Three Billboards Outside Ebbing, Missouri

Director:
Martin McDonagh

Starring:

Frances McDormand (Fargo, Burn After Reading, Miss Pettigrew Lives For A Day)

Sam Rockwell (The Green Mile, Iron Man 2, Moon)

Woody Harrelson (Zombieland, The Hunger Games, War for the Planet of the Apes)

Plot: 

After the death of her daughter seven months earlier, Mildred Hayes (McDormand) decides to rent three abandoned billboards near her home to advertise the local police's failure to find her daughter's killer to the community.  The police create havoc for Mildred to try and intimidate her to take the billboards down.

Verdict:

Seemingly, you need three things to be a Martin McDonagh film;

• a talented cast,
• strong and sudden acts of violence, and
• underlying layer of pitch-black comedy throughout. 

Three Billboards Outside Ebbing, Missouri is no exception.


Frances McDormand has been an incredible talent since her debut in Blood Simple and starring in nearly all of the Coen Brothers' films has given her ample time to display her incredible range.  Mildred Hayes is a more dour and sombre character than usual for McDormand, but she stills brings a deep-seated rage and vindication to the role that makes Mildred a renegade, 'nothing-left-to-lose' character that becomes hard not to root for.

On the other side of the conflict, Woody Harrelson and Sam Rockwell portray Ebbing's police chief and deputy respectively, and both live up to their reputations; Harrelson stoic and methodical, and Rockwell chaotic and foolish.  With Mildred's baiting billboards, you'd imagine a rage-fuelled performance from Harrelson similar to his seething portrayal of the General in last year's War For The Planet of the Apes, but instead he takes a backseat to Rockwell who manifests himself as Righteous Justice.

Rockwell embodies the stereotype of a racist, idiotic hick but since he has a police badge and lawful use of a firearm, understandably this results in more than one extreme use of police force.  Rockwell's Officer Dixon is often the butt of the film's jokes, but it's not just Dixon's stupidity to blame for the injustice in Ebbing, Missouri. 

The film instead focuses on the poisonous impact of hatred and it's pointlessness when trying to grieve or find justice in today's world.  Harrelson's Police Chief Willoughby tries to explain this to Dixon throughout the film, with Dixon only becoming what he truly wants to be once he gives up his anger and negative behaviour.

A bit different from two Irish hitmen hiding in a Flemish city.  But Three Billboards is equally heavy in moments and tone.

Thankfully though, similar to McDonagh's previous films, In Bruges and Seven Psychopaths, there is more than enough humour sprinkled throughout the film to keep the tone balanced from the darker moments.  Most of the laughs come from supporting players, such as Peter Dinklage's love-struck neighbour and Samara Weaving's air-head love rival, who both provide subtle and effective performances.


Overall, Three Billboards Outside Ebbing, Missouri serves well as an effective emotional catharsis. Regardless of who you are angry at, they get their comeuppance in this film.


Police are treated as ineffective. 
Racists are treated as idiots. 
Smug people get thrown through windows. 


It's truly a heartwarming ride.  If you'd like to see a realistic portrayal of grief and how people coming together can at least try to overcome it, I'd highly recommend this film.


Rating


8/10

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Molly's Game

Director:
Aaron Sorkin

Starring:
Jessica Chastain (Zero Dark Thirty, The Martian, Interstellar)
Idris Elba (The Dark Tower, Prometheus, Thor: Ragnarok)
Michael Cera (Scott Pilgrim vs. The World, Superbad, Youth In Revolt)

Plot:
Based on the true story of Molly Bloom (Chastain), a former Olympic-level freestyle skiier who became the host of the most exclusive poker games in Los Angeles and New York, which often comprised of famous celebrities, movie stars and even mobsters.  Two years out of the game, Molly gets arrested for involvement with the Russian mafia and requires a lawyer (Elba) to represent her.

