My Top 50 of 2015: 10 - 1

So, here we are.  The first Sunday of 2016.  It's all led up to this. 

Looking back over the past year and having to decide on what film ranked where, I feel that 2015 actually was pretty awesome for films.  There have been some stinkers for certain, but overall I'd say even the mediocre films have had some redeeming features.

Apart from Pixels.

That disgrace can gladly die in a fire.

Anyway, on to My Top Ten Films of 2015!....  (please note, this list was compiled on the 1st of December, so Star Wars/Krampus etc didn't make the list!)

10. Sicario

Plot

In order to take down a criminal organisation bringing in dangerous weapons and drugs into America, an idealistic FBI agent begins to work with agencies outside of her own. However, in order to capture the bad guys, she must be willing to stand by whilst her colleagues employ some shady techniques of their own.

Starring

Emily Blunt (Into The Woods), Josh Brolin (No Country For Old Men), Benicio Del Toro (The Usual Suspects)

Verdict

An enthralling and nail-biting crime drama seen through the eyes of a relatively innocent FBI agent as she is shown the true face of America's fight on foreign drug cartels. 

Emily Blunt is a fantastic protagonist, appropriately conveying the audience's confusion and horror at the reality surrounding her, and Josh Brolin is completely at ease in his role as the mission's director.  However del Toro thoroughly steals the film.  His ice cold persona and mysteriously ambiguous back story give his character an ethereal-boogeyman feel, and there are some truly chilling moments where we realise a man we begin to relate to is capable of atrocious acts.

Two memorable scenes stand out in my mind when remembering watching Sicario.  Whilst the opening scene of Blunt's character storming a drug trafficking house sets the film off perfectly with moments of true surprise and horror, the traffic jam scene when trying to cross over the border into America is possibly one of the most tense moments seen this year.

9. The Tale of Princess Kaguya

Plot

A bamboo cutter finds a tiny girl inside a bamboo stalk and raises her as his own child.  She grows into a beautiful woman whose beauty attracts many suitors but she must find ways to avoid agreeing to marry someone she doesn't love.

Starring Featuring the voices of...

Chloe Grace Moretz (Kick-Ass), James Caan (Elf), Mary Steenburgen (Step Brothers)

Verdict

It seems like a yearly tradition to feature the newest Studio Ghibli film in my Top Ten.  Last year, the genius Hayao Miyazaki's final film The Wind Rises added a touch of diversity to my Top Ten and the case is the same here.

It doesn't take a brilliant critic to see how much hard work and effort has been put into a beautiful film such as The Tale of Princess Kaguya; you can see that simply in a frame of animation.  The lack of computer-generated imagery and the reliance on hand-drawn animation is such a refreshing change that even in Studio Ghibli's storied back-log, it visually stands out from the norm.

With a charming and heartfelt story at the centre, and with fantastic voice performances from the cast, it's business as usual for Studio Ghibli.  And whilst this would be a sweet and touching film to finish with, I truly hope we get more films in the future.

8. Mad Max: Fury Road
(Full review can be found here)

Plot

Set after a devastating nuclear war, a desert wanderer is unwillingly thrust into a family conflict between a warlord, one of his lieutenants and some precious cargo stolen from him.  Cue some of the craziest car chase scenes ever committed to film.

Starring

Tom Hardy (Legend), Charlize Theron (Monster), Hugh Keays-Byrne (Mad Max)

Verdict

Managing to capture anarchy and chaos in an organised and stunning way should sounds like a difficult concept to grasp.  But that's before director George Miller made it look effortless with this energetic, complicated and yet simplistic cacophony of car hoods, sandstorms and explosions.

Despite the action, the film works on a character level too.  Whilst Tom Hardy's Max is the titular hero, the story is Charlize Theron's Imperiator Furiosa.  She is an ass-kicker of the highest grade and won't let the patriarchal world she is trapped in be her only life. 

Whilst some of the films in this Top Fifty list are being recommended due to emotional connection or touching artistic choices, Mad Max: Fury Road is probably just the most exciting experience you will have in a long time.  I just hope you don't mind not blinking for about two hours! 

7. Whiplash

Plot

An aspiring jazz drummer joins his college's orchestra, headed by a conductor known for his strict methods and high standards.  Can he stand the pressure or will this force him to become one of the true greats?

Starring

Miles Teller (Fant4stic), J.K. Simmons (Spider-Man), Melissa Benoist (Supergirl)

Verdict

There are three types of films that never really interest me: boxing films, westerns and films centred around music.  The one exception I've found to this is Whiplash.

