One of the most interesting and creative ways to tell a love story, Eternal Sunshine of the Spotless Mind changed the way romantic comedies could be made. A little splash of science fiction is all the genre needed in order to feel fresh and unique. However, if there’s one thing I base how good a film of this genre is, it is the film’s ability to make me cry. And I’ll get into that later. Now I’m not a huge Rom-Com person, but depending on my mood sometimes I might just be in the mood for a love story.
A brief overview of the plot; the film depicts a present day where if they wish a person can have certain memories erased. Joel (Jim Carrey) and Clementine (Kate Winslet) go through a rough breakup. Clementine decided to have all memories of him erased, and when Joel finds this out, he too decides to erase her from memory. After this, the two meet again is if for the first time.
This film took me by surprise. I was looking for something that was going to get me somewhat emotional, and I got that, just not the way I was expecting. The film is more so about the complexity of relationships on a cognitive level, rather than your average sad story that eventually has a bit of hope at the end. Previously a music video director, Michel Gondry carefully crafts the films’ non-linear structure, alongside clever writing from Charlie Kaufman, to take the viewer on a journey through Joel’s mind, his feelings and show the viewer how early life experiences can shape the way future relationships may turn out. If anything, the film is somewhat insightful and inspires a refreshing and hopeful look at relationships, where two people can clearly state to one another what is wrong with their relationship, and actively try to work on it. Despite the fantasy element within the plot, i.e. the sci-fi-esk ability to erase memories, the film is still kind of grounded in reality in comparison with others in its genre on an emotional level. And while it did not make me cry, it still gave me an interesting view on how relationships can be perceived.
Nicolas Winding Refn is quite possibly one of the best visual directors of our time. His movies are impeccably shot and are the absolute definition of eye candy. Bronson (2008), Drive (2011) as well as the Pusherseries (1996-2005) from early on in his career helped to establish the visual style of Refn’s films and created anticipation for future projects. With the release of highly divisive Only God Forgives (2013), arguments about whether Refn’s films prioritize visual style in expense of substance started to pop up. The debate was only amplified upon the release of The Neon Demon in 2016.
Personally, I happen to enjoy Refn’s films more than most. I have still to see the Pusher series, as well as Valhalla Rising (2009), but I’m up to date on the rest of his work. Out of Drive, Only God Forgives and The Neon Demon, it’s interesting to see how Refn has retained a certain visual aesthetic to his films. They look remarkably “clean”, which could be down to the digital age of film, but with Refn, his use of digital cameras seems to make his work look more polished and perfected. This directly contrasts what can actually be seen within the frame, where gore and violence are all heavily prominent.
So we’ve established that his films look great, but what about the story? The general consensus is that Drive is his best work, and that everything after it is perhaps not so great. Personally, I feel like Drive is a little overrated, the story has never really done anything for me. I never really bought the relationship between Stunt Driver (Ryan Gosling) and Irene (Carey Mulligan). It felt relatively forced, yet the context surrounding the relationship still gives it some strength. Gosling’s character has been involved in the criminal underworld for a long time and sees Irene as his way out. Once people threaten her existence, he must do everything he can to prevent it. Sure, its a decent plot, but for me when I watch Drive, the main thing catching my eye is the cinematography.
What about Only God Forgives? Upon a first viewing, I was bored out of my mind and actually stopped paying attention to what was going on. Suffice it to say I didn’t remember much after the viewing. Then a few years later The Neon Demon was released, and I ended up liking it quite bit. I decided to give Only God Forgives another shot, and it’s now probably my favourite of Refn’s films. I have come to appreciate when action is shot well, specifically hand to hand fight scenes, and this film delivers in that department. Well choreographed fight scenes along with other action sequences tend to not hide through the power of editing. There is a significantly less number of cuts in comparison to an average summer blockbluster – where I can barely make out what’s going on. It’s pacing is very slow, but I’d take a film takes it’s time to develop its ideas rather than feeling rushed. This in itself has left me feeling a lot more appreciative of the film, and gaining a new found love for it’s badass characters, such as Chang the Police Chief (Vithaya Pansringarm), who is hinted to be the physical embodiment of God himself. I mean, just watch this:
Also, The Neon Demon might be the weirdest out of the lot. In my opinion it’s the best shot out of any of his works, cleverly using colours and other imagery to emphasize the deterioration of Jesse’s (Elle Fanning) innocence. Many would argue that the film’s ending is just outright nuts and that Refn should definitely see a doctor. But ultimately, there’s a deep undertone to most of his films. I think it would ignorant to suggest that his works favour style over substance. The difference with these films is that the viewer may have to dig a little deeper to find the real meat of the Danish director’s films.
