You may notice that this month’s film review is weirdly early (or incredibly late if I run out of time). The reason for this is simple. I am a fugitive. Following my decision to possibly loot a CEX for ten copies of Shakespeare in Love, the police are now after me, for crimes in film taste. I have therefore decided to lie low for a few weeks. However, this does mean a lack of cinema for the forseeable. Oh well, consume your popcorn and don’t be like the woman who earlier today said loudly she was unhappy to be behind someone with a big head. I was in front of her. You didn’t say it quietly. Bitch…
Here are the best and the most disappointing films I’ve seen this year.
There are three films I really want to write about. The first is possibly one of my biggest disappointments of the year. Despite many others loving it, I really don’t get the hype behind Sing Sing. Named after the prison in which this true story was set, the movie shows an acting group preparing for a play. Meanwhile, the happy optimist theatre buff writer Divine G (Colman Domingo) has to deal with an upcoming probation review. He also befriends Divine I, played by Clarence Macklin, a hard man who needs to open up. You can guess how it all goes.
The film relies on its authenticity, with everybody apart from Domingo being a prisoner who was in the group. They all give it a good go, with Macklin especially delivering. The look is nice as well, with a good attempt at cinematography. The gliding camera in the room feels intimate. Colman Domingo was also good and will likely be seen around the awards season. However, I found that the movie felt empty. You never could feel the struggle of the prisoners as you never saw prisoners or life outside the theatre rehearsals. The scenes all felt pretty separate as well, more a loose anthology than a tight narrative. Both of these problems meant that I really didn’t feel the emotional pay off. It felt more as if the movie was telling me to be sad.
⭐⭐⭐
Rating: 2.5 out of 5.
While I often don’t like the horror genre, there is an emotionally intense self hurting toil I do seem to enjoy. Whether that be dance drama Black Swan or car coitus caper Titane. There were elements of both of these in what could be the most marmite film of the year, The Substance.
Demi Moore plays Elizabeth Sparkles, a former big time actress spending her days producing exercise videos, like days of old. On her fiftieth birthday, she finds out the company finds her too old and is replacing her with a younger fresher model. She is then approached about a trial product called The Substance which can be used to hack your DNA and split you into yourself and a younger “more perfect” version (as if Demi isn’t perfect as she is). Except the rule is you must switch between them across seven days. As you can imagine, this film goes mad, and pretty damn gnarly.
The best horror films reflect the society they show. Get Out reflects racism, His House the immigrant experience, Black Swan the ideals of perfection and The Substance is no different. Unapologetically unsubtle, it looks at a celebrity culture which celebrates youth and the dangerous extent people go to in order to capture it. It also looks at how people treat beautiful people differently to those not as conventionally pretty (Again, not that Demi Moore isn’t pretty). The film runs like a Black Mirror episode, revealing a character, an issue, a technology and a consequence of it.
My favourite thing about this movie was the aesthetic. Everything felt hyper realistic. The production design was full of neon colours, while the white bathroom where the horror tends to take place felt out of Saw. The cinematography was unapologetically suggestive, making the younger version of Elizabeth often sexualised, compared to her older character. The music was quite grimey in a fun way that almost played against some of the bubble-gum colours. The sound was horrific, and without spoiling anything, the make up in this movie is the best I’ve seen for years.
The actors were all great as well. Demi Moore put herself in ASBO contention if the Oscars do their usual thing and ignore horror (with the caveat that Natalie Portman did win for Black Swan). Considering her usual sort of film, this one felt vulnerable and expertly done. Margaret Qualley who played Sue, or the younger Elizabeth matched her older counter part’s narcissism. Meanwhile, Dennis Quaid, playing a skeezy programme executive is as over dramatic and entertaining as everything else.
What really takes this film to the next level is the script. Winner of best screenplay at Cannes, this film is so unpredictable. It’s fun because you don’t know where it’s going to go. I was sat there aghast and entertained. Amused at times and unable to look at the screen at others. Comedy and horror are intricately linked here, as the movie satires society accurately.
Undoubtedly one of my favourite movies of the year, The Substance is almost perfect. If only it were 20 minutes shorter, I don’t think I’d have a complaint. The ending did feel ridiculous and overly-long and there were much better ways it could have gone. Obviously, I won’t spoil it here, but yeah. Doesn’t stop it being a give star movie.
Psst, hey you. I’ve got some news, but keep it quiet. I’ve recently moved. To where you ask? Well, a small place called Surbiton. Yes, if you’re a long term reader, you know my fictional blog post nemesis is SurbitonRebelWilsonFanClub, and now we have joined them there. Well, blame my land lords for selling their house. Anyway, if the film of the month on this blog post is pitch perfect 2, then you know they’ve found me…
One third of the way through the year and the monthly film blog posts are going strong. Monthly recaps were offline for a little while with it being ASBO season, thus that and the Oscar post taking up any blog writing time, in amongst flat searching, packing, moving, sleeping on a yoga mat because the pump for the air bed broke and the mattress hadn’t arrived, the broken radiators, life being cruel and cold, basically just be grateful I’m back.