There aren't many films that leave me wanting more but Whiplash did that easily without me even realising.  There are so many heart-pounding and jaw-dropping musical performances in this film, it will leave you screaming "Encore!" like I almost did in a packed auditorium.

Whilst Miles Teller is surprisingly engaging as the aspirational protagonist, it is J. K. Simmons who steals the show as the tough-to-please conductor.  His raw intensity and amazing charisma earned him an Academy Award for his performance and your eyes are glued to the screen anytime he appears.  As if the fantastic musical performances weren't enough to grab your attention.  Definitely one to watch with the speakers turned up to 11.

6. Selma

Plot

Chronicling the turbulent three month period in 1965 when Dr. Martin Luther King Jr. led a dangerous campaign to secure equal voting rights for the black people of America, in face of very violent opposition.

Starring

David Oyelowo (Rise of the Planet of the Apes), Carmen Ejogo (The Purge: Anarchy), Tom Wilkinson (Batman Begins)

Verdict

A very blunt and brave depiction of a march that I had very little knowledge about from growing up in the United Kingdom.  Thankfully the camera never shys away from demonstrating the brutality that African-Americans had to suffer despite already earning the right to vote, all whilst offering non-violent resistance.

However despite the non-violent methods, it is refreshing to see King portrayed as an ordinary man rather than an idolised icon.  He was flawed, he was unfaithful, he wasn't perfect.  He knew that the media coverage of this march would gain nationwide attention and he capitalised on it.

How David Oyelowo wasn't even nominated for an Academy Award, I will never know.  Personally I would have awarded him the Best Actor Oscar instead of Eddie Redmayne, but that's just my opinion.  It is truly one of the disappointments of the year that his portrayal of Martin Luther King Jr. wasn't recognised by his peers, so I will have to sing his praises here instead.

5. The Lobster

Plot

Set in a dystopian future, a man's wife leaves him for another man, who is better at mathematics than he is.  This means he has to leave The City to live in The Hotel, where he has 45 days to find another suitable partner, otherwise he will be turned into an animal of his choosing.

Starring

Colin Farrell (Total Recall), Rachel Weisz (The Mummy), Lea Seydoux (Spectre)

Verdict

To try and sum up The Lobster is a difficult task, as it essentially is a representation of society's depiction and dependency on couples in relationships, and as such is one of the most surreal and brilliantly metaphorical films I have seen in recent memory.  I had no idea what was awaiting me but the lasting impression it has left me with is one I have been trying to impart on all of my friends and colleagues since then.  This could be one of the smartest and most heartfelt romantic-comedies released in the past few decades.

The film manages to satirise people lying to their partners to appear more compatible, the way children are sometimes used to cover flaws in a broken relationship, the scrutiny put upon people who choose to be single, and all with the surreal edge of being turned into an animal if you cannot find love with 45 days.

I feel like I'm not doing the film justice, as it might have to be watched to be truly understood, but I implore you to do so.  The relationship between Colin Farrell and Rachel Weisz's characters might be the most believable and cute coupling I've ever seen.  Just don't take it too seriously; it is a comedy despite the intentionally wooden acting and stilted dialogue.

4. Song of the Sea
(full review can be found here)

Plot

A young boy's mother vanishes one night, leaving only a newly-born sister.  Six years later on the anniversary of her disappearance, the young girl begins discovering her true heritage.  She is part Selkie, a legend of Irish folklore where seals turned into people and back again. 

Despite not speaking for six years, she must sing the Song of the Sea to set all the trapped souls of the faeries free.

Starring Featuring the voices of...

Brendan Gleeson (Harry Potter and the Goblet of Fire), Fionnula Flanagan (The Others)

Verdict

The second of three animations in my Top Ten of the Year, demonstrating how much increased effort is being invested into animated features as well as live-action films, which is only a good thing.  

Despite definite inspirations taken from Japanese cinema, this film is Irish through and through.  From the central storyline of the Selkies and faeries, to Bruno Coulais' gentle and ethereal soundtrack sung by Lisa Hannigan, the film emits a special and magical quality throughout.

Three-dimensional and believable lead characters being thrust into an unbelievable and surreal world keep the audience grounded, largely thanks to the relatable central pairing of the young Ben and his younger mute sister Saoirse.  Their sibling rivalry is truly fun to watch and recognisable for anyone with a brother or sister.