Verdict:
As an amateur screenwriter, I have a certain affinity for Aaron Sorkin's screenplays.  Whether it be his work in films (A Few Good Men, The Social Network, Steve Jobs) or television (The West Wing, Studio 60, The Newsroom), I am always enthralled by his characters' sharp wit, their rapid-fire dialogue and and often their extended monologues where they intend on fixing the broken state of the United States.  It might make everyone in his films seem like sarcastic, over-privileged pricks but for some reason, I relate with these people instantly...

There is not much different with the titular Molly Bloom, a woman determined to make something of herself by creating the most lucrative and exclusive poker game in a city full of rich, stupid people who are out of their element.

You could instantly dislike Molly due to her arrogant attitude, but Jessica Chastain's performance keeps you on her side throughout Molly's struggles.  An over-bearing father, over-shadowing siblings and over-grown tree branches all culminate in Molly finding herself at the end of a destroyed career path and in need of something new in her life, and her rise to the top isn't handed to her.  She earns everything she gets and you are more than along with her on this ride to the top.

The high times are appropriately depicted in with slick cinematography and a fantastic pace-setting soundtrack, all making the locations pop with eye-catching visuals that make you want to be in Molly's world.  Apparently David Fincher provided some tips to his friend Aaron Sorkin, and it definitely shows, with some scenes feeling at home in their previous collaboration, The Social Network.

However, similar to the structure of The Social Network, Molly's rise to fame is twinned with her fall from grace as she seeks out Idris Elba's lawyer Charlie Jaffey to defend her in a lawsuit as she is accused of having connections with the Russian mob.  This is where Sorkin's patented dialogue and banter can be properly utilised as a definite chemistry unfolds between the two leads, Chastain and Elba.

Molly's character often gets brought into question throughout, with her flitting between attention-seeking, media-obsessed snob, and earnest woman trying to make a living in a male-centric world and the film doesn't seem to know which one to paint Molly as.  Just when Molly has the audience on her side, she manages to do away with all the well-earned respect.  But nobody's perfect.  Just like the script.

Sorkin manages to shoehorn in some tacked-on father issues on top of everything going on in Molly's life and it unnecessarily makes the film feel a bit bloated, especially when it gets resolved in record time.  However Sorkin feels that if he draws attention to the rush-job by having characters mock it, it will forgive the sloppiness.  No dice, Mr Sorkin.

However this is a minor flaw in an overall fantastic script.  I'd highly recommend seeing this, whether it be cinema or at home.  An entertaining and dazzling ride through the ups and downs of high-chance poker games, with some brilliant side-performances from the likes of Michael Cera and Chris O'Dowd, but overall it is Chastain's show.  Or should I say Molly's game?

Rating

8/10

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IT (2017)

Director: 

Andy Muschietti (Mama)

Starring: 

Bill Skarsgard (Atomic Blonde, Divergent: Allegiant, Hemlock Grove)

Jaeden Liberher (Midnight Special, Aloha, The Book of Henry)

Finn Wolfhard (Stranger Things, Supernatural, The 100)

Genre: 

Supernatural / Horror

Plot:
After recent cases of disappearing local kids in the town of Derry, Maine, IT follows a group of kids dubbed "The Losers' Club" in the summer of 1989 and their discovery and scary encounters of a shape-shifting other-worldly entity, known to return every 27 years and prey on a child's personal fears.

Opinion:
I only watched the original TV miniseries of Stephen King's IT recently in preparation for this release, and whilst there were a few creepy visuals here and there, the film seemed to rely on amazing performances by Tim Curry playing the titular dancing clown and the main group of kids whom he terrorises.  Perhaps TV budgeting or censorship got in the way of fully realising the gruesome extents of Stephen King's novel, but when I saw the 2017 film's record-breaking trailer and a more manic and sinister Pennywise, I was immediately curious.

Like many in the audience, when I sat in my seat to watch the film, I was eagerly awaiting how the director Muschietti and the film's writers handled the initial disappearance of the main character's brother to kick off the emotional heart of the film.  