I won’t go into detail about the films I haven’t written about in February and March. All I will say is to watch Red Island, Monster, Robot Dreams, Perfect Days, Dune Part 2 and The Promised Land. Some of them may make my top 20 at the end of the year, but all are good movies.
The Beautiful Game is by no means a bad movie. It’s totally okay. Bill Nighy recruits a new star striker to his homeless world cup team who needs to accept that he is homeless and connect with those around him. You know how the film is going to go and it’s totally okay. It was a calm, easy watch with the family which we will all forget we saw by the end of the year. At the very least, it’s better than Taika Waititi’s Next Goal Wins.
⭐⭐⭐
Rating: 3 out of 5.
One of the big films of the month is the much advertised Civil War. The film isn’t about the war, but about some journalists and war photographers who look to document it. It’s not as rip-roaring as it suggests, instead moving at a slow, slightly odd road trip pace. I was disappointed with this movie for a few reasons. Firstly, it sits of the fence far too much. It doesn’t really say anything. Each character is bland and it all feels too sanitised to be a good war movie. Secondly, it acts more as a set of vignettes showing tension. There is literally one scene where the protagonists are being shot at, then it cuts to them being literally back in the car. There is a lack of effect, the characters are boringly stagnant and the conflict isn’t of interest. This could have been epic. Instead, it was just a bit of a dud.
⭐⭐⭐
Rating: 3 out of 5.
Next Goal Wins was a true story film which tried to wear its heart in the right place. Michael Fassbender plays a failing American coach who is angry with the world. Their FA sends him to manage American Samoa, the worst team in the world, who had recently been beaten 31-0 by Australia. With the team and manager at rock bottom, this whacky comedy is about the coach finding peace and working with the team in their quest to score one goal.
By no means awful, Next Goal Wins provides a couple of laughs, however, doesn’t nail the powerful moments. It’s clearly made by someone who doesn’t like or understand the beauty of football, and it’s very much reflected in this hollow mess.
⭐⭐⭐
Rating: 2.5 out of 5.
Io Capitano is your liberal parent’s favourite feel good film about human trafficking which isn’t Wonka. A supposed true story, the movie focuses on two teenagers who leave Senegal to get to Italy to live better lives. While potentially a traumatic movie, it instead focuses on trying to find nice moments, forgoing any emotional impact and emptiness which you can find in better films such as 2013’s The Golden Dream.
The story does feel contrived, however it is somewhat redeemed by a couple of very good lead performances by Seydou Sarr and Bamar Kane. Out of the films up for best international film at the recent Oscars, this was definitely the weakest.
⭐⭐⭐⭐
Rating: 3.5 out of 5.
The Teachers Lounge was another Oscar nominated movie. This German movie is about what happens to a teacher when she accuses a receptionist of stealing her money, a situation made far more awkward as the accused’s child is in her class. Much like Anatomy of a Fall, the question isn’t whether the money is stolen. Instead, it’s an interesting film which focuses on dynamics between the child, his teacher and their classmates, constantly swinging for and against each in a tense manner.
With a well shot movie and an incredible lead performance from Leonie Benesch. A horror movie for teachers, which is almost as scary as The Hunt. For the rest of the world, a really interesting film.
⭐⭐⭐⭐
Rating: 4 out of 5.
Any of my top four movies could’ve made movie of the month, with each a really unique film. Evil Does Not Exist is the latest new film from Drive My Car’s Ryusuke Hamaguchi. Much like that movie, EDNE is a glacial affair, starting with a 5 minute shot of the sky which will help send even the strongest insomniac off. However, once it gets going it is very interesting. Two company representatives go to a small rural town to propose a glamping site. They don’t seem to care at first, as they’re just paid actors. However, for this community, nature is incredibly important and they discuss the impact of the site on their famously clean water and the local deer.
This eco-fable remains interesting because nobody is quite what they seem at first. The aloof actors seem to care at heart, while the open locals are far more protective of their environment. Remaining grounded until a far more abstract, obscure conclusion, this film shows the beauty of nature, and of humanity. You feel hope and anger on the locals’ behalf. It does take a while to get going, but give it a chance and suddenly it grabs you by the horns and doesn’t let go.
⭐⭐⭐⭐⭐
Rating: 4.5 out of 5.
The Book of Clarence brings in the right balance of humour, heart and blasphemy to be a winner. Clarence (Lakeith Stanfield) is struggling to pay his debts. A bit of a fool, he is constantly making bad decisions. After getting baptised in the hope of the local loan shark going easy on him fails, he sees how people love Jesus and give him money and comes up with an idea. However, this could backfire, especially with the local roman guards not being a fan of messiahs in general.
