90th Academy Awards nominees – Documentary Feature

Fifteen films remain in the race to win the Documentary Feature prize at the Academy Awards. The remaining five features will be announced on Tuesday 23rd January 2018.

Abacus: Small Enough to Jail
Chasing Coral
City of Ghosts
Ex Libris – The New York Public Library
Faces Places
Human Flow
Icarus
An Inconvenient Sequel: Truth to Power
Jane
LA 92
Last Men in Aleppo
Long Strange Trip
One of Us
Strong Island
Unrest

Those in the UK with access to Netflix can watch Icarus now.

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Top films of 2017

Here’s a list of my top ten films of 2017.

20th Century Women

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“20th Century Woman avoids the usual cinematic tropes and instead explores how men are often defined by the women around them. With characters this believable and brilliant performances across the board, this is a film well worth seeing.”

Read the full review here.

Baby Driver

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“There aren’t many moments in cinema where you start to watch the opening scene and an uncontrollable giddy smile engulfs your face, such is the joy of what is unfolding on the screen. It needs to be a brilliant idea, executed to perfection and in a language that speaks to you. Baby Driver, Edgar Wright’s latest cinematic masterpiece, achieves just that. But the moment I knew it was a truly great film was when I realised the credits were rolling and my smile hadn’t left.”

Read the original review here

Dunkirk

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“Dunkirk is a film you have to see right now. It is the film you have to see right now.

Read the original review here

아가씨 / The Handmaiden

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“Park Chan-wook’s latest release is a twisting psychological thriller steeped in eroticism and oozing class that works its audience brilliantly. The only drawback was that I didn’t have time to see it a second time.”

Read the original review here

La La Land

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“Every once in a while you will go into a film knowing almost nothing about what you’re going to see and get absolutely blown away by a surprisingly perfect masterpiece. As you get further into your film-watching life, enjoying these moments becomes increasingly rare, so when a film like ‘La La Land’ comes along, you can’t help but be overcome by giddy excitement.”

Read the original review here

Lady Bird

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Lady Bird is, simply, a joy to watch. From start to finish the balance between humorous dialogue and well-paced plot progression is very fine indeed. The result puts it as a frontrunner for awards season next year.”

Read the original review here

Logan

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“A wisely-timed and fitting ending to the franchise and Jackman’s input into the character. It’s hard to believe it but this is the tenth time we’ve seen the character – seven X-Men films have now been made, along with three Wolverine-focussed standalone films. It seems impossible to think anyone will fill the role, meaning this could be the last time we see the character for many years, possibly ever. It could well be the best superhero/mutant-hero film ever made.”

Read the original review here

Okja

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“Given so many people have Netflix and can watch this film at no extra cost, it’s a no-brainer to seek it out and watch it. It might be the start of a new era of high quality original cinema heading first to home streaming platforms. Given the state of the year-to-date box office, it’s a movement everyone should be supporting.”

Read the original review here

レッドタートル ある島の物語 / The Red Turtle

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“A genuine triumph. For anyone with a passing interest in the future of the planet, beautiful animation or engrossing stories, this is a must-see.”

Read the original review here

Thelma

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“The culmination of the film hits like a crescendo, and Trier plays the audience perfectly with a balanced build up to the final pay-off.”

Read the original review here

Film review – Star Wars: The Last Jedi (Rian Johnson, 2017)

CONTAINS SPOILERS – ONLY READ AFTER WATCHING THE LAST JEDI

Well, it’s finally arrived. After an almost-two-year wait, we finally got to see what happens on Ahch-To immediately after the infamous closing sequence of The Force Awakens. The highly-anticipated interaction between Luke and Rey was anything but grandiose – Luke simply tosses the lightsaber over his shoulder and walks away.

This may not have been the first thing we see in the film, but it certainly set the tone. There are some serious plot developments going on here, but they’re always delivered with a smattering of humour. Indeed, The Last Jedi may be one of the best examples of a script being so well-written that the overarching plot’s many loopholes can be forgiven.