Would it be duplicated? Would it be tamer? Would it be more intense?  

I could tell straight away that we were dealing with a more mature and sinister version of the story.  

The film carries the intensity throughout, but in a relatable and therefore more terrifying way.  The now-mundane things that would unnerve you as a kid (an odd-looking painting, a dark and dingy basement, the inherent changes of puberty) become realised and threatening in ways you haven't felt since childhood, and the film manages to tap into that shared dread of isolation and the unknown that we all feared once, especially when we still didn't understand the world.

Despite the film delivering scares seemingly without stop at some points, where the film really soars is developing the friendship between the members of "The Losers Club".  The Club members are all united in being outcasts from society and the film effectively touches upon issues such as race relations, school bullying and domestic abuse, showing how uniting through adversity and fear can conquer any adversary.

And speaking about The Losers Club, true commendation has to go to the casting department. The only actor I knew of was Finn Wolfhard from Netflix's Stranger Things, and so was familiar with his acting potential, but I'd say that this has helped elevate true talent that will be in several films down the line.  Special mentions to Jack Dylan Grazer as the hypochondriac Eddie Kaspbrak and Sophia Lilis who steals the film as the only female member of the Losers Club, Beverly Marsh. Both manage to give nuanced and ranged performances at such a young age that I'm sure they'll be around for a while.   

And what would be a review of this film without talking about Bill Skarsgard as the titular dancing clown?

This was probably the most worrying part of the film before watching it.  Having to follow and potentially improve on Tim Curry's performance from the original is definitely a hard task, especially since IT is revered as an iconic 'Movie Monster' and part of many people's childhood nightmares.  

However Skarsgard does a very effective job in creating unease and portraying a creature revelling in it's torturous methods.  His gangling 6'2" stance, sinister stare and ability to move one eye independently from the other just gives him an unearthly appearance, but then you add a voice that shifts in pitch mid-sentence, maniacal laughter and teeth more suitable on a Great White shark, and you've got immediate nightmare fuel.

Whilst he might not reach the iconic status as Tim Curry, this intepretation harks back to other movie monsters such as John Carpenter's The Thing, Guillermo del Toro's The Devil's Backbone, and even the director's previous horror Mama.  Regardless of what you find scary, this film will creep you out.

Rating - 8/10

Sweet Dreams :)

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The Hateful Eight

Say the name 'Quentin Tarantino', and you usually get one of two responses:

"Ahhhh! The voice of a generation! One of the greatest auteur directors of our time!  Constantly reinventing and imitating the film genres he loves because he's a film fan, just like us!"

or

"Oh, that overrated guy who just makes every actor speak like him?  He had one good film back in the early 90s and been riding that ever since?"

Since I would find myself more in the former camp than the latter one, I was cautiously anticipating his newest release The Hateful Eight / The Hateful 8 / The H8ful Eight / Da H8fl 8.

However since QT's recent flicks have been best described as 'revenge porn', such as Inglorious Basterds' exuberant murder of Adolf Hitler from a tommy gun to the face, wielded by the soldier known as The Bear Jew, or Django Unchained's black protagonist shooting white slave owners with rightful justice in his eyes, I couldn't see how The Hateful Eight could contain such over-the-top nonsense. 

It was just eight horrible people stuck in a cabin, right?  Well, yes and no.

PLOT

To shelter during a blizzard, eight people find themselves sharing a little haberdashery in the snowy forests of Wyoming.  All eyes are on bounty hunter John Ruth (Kurt Russell), known as The Hangman, and his captured bounty, the despicable Daisy Domergue (Jennifer Jason Leigh) who is worth $10,000 dead or alive.

Joining Daisy and The Hangman are fellow bounty hunter, Major Marquis Warren (Samuel L. Jackson); the new sheriff in town, Chris Mannix (Walton Goggins); Daisy's court-ordered executioner, Oswaldo Mobray (Tim Roth); mother-loving cow-puncher Joe Gage (Michael Madsen), the haberdashery's Mexican caretaker Senor Bob (Demian Bichir) and an elderly Confederate Civil War General "Sandy" Smithers (Bruce Dern).

