released in recent years (the entire film was shot on an iPhone). His DIY methods of filmmaking, such as finding his main actress on instagram, make him one to look out for surely.

2. Benny & Josh Safdie

Known for: ‘Good Time’ (2017)

Despite only being known for one film, these brothers have exploded onto the film scene in spectacular fashion. ‘Good Time’ is one of the most relentlessly energetic films I have ever seen and if you haven’t seen it what are you doing? Stylish, quirky and exhilarating, these guys are going places.

3. Denis Villeneuve

Known for: ‘Blade Runner 2049′ (2017), ‘Arrival’ (2016) and ‘Prisoners’ (2013)

This man has put out a great film every year for the past 5 years at this point. With his most recent masterpiece of a sequel to the sci-fi cult classic ‘Blade Runner’ (1982) and his upcoming ‘Dune’ (1984) remake, how can you not be excited?

4. Yorgos Lanthimos

Known for: ‘Dogtooth’ (2009), ‘The Lobster’ (2015) & ‘The Killing of a Sacred Deer’ (2017)

This Greek director has a taste for the absurd, and in an industry dominated by generic blockbusters, he brings a welcome change. His style is distinct, his stories are unique, and he is coming out with a new film later this year, ‘The Favourite’ (2018).

5. David Robert Mitchell 

Known for: ‘It Follows’ (2014) & ‘Under the Silver Lake’ (2018)

With a modern-day horror classic already under his belt, and buzz about his latest film circulating - I am very intrigued to see what this director does next.

6. Damien Chazelle

Known for: ‘La La Land’ (2016) & ‘Whiplash’ (2015)

Chazelle has released two of my favourite films ever, and they are both about jazz. I’m not exactly a jazz fan. His upcoming film is a biopic about Neil Armstrong being the first man in space. I am a fan of space. This one is fairly self-explanatory.

7. Luca Guadagino

Known for: ‘Call Me by Your Name’ (2017) & ‘I am Love’ (2009) 

With an eye for beautiful visuals like Guadagino, and the fact that his most recent film was one of my favourites of last year, I am anticipating his upcoming ‘Suspiria’ (2018) with intrigue. This is quite the departure from his usual work but I believe he will pull it off. 

8. Alejandro G. Iñárritu

Known for: ‘The Revenant’ (2015), ‘Birdman or (The Unexpected Virtue of Ignorance)’ (2014) & ‘Biutiful’ (2010)

This director has 4 Oscars under his belt already, and in his ability to master multiple genres, I’m sure he is destined for more.

9. Steve McQueen

Known for: ‘12 Years a Slave’ (2013), ‘Shame’ (2011) & ‘Hunger’ (2008)

McQueen may be the greatest director working today. He has not made a bad film so far. His upcoming film, ‘Widows’ (2018) looks to be another fantastic film to add to his filmography.

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Horror films you may not have seen.

Horror, despite being a very popular genre, is dominated by a lot of shit. It often feels impossible to find horror films that stray from the clichés or execute them well, and scrolling through Netflix for longer than the runtime of the film you are going to be watching only to be disappointed can make horrors unappealing to many. That is why I have made a list of horror films that you may have not seen, that deserve your attention over the next big franchise IP remake or sequel. Bear in mind that this is what I believe to be films that deserve more attention, not necessarily my favourite horror films. (In no particular order)

I hope this helps. 

1. ‘Lake Mungo’ (2008)

An Australian faux documentary with an incredible sense of authenticity and one scene that will haunt you for days. 

2. ‘Creep’ (2014)

A found footage film where it makes sense for the footage to exist. Both hilarious and twisted, a good time will be had with this one. If you like this one, it has a sequel which is pretty good too.

3. ‘V/H/S/2′ (2013)

Horror anthologies often have the issue of some segments being better than others, and although this film doesn’t break that trend, most segments are interesting and fun, even if they aren’t all that scary.

4. ‘Session 9′ (2001)

This slow burner may try your patience at times, but it sure is creepy.

5. 'Jacob’s Ladder’ (1990)

While this film is more popular than most on this list, a lot of younger horror fans are not aware of it. It has a unique concept for its genre, but it is not a fun horror film. It is disturbing and depressing and it’s pretty great.

6. ‘Green Room’ (2015)

This film isn’t particularly scary but it is extremely tense and its energy is unmatched by any on this list. Not for the faint hearted.

7. ‘Funny Games’ (2007)

This is one of the most disturbing films I have ever seen. Michael Haneke manages to deeply unsettle you without showing a lot of the vile acts that take place throughout the narrative.

8. ‘I Saw the Devil’ (2010)

This is again a very disturbing film. Unlike ‘Funny Games’, however, this film does not shy away from showing disturbing imagery. Lots of it.