In many ways, the tone of the script is essential to ensure the entire spectrum of potential viewers stays on board. Those expecting to see the darkest of dark sides of the force will certainly be pleased – it gets very dark –  but there’s a lighthearted feel to this film that means no fan will feel alienated.

The basic plot is split into three threads, essentially focused around the three main new heroes introduced in The Force Awakens: Rey (Daisy Ridley), Finn (John Boyega) and Poe (Oscar Isaac).

Rey is wrestling with the dark and light sides of the force – a development that clearly has ramifications for the future of the galaxy. She spends the early parts of her journey with Luke Skywalker (Mark Hamill), before taking off to see Kylo Ren (Adam Driver). Our heroine is a truly engaging character and Ridley is the perfect actor to take on the role, taking us on a journey to find out more about herself at the same pace as the viewers.

Elsewhere, Finn wakes up from the coma we left him in at the end of The Force Awakens, before a chance happening sees him forming a bond with resistance mechanic Rose Tico (newcomer Kelly Marie Tran), herself mourning the death of her resistance fighter sister.

Poe Dameron is busy on the main resistance fleet ship attempting tactical dogfight missions to attack the First Order, before attempting a rescue/escape plan with Princess Leia (Carrie Fisher) and Admiral Holdo (Laura Dern).

If great films are remembered so for their show-stopping visual moments, then The Last Jedi delivers them in buckets. The dogfights are absolutely real, comprehensible and exhilarating, clearly showing the influence of the film ‘Twelve O’Clock High’, which director Rian Johnson cited as a key reference point. The final fight sequence on the salt land of Crait contrasts the crystalline white of the ground with the kicked-up red chalk as the fighter vehicles slice through them towards the enemy.

A surprising and memorable fight sees Rey and Kylo team up together to wonderful effect. It’s a sequence reminiscent of ‘Three Outlaw Samurai’, with very few cheat editing or confusing cuts. It’s delivered masterfully. There are two specific deaths that really caused some great whooping and fist-pump scenes at the midnight screening: one involving a lightsaber-in-the-head death for a Praetorian Guard, and one involving the brutal death of a major character.

The McGuffin for Finn and his new partner in crime Rose allows them to develop something of a romance. It’s a romance that remains almost entirely unkindled by the end of the film – allowing plenty of  scope to further develop or completely nix their relationship before episode IX. The cynic in me believes this will probably depend on how popular Rose is as a character.

It must be said that the whole story thread for this pair of characters is mainly pointless. There is a largely disappointing sequence on the casino planet of Canto Bight that serves the sole purpose of introducing DJ (Benicio Del Toro). It is framed in a world that is wholly reminiscent of Final Fantasy on a plot level – casino-based planets are common in most games in the franchise, with Chocobo races being a clear inspiration for the Fathier creatures being forced to race for entertainment on Canto Bight. It’s also fairly identical on a visual level, suffering from a common issue in present-day cinema where physical sets and props are lovingly built and filmed, only to be touched-up in post with some less-than-realistic CGI, making for a wholly underwhelming result (see Unkar Plutt in Episode VII for a further reference point).. Fortunately there was no need to reproduce an entire human character a la Peter Cushing in Rogue One, but the visuals are so important after the failings of the prequel trilogy and it’s almost unfathomable that this can still go wrong.

As a side note, there is a wonderful tracking shot whilst we’re on Canto Bight that felt like a tribute to 1927 silent film Wings, which can be seen below.

Unfortunately, this Finn-Rose sideplot always feels like an unwelcome distraction from the Rey-Kylo thread. We were left hanging for two years and so most of the build up has been about what happens next to Luke and Rey, who Rey’s parents are (nobody, it turns out), how her training will play out and how she’ll defeat Kylo Ren. It’s frustrating that we keep getting the rug pulled from under our feet with unwelcome distractions from what is emerging as the main plot, and contributes to a sagging middle act. Indeed, should this have been missing from the film entirely, there would have been little impact on the outcome.