Despite the otherworldly nature of Song Of The Sea, the central message about bottling up emotions and the importance of understanding them is tackled brilliantly and in a subtle way that most kids probably won't get until they're older, but the message isn't lost on this big kid!



3. Steve Jobs

Plot

Set before the launches of three game-changing pieces of technology (Apple's Macintosh, NeXT and the iMac), Steve Jobs must deal with the pressure of forever altering the face of computing, all the while juggling the responsibilities of old colleagues, demanding bosses and the potential child he has always resisted from raising.

Starring

Michael Fassbender (Shame), Kate Winslet (Titanic), Seth Rogen (Knocked Up)

Verdict

With Danny Boyle as director, Aaron Sorkin as screenwriter and The Fass as main star, the film would have to be truly bad to not feature in my Top Ten of the Year list.  Thankfully, all parts lived up to their hype.  The direction is energetic and innovative as Boyle has so adequately shown since Shallow Grave to Trance.  As mentioned before, Fassbender gives a quality performance as the titular Jobs, showing his many flaws as well as his few but notable redeeming features.

But as standard in a film with Aaron Sorkin as screenwriter, the film truly benefits from a stellar script.  Set over the course of three separate time periods, each in real time is a brilliant piece of screenwriting, allowing the film to rhyme within itself and provide a sort of internal poetry.  We see Jobs adapt and grow as a person as he reacts in three different ways to the same problem presented to him time and time again.  This three act structure allows Steve Jobs to take on an almost theatrical quality which I believe benefits the performance and makes it stand out compared to the alternatives out there.

Forget Ashton Kutcher.  In more ways than one.  Mr Mila Kunis tried his best but against Michael Fassbender, there is only one portrayal of Steve Jobs that audiences will be remembering from now on.

2. Birdman

Plot

An aging screen actor, known for playing the titular superhero, is trying to revitalise his career with an ambitious stage production.  But with the opening night looming, he has to deal with primadonna actors, his wayward daughter, and his own ego telling him he is worth more.

Starring

Michael Keaton (Batman), Edward Norton (Fight Club), Emma Stone (Easy A)

Verdict

Surprised?  Friends of mine should be as the film that I have touted as being my favourite film of the year, straight from exiting the cinema in the first few days of 2015 through the summer and until the end of the year has been pipped to the post!

But that doesn't mean it's an inferior film!  Far from it!  Birdman is everything I strive for in a film; believable and flawed characters, elements of dark comedy that give the film an edge, just the right amount of ludicrous surrealism, all filmed in a truly innovative and dynamic fashion.  Birdman had me hooked from the first time I set eyes on it.

Michael Keaton deserved all the praise heaped on him at Oscar time, as it is definitely a Mickey Rourke-style return to form for the underrated actor.  Plus putting him alongside quality character actors like Ed Norton, Emma Stone, Andrea Riseborough and Naomi Watts.

This would be my number one film in any other year, if it weren't for the release of one film this year that will no doubt have more of a lasting impact than Birdman...

1. Inside Out
(full review can be found here)

Plot

Set inside the mind of a eleven year old, her emotions Joy, Sadness, Anger, Fear and Disgust must take care of the fragile girl whom they inhabit as she moves house with her parents.

Starring Featuring the voices of...

Amy Poehler (Parks and Recreation), Phyllis Smith (The Office [U.S]), Bill Hader (Trainwreck)

Verdict

It took a lot of soul searching to decide whether Inside Out or Birdman deserved Top Spot this year in my Top 50 Films, but I believe that I have made the right choice.  Mainly because of the impact that Inside Out will hopefully have on the cinema industry and more importantly, on the youth of today.

I don't mean to sound grandstanding or exaggerating, but I truly believe that whilst Birdman was a technical masterpiece, Inside Out was an emotional breakthrough in terms of conveying complex situations and emotions.  And in a freaking kid's film, no less.  This year Pixar managed to show the pains of growing up, explain the complexity of bittersweet situations and demonstrate the sacrifices that we all must endure at some point in our lives.  That's heavy stuff.

If you have yet to watch Inside Out, I implore you to try.  Not only is it my favourite film of this year, but it has the potential to be a timeless classic, shown to kids for years to come to help explain the complexity of human nature and the mysteries of what is happening within our own consciousness.