9. ‘Trick ‘r Treat’ (2007)

To finish on a lighter note, this halloween inspired anthology is more of a horror-comedy than any of the other films on this list. It is a fun watch, especially during the season. 

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https://www.imdb.com/list/ls022941166/

My most anticipated films of 2018/19

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Phantom Thread (2017) Review

Paul Thomas Anderson is a master of his craft, and yet again he proves this with ‘Phantom Thread’ (2017). The man has told such a variety of stories and done so with true class. His most recent film tells the tale of Reynolds Woodcock, a dressmaker in a 1950s UK whose life and work are disrupted after falling for a waitress. 

The film is beautifully shot, and visually engaging from the very beginning. I was specifically impressed with the use of lighting, extreme close ups and the way in which cars were shot using exterior rigs.

Sound design is an important piece to the puzzle of this film, with certain sounds being amplified to extremes at times in order to put us into the position of the protagonist. Johnny Greenwood proves himself to be more than capable at crafting meticulous and beautiful scores as he, once again, partners up with PTA and does a wonderful job. 

Daniel Day Lewis’ last performance is a truly captivating one, as he transcends his astonishing on-screen legacy and turns into the very particular, slightly deranged Reynolds Woodcock. That being said, I found myself impressed by all of the acting, Vicky Krieps holds her own opposite an academy veteran, which is likely to provide a boost to a fruitful career. 

With an Oscar for costume design, it is no surprise that this is a point of praise from me. The sheer amount of dresses made for this film is very impressive, and the intricacy of a lot of these dresses makes is extremely important to make the narrative feel real. Set design is another strong point, which is often the case with period dramas. The ability to send an audience back in time is truly impressive, and this film does that extremely well.

Throughout the film there is a genuinely creepy atmosphere, despite not being a horror or even a thriller at that. This surprised me, but with the plot shrouded in a sense of mystery, you are likely to be kept intrigued until the end credits.

The unique characters in this film are another positive. The character study of a relationship operating when one person is an obsessive artist consumed wholly by his work is interesting to watch unfold. 

I thoroughly recommend this film to fans of PTA or those with any interest in the subject matter. This may not be Paul Thomas Andersons’ most ambitious films, but it is one of his most engaging.

9/10

[harry-frampton]

Love, Simon (2018) Review

I have been a fan of Nick Robinson since I saw ‘The Kings of Summer’ (2013) 5 years ago. I also happen to be a fan of LGTB films, with films like ‘A Single Man’ (2009) being one of my favourites of all time. When I heard of ‘Love, Simon’ (2018) therefore, I was genuinely excited, and as a person who doesn’t watch trailers I went into this film with no real expectations except that I would enjoy it. What unfortunately came from this was no real lasting impact for me. 

Dialogue is a big issue in this film. The film opens with one of the most cliché voice over narrations I have ever heard. I was sure this was an attempt of a parody, but I was wrong. The forced dialogue towards the start of the film is very unnatural and the way they speak seems to only be the way it is to make it really obvious for younger audiences who would not pick up on more subtle hints that the protagonist is gay. I understand that this is a film aimed at getting the coming-out story to a younger audience and I think its a very important story to be told to those going through similar feelings to those in the film. However, the use of abbreviations in place of swearing is just cringeworthy and pointless. Instead of saying “she won’t shut the F up”, why not just say “she won’t shut up”? It sounds far more natural and avoids the swear word at the same time. This seems like a nit-pick but it happens enough throughout the film to be noticeably annoying. Another issue I had with dialogue is that when it is meant to be coming from teenagers mouths it sounds like it came straight from an out of touch writer trying to be hip and failing miserably.

The film lacks any subtlety in the way the story is told. As a viewer you are constantly being hit you over the head with conveniences and shallow dialogue. This comes across as lazy and uninspired a lot of the time.

The acting is poor for the most part, particularly from Katherine Langford, Logan Miller and Tony Hale. This, however may be due to the direction somewhat, as they act like they are in a Disney channel film. I liked Nick Robinson in this film, although he was not very consistent. He manages to pull off the comedic beats well and is enjoyable to watch. The only consistently good performances come from the parents of Simon. 

Visually, the film does nothing interesting and the soundtrack reflects this, with the use of popular indie bands that don’t really mesh with the film well, and just seem thrown in to appeal to the audience.

What the film does well is encapsulate the feeling of speaking to people online in a way that I have not seen in a film before. It manages to be interesting and you feel the anticipation of the next message just as the characters do. The way the film unravels this pen pal narrative leaves enough intrigue to want to know who the person on the other end of the emails is.

The emotional moments work and are truly powerful but the majority of the film attempts comedy and a lot of the punchlines fall flat. That being said, I can appreciate that the target audience would probably enjoy these moments. For this reason, I recommend this film to young people wanting to understand the LGTB community more, or for those who are unsure themselves of who they are. Despite not being my thing, I am glad ‘Love, Simon’ (2018) exists.