I’m sure we all remember the uproar and backlash of last years’ live action rendition of “Death Note”. Before the film had even released, the IMDb page had already been filled with hundreds of negative reviews. Die hard fans of the manga and anime had their pitchforks at the ready and began to tear the film apart. It currently has a rating of 4.6/10 user score on IMDb. As a person who at the time had not read or seen any of the source material, I decided to give it a try.
I thought the film started off relatively well, setting up some of it’s characters quite quickly and didn’t waste time getting on with the story. I assumed that eventually the pace would slow down, giving the story space to breathe and time for things to settle, allowing for realistic character development and cohesive writing. This didn’t happen. The film jets through it’s 90 minutes, never really stopping, allowing plot holes to arise, and for things to seem like they’ve been written all too conveniently. When the film had finished, I felt like I had just wasted an hour and a half on a poorly written film that I couldn’t care less about.
As the initial concept of the film seemed relatively interesting to me, I decided to then watch the anime. Straight away I was aware that the film had deviated from the source material big time. The anime was well written, clever, along with having characters that felt real. Ironically, the characters in the film seem to be more 2D than their anime counterparts. The motivation of Light Turner (Nat Wolff) seems meaningless, his intended battle of wits with “L” (Lakeith Stanfield) is non-existent, and the characters unrealistically leap to conclusions, almost as if they themselves have read the script. The anime itself sometimes suffers from this problem, but at least it tries its best to flesh out coherent thought and make the character’s conclusions seem realistic.
Ultimately, Death Note (2017) is a terrible adaptation, and leaves a lot to be desired.
The second part of the collaborative “Grindhouse” project between long time friends Tarantino and Rodriguez proved to show how Tarantino’s screen-writing ability is always a work of genius. While Death Proof is filled with silly plot sequences and jokes (after all it is a homage to 70s and 80s B movies), there are also moments of incredible dialogue between each of the characters, who with little screen time still seem to be relatively fleshed out. The only reason it’s bottom of the list is because Tarantino’s other works simply have more going on. I consider Death Proof to be underrated and a piece of work that any director should be proud of having.
8/10
#8 – Django Unchained (2012)
Jamie Foxx and Christoph Waltz form a partnership that glues the film together and creates some of the most memorable scenes in all of Tarantino’s filmography. Also, Leonardo DiCaprio‘s first collaboration with Quentin is something everyone is excited to see more of in the future. Despite being low down on the list, Django is probably one of the most watchable Tarantino films. If I had to choose a film to watch out of Django Unchained, Jackie Brown or The Hateful Eight, I’d probably pick Django. However as a film I feel that the other two are just executed a bit better.
8.5/10
#7 – Jackie Brown (1997)
Pam Grier got a return to the big screen with her performance as the smart and savvy protagonist, alongside Robert Forster. De Niro also got his shot to be in a Tarantino flick and probably plays one of his most unique roles. Rather than being type-cast as the tough and gruff leading man, he’s given a more laid back character which becomes very humorous to watch as the film progresses. Sam Jackson and Michael Keaton also support well as you’d expect them to.
8.5/10
#6 – The Hateful Eight (2015)
While definitely one of his more slower films, the first half of the film may be off putting for some. On top of stellar performances from the cast, Tarantino’s wordplay proves again that it can keep you glued to the screen in a similar way to action set pieces in a summer blockbuster. Upon more viewings, The Hateful Eight may even move up further on the Tarantino list in years to come.
9/10
#5 – Kill Bill: Volume 2 (2004)
We all know Kill Bill was intended to be one long film, however the two parts play very well individually. The interesting debate everyone has is which one’s better? Vol. 2 has many stand out moments. The training sequence with Pai Mei, the fight between Beatrix and Elle Driver, to the verbal battle between Beatrix and Bill at the climax are all arguably better than anything in Vol. 1. But to be honest, I’ve switched back and fourth between which Volume I like better as I’m writing this. But I guess what really seals the deal for me is the Crazy 88 fight in Volume 1.
9/10
#4 – Kill Bill: Vol 1 (2003)
I feel like the general consensus is that Volume 2 is better. But like I said, I love the climax to Volume 1 too much. From the way the action is shot, from the choreography, from the amount of cuts that are in the whole sequence, it means a lot to me when action is shot properly. The same can be said for the fight scene between Beatrix and Copperhead. And therefore, Kill Bill: Vol. 1 gets the #4 spot.