Poe’s character gets many of the best lines for laughs, but there are also big visual gags from BB-8 and some friction between Chewbacca and the furry little creatures called porgs. These porgs are destined to be something of a Marmite character for the franchise – I’m still trying hard to warm to them.

All is forgiven by the final act. If anyone was left unconvinced at any point, the film gets firmly back on track with a lovingly-balanced reintroduction of Yoda as a force ghost. It was surprising but absolutely welcome. Frank Oz provides the voice and yes, it is a real puppet operated by real people. This is how it’s done Mr Lucas.

This kick-starts a long stretch towards the end that is entirely satisfying, exhilarating and feels like a genuinely fresh take n the franchise. It sets up the Resistance in a perilous predicament that gives J.J. Abrams a meaty starting point for the final installation of this trilogy.

It makes the failings pale into insignificance and provides a perfect ending to a not-quite perfect film.

The clocks are officially reset and I’m now on countdown again for the next instalment.

Halloween Quiz – Just for fun (2017 edition) – ANSWERS

Here are the answers to the Halloween horror quiz I published yesterday. Hope you enjoyed it!

1. Dustin, Will, Mike, Lucas and Eleven are the lead characters in which supernatural horror TV series?
– Stranger Things

2. Richard Bachman was a pseudonym of which famous horror fiction writer?
– Stephen King

3. Which two actors portrayed Fox Mulder and Dana Scully in the TV series The X-Files? (1/2 point each)
– David Duchovny and Gillian Anderson

4. Bill Skarsgard and Tim Curry are both actors associated with which horror film character?
– Pennywise the Clown

5. Army of Darkness is the third instalment in which horror film franchise?
– Evil Dead

6. What is the nickname given to the killer in Scream, prior to finding out his or her true identity?
– Ghostface

7. The 2017 remake of ‘It’ is now officially the highest-grossing supernatural horror film of all time. Which 1999 film did it displace from the top of the list?
– The Sixth Sense

8. Which Hungarian actor is credited with originating the role of Count Dracula in the 1931 film Dracula?
– Bela Lugosi

9. Which dark British comedy series will return this Christmas for three episodes, allowing fans to glimpse Royston Vasey for the first time in fifteen years?
– The League of Gentlemen

10. Which TV event was watched by the must viewers in the US – the first episode of Lost Season 1, or the last episode of Lost Season 6?
– The first episode of Season 1 received 18.65m viewers, whereas the Season 6 finale received just 13.57m viewers.

INITIALS

1. Alfred Hitchcock
2. John Landis
3. Wes Craven
4. Sam Raimi
5. Clive Barker
6. Ivan Reitman
7. George A Romero
8. Ridley Scott
9. Guillermo Del Torro
10. Steven Spielberg

POSTERS

1. It
2. What Lies Beneath
3. Psycho
4. The Omen
5. Poltergeist
6. The Fog
7. Get Out
8. Frankenstein
9. The Amityville Horror
10. Dial M for Murder

Film review – Battle of the Sexes (Jonathan Dayton and Valerie Faris, 2017)

On Thursday 20th September 1973, 55-year-old former male tennis pro Bobby Riggs took on then-current Women’s Wimbledon champion Bille Jean King in a $100,000 winner-takes-all exhibition match. Whilst the prize was significant – King won only £3000 for her Wimbledon title – the ‘Battle of the Sexes’ was more significant in terms of what it meant for the game itself. As King herself put it, “I thought it would set us back 50 years if I didn’t win that match. It would ruin the women’s tour and affect all women’s self-esteem.”

Now, the match and the surrounding attention has been turned into a motion picture, courtesy of the directorial team of Jonathan Dayton and Valerie Faris, their third feature film after debut Little Miss Sunshine’ (2006) and follow-up Ruby Sparks‘ (2012).

And it’s really rather good.

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King (Stone) and Riggs (Carrell) pose for the cameras.

The biopic stars Emma Stone as Billie Jean King and Steve Carell as Bobby Riggs. It is clear from the start that both actors are relishing the chance to portray such iconic characters. Both have stories worth telling, which makes the final result feel fast-paced.