Managing to become Pixar's most successful film, I do hope that Inside Out goes on to be nominated for Best Film at next year's Academy Awards.  By this happening, hopefully animated films will start getting the recognition and praise they deserve as they are all too easily dismissed as being unimportant and childish.  No film this year deserves more plaudits than Inside Out, and hopefully it will be the change that the industry needs.

Thank you so much for reading my

Top Fifty Films of 2015!

I wish you all a fantastic and film-filled 2016!

Until next time folks, thanks for reading!

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Inside Out / Song Of The Sea (Two For Tuesday)

A Bittersweet Symphony

Over the past few weeks, I've been a bit backlogged with certain personal situations, so I haven't been able to keep up with some of the more current releases.

However, there are two films which I made special effort to go and watch; the Irish animation Song of the Sea and Disney/Pixar's Inside Out.

I have since watched both of them three times each.

It's no real shock for a film critic to desire to see the newest Pixar film, as their backlog of films more than speaks for itself in terms of quality.  However, I had heard so many fantastic things about Song of The Sea, I felt like I had to try and catch it before it disappeared.

Surprisingly, they share a number of similarities.  Not just in the quality of their respective animation, but the depth of their scripts, the use of music, and the array of memorable characters and unique worlds that deserve to be featured up there amongst the greats of animation.

Song of the Sea begins with a young boy, Ben, in 1980s Ireland.  After his mother mysteriously leaves him and his father with a newly-born girl, Saoirse (pronounced 'Sher-sha'), Ben grows to resent Saoirse, blaming her for his mother's disappearance and is bewildered why Saoirse has yet to utter a single word in the six years since that night.  However Ben doesn't realise that Saoirse is a 'selkie', a human capable of transforming into a seal, who needs to sing The Song Of The Sea so all faeries can return to their home.

Yeah, this is proper fantasy stuff we're talking about.  Yet it is fully grounded in mid-80s Dublin, with most of the humour coming from when the two worlds collide.  One of the most humorous scenes features ancient faeries, clad in rain macs and leaf moustaches, running from owls whilst crossing busy roads to get to their home on a roundabout.  That kind of stuff.  So utterly charming and whimsical.  And it's all the better for it.

Outside of the fantastical elements of the story, the heart of the film comes from Ben and Saoirse as they travel from their Granny's house back to their own lighthouse home.  Over the course of their journey, Ben learns to become the big brother Saoirse has needed whilst growing up, and their back and forth is undoubtedly familiar to anyone with a brother or sister.  Not just the siblings, but every person in this film is given the most subtle of characterisation, making you feel like you know them the instant they appear on screen.

The film's animation is painstakingly created in a craft paper artistic style, and it feels as if this story couldn't have been told any other way, since it seems to have come straight from a child's fairytale book.  The film's earthy and grounded tones helps balance the realistic tone with the fantastical elements and certainly adds to the ancient Irish folklore from which it comes.

I must give a special mention to the film's soundtrack, written and orchestrated by Bruno Coulais (whose previous work can be heard in Henry Selick's Coraline).  Lisa Hannigan's beautifully haunting vocals provide a mystical quality from the very beginning, adding to the film's ethereal magic.  I made sure I went out straight after watching it and bought the soundtrack as soon as possible.

Song of the Sea was nominated for Best Animated Feature this year at the 87th Academy Awards, losing out to Big Hero 6, and I believe the Academy made a huge mistake.  Nothing against Disney or Big Hero 6, but Song of the Sea is one of the most charming, lovely and heartfelt films I have watched in a long time.  The story has a timeless quality to it, bringing the mythical and ancient folk tales and setting them within modern times to a fantastic result.

Speaking of Best Animated Feature, no doubt a favourite for it this year, if not Best Picture, is Pixar's latest gem Inside Out.

Set within the mind of eleven year old Riley Andersen, who is uprooted from her Midwest life when her father starts a new job in San Francisco. Like all of us, Riley is guided by her emotions: Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith). The emotions live in Headquarters, the control centre inside Riley’s mind, where they help advise her through everyday life.  As Riley and her emotions struggle to adjust to a new life in San Francisco, turmoil ensues in Headquarters. Although Joy, Riley’s main and most important emotion, tries to keep things positive, the emotions conflict on how best to navigate a new city, house and school.

Since Toy Story 3 back in 2010, Pixar have been through an uncharacteristic 'slump'; Cars 2, Brave and Monsters University were fun in places but generally failed to blow anyone away, which is usually Pixar's bread and butter.  However, with Inside Out, the phrase 'return-to-form' is an understatement.