For those looking for something more suitable for a more mature audience that hits similar beats, I recommend ‘Call Me by Your Name’ (2017) instead, it’s a masterpiece and one of my favourites of last year.

5/10

[harry-frampton]

The Shape of Water (2017) Review

Ever since ‘Pan’s Labyrinth’ (2006) I have been fascinated with Guillermo Del Toro, and yet since then he has not been able to capture the essence of what made that film so special. Until now. ‘The Shape of Water’ (2017) is another attempt at a mature fairy tale, with magical results. 

Guillermo manages to create a unique world, set in an alternate history of 1960s America. Soundtrack, costume and the colour palette are intricacies that make up the immersive world of this film and allow for the film to be a unique experience. 

The use of makeup and special effects in conjunction with one another make the amphibian man come to life in a way which is a pleasure to watch. The pure imagination and creativity presented through the creature is admirable and leaves you wanting more of this world. That being said, the use of CGI blood was off putting in certain scenes, especially in comparison to the incredible looking amphibian man. 

Performances are fantastic, with Sally Hawkins doing a fantastic job as Elisa and really selling her character and her connection to the creature. Michael Shannon also does a brilliant job portraying the films antagonist, who is as remarkably unlikeable as he is intimidating.

With these brilliant performances comes a lot of emotional moments with characters you are able to sympathise with. I was also pleasantly surprised by the sense of humour of this film. There are a lot of moments of comic relief throughout the narrative, which add to the fairy tale feeling of the film and make the film more varied tonally.

Despite similar tales such as ‘Beauty and the Beast’ (1991), ‘The Shape of Water’ manages to remain extremely removed due to its uniqueness in terms of plot and presentation. If you were to tell me I would be enjoying a film about a mute woman falling in love with a fish man as much as I did I doubt I would have believed you. I was very surprised the academy enjoyed this film as much as they did, what with their track record of supporting such mediocre films over films such as this one. 

The film is visually striking, with gorgeous cinematography accompanied by excellent stylistic choices in terms of set design and colour. In a strange way, I was reminded of the original ‘Bioshock’ (2007) in certain scenes. 

The only complaint I have with this film would be the somewhat out of place tonal shifts that come early on in the form of explicit masturbation scenes. For an endearing 60s fairy tale, these scenes just feel out of place. I understand the use of explicit scenes later on in the narrative due to them surrounding the corrupted nature of the antagonist, but these felt unnecessary to me. This does not however ruin what is a masterful film.

If you are a fan of ‘Pan’s Labyrinth’ I strongly recommend this film.

8/10

[harry-frampton]

Hereditary (2018) Review

With a quote like “a new generation's The Exorcist” plastered all over its marketing ‘Hereditary’ (2018) set itself high standards for horror fans such as myself, and it did not disappoint. Hereditary is a tale of grief, loss and family which centres around the paranormal occurrences after the death of a relative. Although this plot has been done to death, the execution of this film makes it feel like something fresh and new. I was delighted to see a horror film made in 2018 that wasn't littered with jump scares and yet has still managed to find success. 

This film has great cinematography. There are some really clever and interesting uses of camera movement that I have not seen before. Both uses of artificial and natural lighting are masterful in this film. Scenes at night are actually dark, which may seem like a silly thing to say but a lot of horrors use a lot of lighting to make the scene very clear. This absence of lighting really allows for scenes to be atmospheric and for your mind to play tricks on you as you look for shapes in the shadows. Scenes with artificial lighting are beautiful, with lots of vibrant colours that mix up the palette and bring variety.

In terms of scares, there are some very unique moments which are as scary as they are memorable. This is heightened by the fact that the film actually makes you care for its characters. I had a genuine interest in the characters, and this not only made the film scarier, but also led to some surprisingly emotional moments. 

The acting is incredible all round, especially from Toni Collette. the only criticism in terms of acting would be for Alex Wolff, who isn’t terrible, but was not convincing in certain scenes when he was meant to be crying. This took some of the impact out of some scenes, but other than this the performances were stellar.

An atmosphere of dread hangs over this film, which is elevated to uncomfortable levels when paired with the score. 

Some story beats are predictable, and one prolonged shot is out of focus, which is quite jarring upon first viewing. The ending is slightly weaker than the rest of the film, but these are minor issues when stacked against everything else ‘Hereditary’ does right.

Although this type of horror may not be for everyone, I encourage all lovers of horror to check this out - it’s important to support films that try new things. Hopefully producers see the success of hereditary and try to mix things up from the cookie cutter jump scare drags that currently dominate the horror market.

This is a very well executed debut from writer/director Ari Aster, which leaves me excited to see what he does next.

7/10