9/10
#3 – Reservoir Dogs (1992)
Tarantino’s feature length debut has been described by many as a mini pulp fiction. And considering how good pulp fiction is, it means that Reservoir Dogs is exceptional. Tarantino shows off to the world for the first time his immaculate screen-writing skills with the opening breakfast scene, serving as an introduction to the characters. Which then goes onto the scene where they’re all walking down the street with the opening credits – its simply one of the coolest things Tarantino has done.
9.5/10
#2 – Inglourious Basterds (2009)
One of the funniest, dramatic, and entertaining war films you’ll ever see. Tarantino gives us an alternative look on World War 2. The opening scene alone is probably one of the best things Tarantino has ever done. It’s perfect in every sense and Christoph Waltz gives a menacing performance as Hans Landa. Brad Pitt plays his most hilarious role as the leader of The Basterds. This is one of the best war films of all time and is close to being Tarantino’s greatest.
10/10
#1 – Pulp Fiction (1994)
As expected, Pulp Fiction lands itself in the number one spot as it does for hundreds of other Tarantino’s film lists. But there’s a reason for it, it’s a masterpiece. It’s incredible, it’s unlike anything that came before it, and it changed the game for the way films were wrote and thought out. Pulp Fiction is probably the film I’ve seen the most, and each time I watch it I try and find faults. But upon each viewing, I come away loving it more. Pulp Fiction simply is one of the best films of all time.
The next installment of the new Star Wars trilogy is finally here, and after an intense 2 year wait I was finally able to feast my eyes on the film. At a jam packed double bill midnight showing, where The Force Awakens would be played before The Last Jedi, I was surrounded by people dressed as Jedi and Sith. I was truly in the Star Wars zone. I couldn’t help but become swarmed in the hype and ultimately switch off the critical section of my brain and let my inner Star Wars fanboy-ism take over. So with that being said, I had an absolute blast watching The Last Jedi.
The newest Space Opera is far from perfect, it has many problems both tonally and plot wise. Some story arcs feel relatively out of place and it feels as though some characters that you really care about are ordered to take a back seat. There are also elements in the film that are blatantly designed to sell toys, but not anywhere near as bad as the stupid Ewoks. However, with this being said, not once was I pulled from my immersion into the Star Wars universe. The film is still relatively solid with good action and CGI and progresses the story of the new trilogy in a satisfactory way. All in all if you simply switch off and have a good time, you will enjoy The Last Jedi thoroughly. If you decide to be critical – which there is nothing wrong with – you will find yourself having less fun with the film. Personally, I’ll choose to switch off, which ultimately comes down to the fact that I can’t resist enjoying some Star Wars, it just makes me too happy.
The highly anticipated sequel to the legendary, “The Dark Knight” (2008), unfortunately has not held up for me over the years. Being only 13 years old and a massive batman fanboy, I couldn’t even sit still in the cinema upon the films release. At the time I ate the film up and loved it. However, each viewing over the years makes realize the film has too many plot holes and flaws. Ultimately it lacks quality in comparison to the rest of Nolan’s work. However, with this being said the film it’s still very much watchable, especially to Batman fans like myself.
6.5/10.
#9 – Insomnia (2002)
A remake of a Norwegian film of the same name, this is one of the few films where Nolan himself does not have a writing credit. A decent plot with superb acting from Pacino and Robin Williams makes sure the film holds up well. Personally, Insomnia feels like the most detached film Christopher Nolan has made so far. It doesn’t really give me the “Nolan” feel that I’m used to when watching one of his films. However, Insomnia is still a good watch.
7.5/10.
#8 – Following (1998)
Made while studying English Literature at University College London, this was Nolan’s debut feature length film. The mystery/drama is not only short and sweet, it’s also smart, quirky and leaves hints at what is to come for the career of the man behind the camera. While not perfect, it’s still very well done considering it’s a first attempt at a feature.
8/10.
#7 – Batman Begins (2005)
The start of what can be considered the proper rise of the superhero genre, Batman Begins highlights how Nolan can handle the pressure of bringing new life to a character who was thought to be dead after the onslaught of horrible films that happened in the previous decade. Also, Hans Zimmer steps in to create a brand new theme for Batman which resonates throughout the rest of the trilogy and gives me goosebumps every time I hear it. Batman Begins is a solid film, and cements its place high up in the saturated comic book film genre.
8/10.