Firstly, whilst the premise is essentially The Numbskulls (shoutout to all you Beano fans out there!), the writer-director Peter Docter (of Monsters Inc. and Up) utilises the setting of the film to it's highest ability and creates a truly inspired and imaginative masterpiece. 

The broad scale of how varied and colourful Riley's mind is truly mind-boggling.  Through unfortunate events, Joy and Sadness get an unexpected tour through Riley's brain, from where her long-term memories are stored, to where her imagination creates French Frie Forest, dancing rainbow unicorns as well as boyfriends that live in Canada and would die for her.

Whilst the script is hilarious and charming in its scope of explaining certain mental phenomenon (Riley's train of thought is an actual train, dreams are produced in Hollywood-style movie studios etc.), the film also tackles complicated feelings but in a way that is incredibly understandable. The entire plot is centred around Joy and the other emotions figuring out the importance of Sadness in Riley's life. Not a light concept and yet Inside Out makes it seem so simple.

Similar to how Up dealt with emotional loss and Toy Story 3 dealt with moving on with your life once being replaced, both Song of the Sea and Inside Out tackle the issues of maturity and the importance of family, but break it down to a level that even young children can understand.

Not only will Inside Out appeal to kids in the audience with their bright colours and silly characters, but it will appeal to them through the relatable experiences that Riley goes through.   The twenty-somethings that have grown up with Pixar's charm and magic filling their childhoods will fall right back into the groove. The adults will again be shown into the hidden world of how kids actually think and the problems they go through.

That's the extra mile that you get with Pixar films; they feel as if every aspect has been slaved over and perfected, leaving you with just a wonderful film.  I can't recommend both of these films enough. They truly are fantastic for all the family and will touch your heartstrings as well as your funny bones.

Until next time folks, thanks for reading!

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Interstellar

There was no doubt in my mind when I was coming up with the list of 2014's Best Films.  No doubt at all that this film would be at the top.  The film just blew me away.  Completely and utterly amazed me.  I don't know what individual aspect was so overwhelming, maybe it was the music, maybe it was the imagery, but one thing was for certain, all the aspects together created a spectacle that I had rarely experienced in a cinema auditorium.

I, of course, am talking about Christopher Nolan's science-fiction, space exploration opus....

#1 - Interstellar

For those of you who didn't manage to watch Interstellar, it takes place in the near future, in which the planet is slowly producing less and less food for the population to eat.  This begins a worldwide 'dust bowl' effect, and NASA start to wonder if another world is our best bet at a potential future. Enter Matthew McConaughey, fresh off his Best Actor Academy Award win for The Dallas Buyers Club, who is just the spaceship pilot NASA have been looking for.  Alongside Anne Hathaway and Michael Caine's help, McConaughey must leave behind his two children in order to potentially extend humanity's last chance for a future.

The film is such a technical marvel, I was lost for words at its culmination.  The neighbouring couple of people seemingly disagreed, as they exclaimed: "Nolan has lost it! He can only do Batman!"  I nearly punched that man.  It is so obvious that Nolan has put so much effort into creating a science-fiction masterpiece that seemingly marries the theoretical story of Contact (which also starred McConaughey), with the visuals and imagination of 2001: A Space Odyssey as well as the action and drama of recent films such as last year's Gravity.  The end result is a thrill-ride that shocks, marvels and awes you with its grandiose, as well as its visual splendour.

A massive part of that is down to Hans Zimmer's wonderful and powerful score.  It has been known to reduce some audience members to tears in American cinemas, and rightfully so.  He has truly gone all out on this score, seemingly trying to match the grand scale with the film's ideas and visuals and it works perfectly.

The acting is top class too.  The McConaugha-sance (said like 'Renaissance') continues with everything this man touching turning to gold.  Anne Hathaway, Jessica Chastain, Michael Caine and David Gyasi all provide top-notch performances.  However the plaudits have to go to two unpredicted sources, a child and a CGI robot.  The robot, TARS (voiced by Bill Irwin), is the source of most of the film's humour and has some witty dialogues with his human counter-parts.  However his design is just beautiful, being a Space Odyssey-style monolith but with the capability of being a Transformers-esque multi-legged transportation device; an inspired creation.  The child actress, Mackenzie Foy, playing Coop's daughter Murphy, provides an excellent performance as a girl who is devastated to lose her father at such a young age.  She provides wit and charm not-often-seen in a actress so young.