John Ruth believes that the scenario is far too convenient, and at least one of these strangers is in cahoots with Domergue to free her before her execution.  But who can be trusted?

OPINIONS

Now one piece of information about The Hateful Eight that you already may have heard is it's running time. 

Whilst you may hear that the film is over 3 hours long, that is just the version with an intermission shown at roadshows across America.  The film on general release is instead 2 hour 45 minutes long. 

Whilst 20 minutes might not seem a big difference, that's the point at the heart of it.

The film's running time shouldn't put you off from visiting the cinema to watch it this weekend.  Whilst Tarantino is usually best when reigned in and not allowed to wander off on tangents, the film's relatively lengthy duration doesn't make the experience boring or tedious, rather the opposite.

Whilst all of these characters are truly despicable heels, Tarantino's fantastic screenplay is allowed the time to develop the titular eight hateful people into believable and complex characters, through sharing their stories and opinions in a steady and patient way.  No information is just shouted out in an expositional diatribe; everything is said for a reason.

If you plan on seeing this film (and I do encourage you to do so), try and watch it on the biggest screen you can.  Tarantino has utilised the beautiful mountainous landscapes of Colorado and captured them all in stunning detail. 

Combine that with the beautiful score by Ennio Morricone and you have one of Quentin Tarantino's most visually-captivating films.  And not just in the sweeping vistas of mountainside snow drifts, but also the interior shots.

With the film essentially being a stage play for the last two hours or so, you'd imagine Tarantino being quite restricted in the angles and shots he's allowed to make within this single location. 

However he manages to create a compelling and visually striking film regardless of the cramped space the eight characters inhabit.  Every single nook and cranny of Minnie's Haberdashery is utilised during the course of the film and you find yourself immersed in that world.

Let's just say if you were a fan of the claustrophobic and paranoid qualities of films like John Carpenter's The Thing or Tarantino's own Reservoir Dogs, The Hateful Eight will be right up your alley.

ON THE OTHER HAND...

I'm not trying to say that The Hateful Eight is perfect.  Far from it.  Similar to there are some fantastic high points, there are some disappointing low points.  Mainly how everything seems to be style over substance.

Not to take anything away from the amount of effort Tarantino has put into making the film look as beautiful as it can be, but without any heart or soul at the centre, the film just leaves the audience feeling pretty empty.  Impressed with the technical side, but disappointed with what Tarantino is trying to say.

Whilst Basterds made fascism it's target and Django was focussed on America's history of slave-owning, what is The Hateful Eight satirising? 

Some have criticised the way that men of all colours and creeds apparently can put aside their differences and become closer than most brothers when it comes to committing a heinous assault or verbally abusing a woman, even if that woman is a murdering psychopath like Daisy Domergue, but I don't see it that way.

Every time Daisy is elbowed in the face or shot in the foot, it is done with sincere realism and the film almost pauses to let the audience contemplate the violence they've just seen, and not in an exploitative way.  Tarantino might be a fan of a lot of things, but violence against women is not one.

LET'S WRAP IT UP!

With brilliant performances from a completely stellar cast, a powerful and evocative score twinned with majestic and stunning landscapes, The Hateful Eight is one of Tarantino's strongest films in a long time.

Whilst the running time might put off a lot of people, it is still an entertaining ride that might take a while to get going, but is worth it when the credits roll.

The film might be a bit self-serving and self-referential but it's a Quentin Tarantino film at the end of the day, you should expect that going into the auditorium by now. 

Finally giving time for his script to create a fully-formed and three-dimensional world, filled with realistic and horrible characters, it's a world in which you might lose yourself, even if you wouldn't want to.

Rating - 8/10

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GOOD QUESTION SAMUEL!

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My Top 50 of 2015: 20 - 11

We're closing in on the elusive Top 10 of 2015... but before we do, it's time to look at the Top 20 first!