Riggs is larger than life, spouting ridiculous phrase after ridiculous phrase in the hope of any kind of attention. Carell is perfect for the role and, as usual, delivers something remarkably entertaining, far beyond the abilities of someone many mistake for a simple comedic actor. It’s amazing that Carell avoids becoming irritating, clearly enjoying with aplomb the misogynistic phrases Riggs became famous for.

King’s agenda is to exact revenge on those who underestimate the abilities of women tennis players, epitomised by Lawn Tennis Association head Jack Kramer (Bill Pullman), and ensure that women tennis players were given a level of respect and pay equal to their male counterparts. It is a more complex role than Carell’s, especially when factoring in her failing marriage to Larry King (Austin Stowell) and her blossoming romance with hairdresser Marilyn Barnett (Andrea Riseborough).

Stone again proves her acting mettle with an absolutely brilliant performance. She truly is an actor at the top of her game. It is her first portrayal of a real person, but she has clearly benefited from time spent with Billie Jean King in getting her mannerisms perfectly nailed down.

Equally, be ready to gasp at the end when you’re reminded exactly how much Steve Carell looks like Bobby Riggs.

This is a story that is as important to the LGBT community as it is to discussions about women’s rights and equality in sport and, more widely, in every profession. Billie Jean King was the first prominent female athlete to publicly acknowledge that she is a lesbian. Whilst this tale isn’t fully explored – it is limited to the reactions of Billie Jean King, Larry King, Marilyn Barnett and rival tennis player Margaret Court (Jessica McNamee) – there is certainly a sense of the impact this would have had at a critical moment in the blossoming of the women’s tennis game.

It is rare that a biopic comes together with such a perfect cast and crew and tells a story so effectively and authentically. ‘Battle of the Sexes’ a fine achievement in filmmaking and one I will undoubtedly enjoy for a second time when it receives its full UK release later this year.

Film review – Little Evil (Eli Craig, 2017)

If the thought of a horror-comedy fills you with dread, if not for the scary monsters then more for the fact that they usually fall short of whatever they’re trying to achieve, then fear not. Little Evil may not truly be a great horror film, nor is it a hilarious comedy, but that doesn’t mean it’s a bad film. For those wanting something lighthearted this Halloween there are much worse ways to spend 95 minutes.

Adam Scott stars as Gary, a real estate worker who has married Samantha (Evangeline Lilly), who comes with baggage in the form of her son Lucas (Owen Atlas), who Gary suspects may be the Antichrist. As he unravels the truth behind his new stepson, he is forced to form unlikely bonds in a race against time to save his family and the world.

There are supporting roles from the brilliant Bridgett Everett, Donald Faison, Chris D’Elia, Kyle Bornheimer and a surprising cameo by Sally Field, though this is less surprising when you learn that director Eli Craig is her son. It’s an ensemble cast that are able to provide plenty of humour to keep the wagon rolling without ever feeling like it stutters.

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The film is peppered with nods to horror greats, presumably so that fans of the genre will giddily point at the screen and say “Oh, that’s the clown from Poltergeist!” at their less-versed friends. Of course, the more likely reaction is a roll of the eyes and silence, but the references are done in good faith. Sure, giving the child a 6th birthday on 6th June is fairly obvious, but not all comedy has to be subtle to be successful.

There is a worry that the film lacks any memorable gags and also fails to produce any striking horror set-pieces, though the movement of the buried-alive scene to the start of the film provides an impactful opening.

Adam Scott is a great leading man here, producing a relatable everyman who wants to make things work despite obvious signs that something is awry. There’s an art to his delivery of disbelief that only he seems to notice that Lucas is hiding something. It’s good to see him in a more prominent role than he is usually given.

Eli Craig has produced a fine follow up to his breakthrough film Tucker and Dale vs Evil. It has found a suitable home on the VOD service Netflix, which reduces the risk of it being a flop at cinemas and will undoubtedly increase viewership in the October double-header of Friday 13th and Halloween. It is notable, however, that it has quickly vanished from the front page of the service, making foot-fall traffic a little less likely.