The film potentially could have fallen into two dreaded categories; too highbrow and technical that audiences would be uninterested, or painfully over-explaining every bit of information.  Thankfully, it treads this line perfectly.  Information is doled out by the bucket load about what McConaughey et al plan to achieve on these potential livable "new worlds", but time is spent explaining only the essential information rather than everything, leaving the audience informed and comfortable, rather than patronised or confused.

Admittedly, the film slightly over-reaches when it comes to the film's final third, with McConaughey entering unknown territory, but it is typical Christopher Nolan to aspire to pushing boundaries and I, for one, always admire him for that.  However, there is a problem when it comes to Nolan's technical achievements.  He seems so focused on providing such a visual marvel that he sometimes forgets what else cinema is known for; emotion.

Upon doing some research, I found that Interstellar was originally going to be directed by Steven Spielberg, and that was not really a shock.  With his past work with Close Encounters of the Third Kind and A.I.: Artificial Intelligence, Spielberg is no stranger to emotion-driven, thought-provoking science-fiction.  Spielberg brought Jonathan Nolan on board to write Interstellar's script, but then left the project some years later.  This allowed Jonathan to bring his brother Christopher on board and the rest is history.  However Nolan is fantastic for his technical precision and keen eye for visuals, but when it comes to the emotional core, the film feels like it doesn't know what to do with it.

All the way through, Coop (Matthew McConaughey) regrets leaving his daughter Murphy on Earth, and they grow further and further apart.  However, the film begins to argue (in typical Hollywood fashion) that love can transcend the boundaries of space-time and that it can reach further than we think.  However such an argument would have felt fine within a Spielberg film, but within the constraints of a Nolan film, it feels artificial and unnecessary. Like a robot finding out what human emotions are, you get the feeling Nolan simply said, "What is this thing you call 'love'?" and tried his best to convey it, but it ended up failing.

However, these things are trivial when it comes to the film overall.  It may fall down slightly on the emotional level, but it is right on cue with everything else.  The visuals will astound, the acting will entertain, and the music may leave a tear in your eye.  The IMAX presentation was especially incredible.

Interstellar definitely left me with the conclusion that Christopher Nolan can do no wrong.

Except poetry...

...and Superman films.

Now, bring on 2015!  Happy New Year Everyone!

You Don't Know What You Got Til It's...

#2 - Gone Girl

Every so often a film is released that has a plot quite difficult to explain to others. But I'll give it a go...

Ben Affleck plays Nick Dunne, who on his fifth anniversary to his wife Amy (Rosamund Pike) discovers she has disappeared in suspicious circumstances.  Since Amy is a celebrity due to her successful child-author parents, media attention begins to grow around her disappearance and slowly Nick becomes the main suspect.

Now I reiterate, I am going to attempt to not reveal any details about what happens later in the story, but all I can tell you is that Gone Girl is a fantastically crafted, suspenseful thriller that keeps you guessing all the way along.  Similar to Se7en, Zodiac and The Girl With The Dragon Tattoo, Gone Girl's plot is slowly revealed, like a child opening a Wonka chocolate bar and it is obvious that Fincher's masterful hand has been hard at work creating a recognisable and yet hyperbolic world.

I know what you're thinking... But bear with me...

Ben Affleck plays his part well of the not-so-perfect husband at the centre of a media scrutiny, who alongside relative-newcomer Carrie Coon impressively performing as Nick's twin sister Margot attempt to clear Nick's name.  However the plaudits all belong to Rosamund Pike in a career-redefining performance as the titular 'Gone Girl'. I have never seen Pike act this well. Honestly she steals this film and if she consistently performs in these sorts of roles, then I see a very different career ahead as opposed to the one where she has been restrained to 'blonde eye-candy'.  But whilst I feel like Pike needs singling out, every single actor and actress delivers an impressive performance, even Tyler freaking Perry outperforms as the dry-witted Defence Attorney Tanner Bolt.  Yeah, the guy who dresses up as the old woman.  Him, he's really good in this!

The director Fincher reunites with Nine Inch Nails frontman Trent Reznor and his producing partner Atticus Ross who scored The Girl With The Dragon Tattoo and The Social Network, of which they won the Academy Award for Best Score, and they have created another atmospheric and subtle musical accompaniment that assists in the mysterious and suspenseful plot throughout.  Like their scores before, I have bought it and have chilled out to the ambient and peaceful tunes in my spare time.