Starting with number 20...

20. The Avengers: Age of Ultron

(Full review can be found here)

Plot

To try and avoid an intergalactic war similar to that in The Avengers, Tony Stark launches an artificial intelligence program named Ultron, designed to protect the planet from any potential danger. 

However Ultron believes The Avengers are the planet's biggest potential threat and so decides to wipe out the elite Super Group.

Starring

Robert Downey Jr. (Iron Man), Chris Evans (Captain America: The Winter Soldier), James Spader (The Office [USA])

Verdict

Darker in tone than it's predecessor and with a wonderfully-charismatic villain, the final nail in Marvel's 'Phase Two' was obviously as polished and amazingly entertaining as the rest of the Marvel Cinematic Universe.

Whilst some of the action scenes last a little longer than necessary, the film still manages to balance the explosions with the drama, allowing lesser known characters to flesh themselves out and have more substance to them.

All seemingly setting up the next chapter in the MCU, Captain America: Civil War early next year, the seeds are sown for the next batch of Avengers to be just as imposing and entertaining as before.  And I honestly can't wait to see what happens.

19. John Wick
(full review can be found here)

Plot

A retired hitman discovers his recently-deceased wife left him a puppy to help him come to terms with her death.  After a chance encounter, the son of a Russian mobster steals the hitman’s car and kills the puppy, inspiring him to come out of retirement for revenge.  They crossed the wrong man.

Starring

Keanu Reeves (The Matrix), Ian McShane (Pirates of the Caribbean: On Stranger Tides), Alfie Allen (Game of Thrones)

Verdict

This film is brilliant simply because of its incredibly simple storyline.  And it's so refreshing to just see an honest-to-God revenge film.  Not only that, but one that creates such a three-dimensional criminal world without spoon-feeding information to the viewer.

Reeves' usual wooden acting chops are instead replaced with an icy demeanour throughout, complimenting the incredibly-choreographed fight scenes.  Usually the hype around an imposing and capable character such as Wick is hyperbole, but Reeves' 'all-for-broke' attitude more than back up the legends of Wick's past ("He killed three men... with a pencil!").

Whilst it won't be winning any Academy Awards, I thoroughly enjoyed the roller-coaster thrill-ride that was John Wick.  It doesn't take itself too seriously, has fun in the meantime and leaves you more than happy for the amount of money you paid to watch it.

18. Ant-Man

(full review can be found here)

Plot

Genius inventor Hank Pym recruits a master-thief to try and retrieve his discovery that has fallen into the wrong hands. 

Given a suit that can shrink his size to a microscopic level, Scott Lang must redeem himself in the eyes of his daughter, whilst also trying to save the world.

Starring

Paul Rudd (Knocked Up), Michael Douglas (Wall Street), Evangeline Lilly (The Hobbit)

Verdict

On an appropriately-smaller scale than the previously mentioned Avengers: Age of Ultron, Ant-Man still manages to provide the thrills, laughs and heart that other Marvel films have failed to deliver in the past (I'm looking at you, Iron Man 2...)

Opposite a refreshing 'small-time' corporate villain in the underrated Corey Stoll, the film is also carried along by fantastic performances from virtually everyone, especially the memorable Michael Pena and dependable Evangeline Lilly.

The real surprise comes in Paul Rudd, a guy that no one thought would be a good fit for the MCU, but still managed to deliver a genuine and earnest portrayal of the ex-con trying to do right by his daughter.  Just imagine what could have been if Edgar Wright had stayed with the project....

17. Mr Holmes

Plot

A very elderly Sherlock Holmes resides in his remote country farmhouse with his housekeeper and her son Roger.  Despite his failing memory, he tries to recount his only unresolved case, which resulted in him retiring from detective work.  With the help of Roger, he decides to try and solve the case one last time.