#6 – Dunkirk (2017)
Nolan’s take on the historic World War 2 event was excellent. It was unconventional, beautifully shot and executed with technical prowess. Nolan’s new partnership with Hoyte Van Hoytema proves to be one that could potentially top the previous partnership with Wally Pfister, as the cinematography for Dunkirk and Interstellar (2014) prove to be some of the best so far for all of Nolan’s films.
9/10.
#5 – Interstellar (2014)
Some may consider this to be too high up on the list, but Interstellar holds a personal spot in my heart. Matthew McConaughey gives an outstanding performance alongside Jessica Chastain. The score is beautiful, which is now a standard for Hans Zimmer at this point. Yes, Interstellar is not perfect as many plot holes can be found. But you cannot deny that it is simply a beautiful film.
9/10.
#4 – Memento (2000)
I will admit – it’s been quite a while since I’ve last seen Memento. However, the plot has had such a lasting effect on me that I’m still aware it must be placed high on the list. Kudos to the teamwork between Nolan and his brother Jonathan in shaping this complex narrative. Memento also marks the beginning of the relationship between Cinematographer Wally Pfister and Christopher Nolan, who would go on to have one hell of a decade together.
9.5/10.
#3 – The Prestige (2006)
Speaking of complex narratives, The Prestige is almost right in line with Memento in that respect. Hugh Jackman and Christian Bale play opposite each other and are both extremely convincing in their rivalry to be the greatest magician around. The film delivers multiple plot twists and will definitely leave you shocked. This one has to be up there.
9.5/10.
#2 – Inception (2010)
Inception, an instant classic upon it’s release in 2010, will most likely be seen as one of the best films of this generation in decades to come. The mind blowing idea of corporate espionage occurring within dreams has to be one of the most creative ideas seen in recent times. When you see it, you will never see anything like it again. Nolan had initially come up with the idea around 10 years beforehand, and the film truly feels like it had been in the making for quite some time due to its quality.
10/10.
#1 – The Dark Knight (2008)
Now yes, I am a massive Batman fan, and I will admit that there is perhaps some bias in that The Dark Knight is #1 on the list. Many people argue that the film is overrated. I simply disagree. The Dark Knight provides a masterclass in acting, storytelling, action and even in special effects, with lots of practical work being done to ground the film in reality. Not only did this film change the way comic book films were made, they also changed the way comic book films were perceived, being the first superhero film to reach $1 billion at the worldwide box office and also the first to win an acting Oscar.
La La Land (2016) picked up 14 Oscar nods at the 89th Academy Awards in February 2017, tying the record for most Oscar nominations with All About Eve (1950) and Titanic (1997). Outwith the academy, the film was also an outstanding critical hit, scoring 92% on review aggregate site Rotten Tomatoes, 93% on Metacritic, 5/5 from Empire Magazine and so on and so fourth. Out of it’s Oscar 14 nominations, the musical picked up a total of 6 Oscar wins, including Best Director for 32 year old Damien Chazelle, the youngest director to ever win the award, and Best Actress for Emma Stone. On top of the film’s success with the Academy, many accolades were also picked up across the pond at the BAFTAS only a couple of weeks prior to the Academy Awards.
In spite of all this raging success, hype and praise within the film industry, the colourful flick failed to pick up the big one. Best Picture. After one of the most hilarious flops in the history of award shows, where the Best Picture award was unintentionally given to the musical, the La La Land crew were then sent off the centre stage despite already being a couple of minutes deep into celebration, with the award being passed over to the intended cast and crew of Moonlight (2016). Unfortunately, the whole situation should have been avoided had it not been for the even bigger mistake of the academy not giving the award to La La Land in the first place.
What I’m definitely not saying is that Moonlight isn’t a film worthy of success or praise, or that it’s a bad film. The progressive drama is a favourite of mine from the year and highlighted many important issues within the African American community regarding homophobia and other social issues. If La La Land didn’t exist I may have considered Moonlight to be the most deserving to win Best Picture out of all the other candidates. But on a purely technical level and as a film making achievement, Moonlight is beaten in almost every aspect by the musical. While director Barry Jenkins and cinematographer James Laxton come together to create visually stunning tones within Moonlight’s three different sections, the work is unfortunately completely outdone by Chazelle and co. in La La Land. Having to manage an abundance of props and extras and manage choreographers to perfectly craft several different musical set pieces takes true dedication in this day and age. From set design to costumes or to having the best original score of the year, all the right boxes required to win Best Picture are ticked.
Is Moonlight a more important film than La La Land? Absolutely, there’s not even a debate. However, the technical prowess seen in the production of La La Land is a sight for sore eyes within modern day film industry, and is simply highly deserving of Best Picture.
Centre of Cinema 