I hate it when my missing wife photobombs me...

The score is just one way that is evident that Fincher has crafted a fantastic film. Everything in the film looks pristine and there for a reason.  It's a strange thing to mention but Fincher has a history of always using space well in his films, making scenes claustrophobic when he needs to or turning scenes on their head with the slightest touch or hint to the audience and Gone Girl is definitely one of his strongest films to date.  Switching focus from mass media's current obsession with tragedy, to the importance of outward appearances in today's society, and always commenting on the hidden disappointment most marriages suffer with, the film is definitely suited for current audiences.  The only downside I would give it would be the 150 minute running time, however when you are having this much fun, I doubt you'll mind.

her.

#4 - her

Halfway through the year, I honestly thought that no film could impress me as much as Spike Jonze's her.  It really spoke to me and not because I especially related to Joaquin Phoenix's Theodore or his strife, but the film didn't patronise or try to scare the audience.  Instead it approaches you as a friend, cuddles up to you, warns you of our collective future and our relationship with technology.  But also calmly offers advice and tells you it's going to be OK.

Theodore is a professional writer living in 2025 Los Angeles.  The newest upgrade to his phone's operating system contains an artificial intelligence, named Samantha (voiced by Scarlett Johansson).  Samantha is a technological breakthrough, having the ability to learn from experience, adapting and evolving in the process.  Through the course of the film, Theodore begins a relationship with the Samantha A.I., causing a rift within his circle of friends.

It's not your typical romantic comedy, and I feel that's why I loved this film so much.  You spend the film watching Theodore fail in real-life relationships, but succeed in his relationship with Samantha.  You desire for them to be together by the end of the film, and despite it's alternative nature, it never feels weird.  Phoenix plays the lovable loser so well that you can't help but want the best for him.  The supporting cast of Amy Adams and Chris Pratt provide essential commentary on the central relationship, speaking for the audience on several occasions, but Theodore and Samantha's partnership is the film's key message.

As well as impressive performances, the film's style of design blew me away in it's subtlety. The fashion of the future is recognisable, and yet retro; the technology is advanced, and yet accessible.  I found it so intriguing and obviously cared for.  I just loved everything about it.  Especially it's views on our over-dependence and obsession with technology.

I have recommended her to friends and had very different reactions to it.  Some have appreciated it, some found it depressing, some have been impressed and some have hated it.  Whilst her is definitely one of my favourites, I understand it isn't for everyone.  But I still think you should give it a go, because you never know, you might love it as much as I do.

The Dunnie Awards 2013 - And The Winners Are...

Happy New Year!  I hope you all had a fantastic end of December, however you celebrated it!

It's the last day of 2013 and to celebrate, I have the golden envelope containing the winners of the Mike Dunn Reviews' First Ever Dunnie Awards!  I can tell you're all very excited to discover the victors, ever since I announced the nominees a few days ago, so I'll get right to it!

First, the winner of Best Screenplay.

Now I could have given the award to any of these films; they all contain witty and intriguing dialogue, fresh and exciting characters, plus more twists and turns than a break-dancing competition at M. Night Shyamalan's house.  However, one screenplay definitely stood out from the rest...

THE WORLD'S END differed greatly from writer/director Edgar Wright and writer/star Simon Pegg's previously instalments in the Cornetto trilogy, Shaun of the Dead and Hot Fuzz, by having a truly damaged character as their main protagonist. 

This could also be said of James McAvoy's Bruce in Filth, but whereas Bruce is nihilistic and sociopathic, Pegg's Gary King is a likeable yet annoying, washed-up deadbeat, who is simply looking for a way to relive the glory days of his youth, even at the expense of the friendship he shares with his nearest and dearest.  King's relationship with ex-best friend Andy (Nick Frost), his old flame Sam (Rosamund Pike) and the town of Newton Haven as a whole has become self-destructive and rose-tinted, with his obsession with completing the Golden Mile taking all priority.

The deterioration of his character and outlook is only complimented by the destruction of the town around the returning school-friends, as both of their attempts at the Golden Mile follow similar paths and feature hidden harbingers of the plot to follow.  The dialogue is as slick as the cinematography, the balance is sublime and there will always be something new that you notice every time you watch The World's End and that is a true sign of an intricate and carefully-planned screenplay.

Next, to present the award for Best Actress...