Starring

Sir Ian McKellen (Lord of the Rings), Laura Linney (Love, Actually), Hiroyuki Sanada (Sunshine)

Verdict

It doesn't take a genius to value the talents of a legend such as Sir Ian McKellen.  His subtle nuances and ability to command attention have made him ideal for the roles of Gandalf, Magneto and now an elderly Sherlock Holmes.

Sherlock's signature sharp-tongued wit and lack of social awareness are expertly portrayed by McKellen, now jaded by the world and it's lack of intelligence and heart.  Despite his grumpy nature and cantankerous attitude, you can't help but warm to this version of Sherlock and care about what turned him against the world so badly.

Rather than focus on sleuthing and deerstalkers, Mr Holmes focusses on the relationships that Sherlock develops and you will be truly heartless if you don't have a lump in your throat and a tear in your eye at some points during this film.  A visually-striking, incredibly-acted and overall poignant film.

16. The Lady In The Van

Plot

Secretly on the run from the law, the elderly Ms Shepherd is quite a local nuisance to her neighbours.  Living inside her VW van, she occasionally relocates from street to street, often complaining about noise or youths.  

The playwright Alan Bennett takes pity on Ms Shepherd and offers his driveway as a place to park her van for a few weeks.  Those few weeks turn into 15 years.

Starring

Maggie Smith (Harry Potter), Alex Jennings (The Queen), Jim Broadbent (Moulin Rouge)

Verdict

A completely charming and wonderful film.  Maggie Smith plays the titular role expertly, often becoming so frustrating; you can’t imagine why anyone puts up with her.  However, she is still endearing and holds a wide-eyed innocence throughout her performance; a role worthy of her talents.

Jennings give a pitch-perfect impression of Bennett, never falling into pastiche and staying as an interpretation (or two) of the man often at war with himself.

It will definitely encourage you to call your Mum afterwards too…

15. It Follows

Plot

A teenage girl loses her virginity to her boyfriend who explains that he has passed on a curse to her.  A sexually-transmitted curse that takes the form of a person walking towards you, and will chase you until you are dead.

It does not stop.  It does not feel.  It follows.  Boom!

Starring

Maika Monroe (The Guest), Keir Gilchrist (It’s Kind Of A Funny Story)

Verdict

This film is such an understated and brilliant little horror film that came out of nowhere.  Taking place in the adult-less world that only horror films inhabit, the central group of teenagers do a very job of appearing like everyday kids trying to outwit a mysterious foe.

The whole film is punctuated by a fantastic John Carpenter-inspired soundtrack that provides an otherworldly and eerie aura, never allowing the audience to relax and keeping you on the edge of your seat.  

The central conceit of the malevolent curse taking the form of an ordinary-looking person simply walking towards you gives a great thrill to otherwise boring shots, as any of the people in the background could be the menacing demon.

A simple premise, performed by unknown and believable actors, all with an unstoppable and unpredictable foe causing the terror.  A true relatively-hidden gem.

14. The Theory of Everything

Plot

A biopic of one of the greatest minds of our time, Dr Stephen Hawking.  Starting when he attends Oxford University, meeting his wife Jane and making world-changing breakthroughs in the field of physics, all while showing his decline through the disease that affected him so badly.

Starring

Eddie Redmayne (Les Miserables), Felicity Jones (Cemetery Junction), Charlie Cox (Daredevil)

Verdict

This film doesn’t require me to tell you that it’s worth a watch.  The amount of Academy Award nominations the film received and the awards that solely Eddie Redmayne won for his portrayal of Hawking go to show how fantastically accurate and heart-breaking it is.

Whilst Redmayne steals the show, Felicity Jones, Charlie Cox and David Thewlis all give stellar performances, all while Johann Johannsson’s beautiful score frames the film perfectly.

The only reason this film isn’t higher is the fact I felt the screenwriter pushed Hawking’s unfortunate illness to the forefront and preyed too much on sympathy, rather than championing Hawking for his mind’s accomplishments in such a difficult scenario.