Incidentally, Tucker and Dale vs Evil is also available on Netflix. If you’ve seen neither, Little Evil should be the one you approach second.

Film review: Dunkirk (Christopher Nolan, 2017)

When Christopher Nolan’s latest project was announced to be a big-screen interpretation of the famous evacuation of the Allied troops from Dunkirk beach in May 1940 during World War II, it seemed like an unusual choice. His recent output has concentrated on science fiction and fantasy; between directing the Dark Knight trilogy and his subsequent involvement with the Man of Steel films, he also found time to craft two epic science fiction films in the form of Inception and Interstellar.

A war epic felt like a shift into reality. Whilst nobody could doubt his credentials, such a film would certainly rely more on realistic-looking non-CGI special effects. It’s also true that getting these effects wrong would have ruined the authenticity of his art.

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In the run up to the release, the controversies and concerns trickled over the media, though they were far outweighed by the plaudits from those lucky enough to see the film in previews.

One of the biggest concerns was the casting of pop singer Harry Styles in one of the lead roles. I can confidently say that any worries about his ability to act are completely unfounded. He does an excellent job in his debut role.

The entire cast are excellent. The most well-known amongst them – Mark Rylance, Cillian Murphy, Kenneth Branagh and Tom Hardy – need no praise to confirm their ability. It is the newcomers that really shine, amongst them Fionn Whitehead and Tom Glynn-Carney. The latter is a real coup for Nolan, having only acted on stage previously and even then in small quantities. He clearly has a bright future ahead of him.

Visually, the film is stunning. Everything feels real, from the harshness of the conditions to the shock of the relentless attacks, and contributes to the most stressful and involved journey I’ve been on during a film since The Revenant. It is an ordeal from start to finish, with the stress reflecting in a small way exactly what the soldiers were going through at the time.

Nolan has made a bold but effective choice in the non-linear storytelling method utilised. It is told in three intertwining parts that slowly converge into one storyline. In ‘The Mole’, the soldiers stranded on the Dunkirk beach (Styles, Whitehead and Aneurin Barnard) have a gruelling week-long escape story as Branagh’s Commandor Bolton repeatedly tries to execute an escape route for his men. In ‘The Sea’, Rylance’s Mr Dawson takes his son Peter (Glynn-Carney) and his friend George (Barry Keoghan) across the English Channel on a leisure boat to rescue evacuees, picking up an unnamed British soldier (Murphy) along the way, in a story that spans one day. In ‘The Air’, Tom Hardy’s RAF pilot Farrier’s story takes one hour to complete as he and Pilot Officer Collins (Jack Lowden) take out enemy planes in their Spitfires. As these play out, we often see visual reminders from the other storylines that serve to anchor each one alongside the others. The stories feel inextricably linked from the start, but it’s a joy to see them play out so perfectly together.

Hans Zimmer’s score is effective in unsettling the viewer throughout. It was explained recently in a fascinating article on Business Insider. “There’s an audio illusion, if you will, in music called a ‘Shepherd Tone'”, Nolan informed them. “It’s an illusion where there’s a continuing ascension of tone. It’s a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the Dunkirk script according to that principle. I interwove the three timelines in such a way that there’s a continual feeling of intensity. Increasing intensity. So I wanted to build the music on similar mathematical principals. So there’s a fusion of music and sound effects and picture that we’ve never been able to achieve before.”

This effect is never more evident than during the final climactic moments as the score track ‘The Oil’ plays out. It’s simply breathtaking.

Christopher Nolan has made a career out of crafting cinematic experiences that feel part of one person’s vision. Like other contemporary directors like Quentin Tarantino, Wes Anderson or Nicolas Winding Refn, they are experts in their field partly because viewers can watch their films and within seconds recognise their work. They are auteurs. That Nolan seems to be achieving this in such a wide gamut of genres is all the more remarkable.

Dunkirk is a film you have to see right now. It is the film you have to see right now.