I tried to be a little diverse with this category, highlighting actresses who work so effortlessly, their performances might have gone overlooked, such as the increasingly-impressive Andrea Riseborough and Rooney Mara, or those who may have acted incredibly well but were overshadowed by the restrictions of the film genre in which they were starring, such as Jane Levy, who was spectacular in the remake of The Evil Dead but won't be taken seriously due to it's overblown and violent content.


However, this year I cannot give the award to anyone but ...

JUDI DENCH for her performance as the titular Irish mother searching for her long-lost son in Philomena.  Her incredibly subtle and gentle portrayal of the real-life Philomena Lee could have achieved the award simply due to her reminding me of my own Nan and the film influenced me to put my emotions above my logic, but screw it, I adored the character of Philomena.  

Her kind-hearted and almost naive nature is so evident all the way through the film that you can't help but empathise with her and that is completely down to Dench's nuance and warmth.  The true story of how Philomena was treated at the Irish convent is appalling but how she was able to forgive her tormentors is truly amazing, and her explanation is handled terrifically well by Dame Judi.  The portrayal never falls into mimicry or caricature, as Dench keeps the character grounded and realistic.  But what else is expected of this very accomplished actress?  Never count out The Dench.

Moving on now from Best Actress, we have the winner of the Best Actor award...

Earlier this year, I wrote an article about how JAMES MCAVOY is by far one of my favourite actors of this current generation.  His performances in both Filth and Trance have propelled him to the heights of fame, as well as the lofty heights of The Dunnie Award winner's ceremony.  In both these films, McAvoy provides such a range of acting abilities, I was completely bowled over by what this young man from Port Glasgow showed.

Whilst Bruhl and Cumberbatch showed intensity, Pegg showed humour and pathos and Hanks showed natural acting ability, I feel McAvoy showed all of these this year in his two leading performances. 

His natural charisma and charm simply ooze off the screen in both films as he portrays unreliable narrators and provides steady groundwork for both stories to build.  Whilst the audience might not trust his character, you feel comfortable in his ability to entertain, even when acting despicably or dishonestly and that is a rare trait for a leading actor today.  His charm and talent transfix the eye to the screen, despite the vulgarity or confusing actions that he is doing.  With his vast range and inherent likability, Mr. McAvoy is definitely going to win an Academy Award soon, you mark my words!

Now, back to the technical awards, with the award for Best Director...

This has been one of the most difficult decisions to make in the deliberation of The Dunnie Awards.  Whilst Greengrass and Cuaron deserve their nominations due to outstanding direction in both Captain Phillips and Gravity respectively, I feel like I should champion someone who will not get the attention they deserve due to factors such as obscurity, surreal or outlandish topics or just the fact that Gravity and Captain Phillips have been grabbing all the headlines this year and overshadowing the other great feats of direction.

With that in mind, ever since watching Stoker back in March, I have been haunted by the incredible cinematography, beautiful score, impressive performances, terrifying set pieces and was left literally speechless at the end, convinced that I had just witnessed a moving work of art, even if it was one that I didn't fully understand.  I feel that this is fully attributable to the director CHAN-WOOK PARK.

Chan-Wook is a South Korean director, most famous for his 'Vengeance' film trilogy, that includes Sympathy For Mr. Vengeance, Oldboy and Sympathy for Lady Vengeance.  Stoker is his first English-language film and he certainly was able to apply all that he had learnt in Korea to his first American production.

I should wait before announcing the award for Best Film, but since we're already discussing it, I might as well combine the two awards...

STOKER is by far, my favourite film of the year and the winner of this year's Dunnie Award For Best Film.  Very similar to how I felt about Scott Pilgrim vs. The World a few years ago, when someone asks me why, it usually takes me a while to explain.

As I mentioned earlier, I was left speechless as Stoker's credits began to roll across the screen.  Every scene was intricately designed and beautifully constructed, the performances are so subtle and effortless and yet powerful and precise.  I quite openly consider the film on a whole is a masterpiece and a welcome addition to Chan-Wook's already-stellar backlog, even though I know it will not be to everyone's taste.

The storyline is macabre and sometimes morbid, but also sensual and fantastic.  I watched it with my fellow cinema critic and we had two completely different experiences whilst watching it.  I saw a certain vampiric element in the background of the film whereas he saw a simple, but chilling, family thriller, but we were equally bowled over it.

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And that is that for 2013!  Thank you for joining me in celebrating the year that was!  Roll on 2014 and all the cinematic treats that lay before us and I will see you at the second annual Dunnie Awards next year!

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