13. The Martian
(full review can be found here)

Plot

A few years after man sets foot on the surface of Mars, a storm disrupts a routine discovery mission resulting in the crew departing earlier than planned.  However, they leave a man behind.  Potentially stranded for a few years, he must plan how to survive on a planet where nothing grows.

Starring

Matt Damon (The Bourne Identity), Jessica Chastain (Interstellar), Chiwetel Eljifor (12 Years A Slave)

Verdict

Easily Ridley Scott's best film in quite some time, The Martian combines an all-is-lost scenario with an upbeat, can-do attitude that truly sets it apart from other films like it.  Mark Watney does not drown himself in self-pity and regret, but rather try and fix his situation in the only way he knows how.  His trials and experiments are great entertainment as Damon uses his charismatic skills to their very best and is an incredibly watchable lead actor.

Whilst Matt Damon talks to himself on Mars, a fantastic star-studded cast try to get him back to Earth.  A combined effort really makes The Martian feel like an ensemble piece, and whilst Chiwetel Eljifor and Jeff Daniels get most of the screen-time, no one feels underused or inflated.

Despite me preferring Gravity and Interstellar, The Martian is a remarkable and beautiful film that can be easily held next to those names.

12. Jurassic World
(Full review can be found here)

Plot

Set 20 years after the events of Jurassic Park, the park is officially open, now named ‘Jurassic World’.  In order to attract more guests, the park’s scientists breed the Indominus Rex, a genetic hybrid dinosaur that shows increased intelligence and temper.  

When the iRex escapes its confines, it’s left to a park ranger and his four trained velociraptors to bring it down.

Starring

Chris Pratt (Guardians of the Galaxy), Bryce Dallas Howard (The Village), Vincent D’Onofrio (Full Metal Jacket)

Verdict

Dubbed a 'soft reboot' by a few, Jurassic World simply reminds you about why the world fell in love with Jurassic Park more than 20 years ago.  There is so much spectacle, action and nostalgia, it's almost hard to swallow it all on the first try, but in going back for more, it's apparent just how well this sequel has done.

No one thought that a worthy sequel to the original could be conceived since The Lost World and Jurassic Park III were hardly classics.  And whilst it may not contend with Spielberg's original for it's crown, it supplies more than enough edge-of-your-seat thrills, mind-blowing special effects and honest-to-God entertainment that you want from a summer blockbusters.  It is by no means a perfect film, but what is? Well, Jurassic Park comes close...

Plus Chris Pratt rides a motorcycle whilst leading a herd of velociraptors.  Need I say more?

11. Crimson Peak

Plot

Set in the late 19^th century, an aspiring American author is swept off her feet by a charming Englishman and travels overseas to his home, Crimson Peak.  However, all is not as it seems as the mansion might be haunted by malevolent spirits.

Starring

Mia Wasikowska (Alice In Wonderland), Tom Hiddleston (The Avengers), Jessica Chastain (Zero Dark Thirty)

Verdict

A visually stunning and gorgeously shot gothic masterpiece by the Mexican auteur Guillermo del Toro, every shot seems like a painting being brought to life, especially those filmed within the titular mansion of Crimson Peak.  

Inspired by the horror movies of the past, Crimson Peak feels like del Toro's first Spanish horror movie filmed in the English language.  He is able to bring the romanticism and dramatic weight that made films such as Cronos, The Devil's Backbone and Pan's Labyrinth so gorgeous and intriguing to watch.

The interesting and unique thing about Guillermo del Toro horror films is that whilst the monsters are always grotesque and horrifying, they are not always the villains. The real horror comes in the humans that reject the other-worldly elements and they truly pay the price for it.  

An absolutely beautiful film, but don't watch it expecting your typical ghost story. Like Mia Wasikowska's Edith says, "It's a romance mainly, but with ghosts in it!"

So, that's everything covered except the Top Ten!  Exciting times!

Make sure you come back next week for the final part of my

Top Fifty Films of 2015

Until next time folks, thanks for reading!

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