The second film from Jeymes Samuel, following on from The Harder They Fall, he brings his chaotic energy, which means things can feel messy. However, they’re infectiously funny, and with Stanfield playing such a ridiculous character, this film both seems to support and mock religion in equal balance. Call it fence sitting, but I think it allows things not to go into total parody, and instead is an ancient super-natural hustle movie, which remains really fun.
⭐⭐⭐⭐⭐
Rating: 4.5 out of 5.
Probably the biggest surprise of the month for me was Dev Patel’s directorial debut film Monkey Man, a full blooded nose biting, thumb slicing revenge movie which barely has any action in its first hour. Patel also stars as a failing wrestler, who gets a new job in a fancy restaurant in his attempt to get close to powerful people. He slowly builds up a story and a world, including fantasy elements, cruelty, and corruption so you feel empathy for his character when we go into full blooded rampage.
The action genre isn’t one I hugely enjoy, however this film builds a world fantastically, even if the plot is light. The cinematography is incredible. The camera moves brilliantly, and Patel uses the scenery in fun and inventive ways, making these scenes of violence pieces of art. An unapologetic, full-blooded mess, this film is really is polished for an director who is more famous for starring quiet indie films, and I’m really excited to see what he does next.
⭐⭐⭐⭐⭐
Rating: 4.5 out of 5.
Worst film of the month
Before we go and celebrate the best film of the month, let’s take a moment to discuss the car crash that was Back to Black. Amy Winehouse is the greatest singer of all time in my mind. Her life ending when it did was a tragedy, especially as she was the age I am now. Of course, a biopic was inevitable.
A gritty, controversial biopic which shows tragedy? No, a feel good movie with a happy ending. She literally dies guys. Did we forget that? Does the director know that? The film was simple. Such a tragedy should be multi-faceted. Instead, the film says “Oh, it was the paparazzi’s fault, and not the family”. It’s like Princess Diana all over again. The music didn’t have the impact either. Rocket Man spoiled us, by making the movie link to the songs as well. This film literally says “I don’t write to make money, I live my songs”, yet when they’re splashed around, it doesn’t feel relevant. One of my least favourite moments of film is when they went from Back To Black being played over the top of a montage by Winehouse, before the last three lines were randomly sang out of tune by the lead actress. Use the songs better, I beg of you.
Basically, it’s rubbish. It’s a mess. Don’t watch it.
⭐⭐
Rating: 2 out of 5.
Film of the month
I went into this movie totally blind, however I couldn’t help but fall in love with There’s Still Tomorrow. Set in post WWII Italy, this black and white film sees Delia (Paola Cortiselli) in a sad life with an abusive husband and three kids. Her daughter is to marry into a rich family, but is annoyed at how her mother folds. The world wants her to escape, but she seems unable to. Despite the dark subject, the film almost appears comedic, using fantastical sequences instead of any horrible scenes. The comedy is thinly veiled anger. The anger makes it all flow, there is humour and beauty in her world, where the humour is sensible. There is something to fight for.
As well as funny scenes, there is also plenty of tension as everything which can go wrong seems to go so. There is a dinner scene where the daughter’s boyfriend’s family is to come over with the intention of engagement, and you wonder what will happen. There is also a dash for freedom which keeps you on the edge. Despite the tension and horrors, there is a real human warmth which keeps this film hopeful and well balanced.
Has it been a year since I’ve done this? Yes, my favourite thing to write on my phone on the train as I end up inexplicably busy this time of year is back. This year the films were mixed, but all interesting. Unlike last year’s set of remakes which provided a dull set of bloated best picture nominees, all ten of these were at least something different. Naturally they missed the best film of the year, but that’s what the ASBOs are for and I will eventually get round to them in the next couple of weeks, but here is who should win tonight. If you don’t agree, tough. Art is fundamentally objective and as a man I know I’m right.
Best Supporting Actor
This is probably the weakest category of the big ones. Robert De Niro was indeed in Killers of the Flower Moon, but barely worth knowing. Meanwhile, Sterling K. Brown was fine in American Fiction, but again probably lucky to get an Oscar nomination. Mark Ruffalo was interesting in Poor Things, however chosing a single role which makes him not as dull as dishwater seems a bit much. Therefore, it’s between Robert Downey Jr in Oppenheimer or Ryan Gosling in Barbie. While RDJ did well, I’d personally pick Ryan Gosling as Ken in Barbie, who’s comedic turns were some the most memorable moments of the movie.
Supporting Actress
There were definitely some very good picks here, however one of the most suprising was America Ferrara who had one monologue. I’d hardly call hers one of the great performances. Emily Blunt was fine in Oppenheimer, while Jodie Foster was probably the best part of Nyad (an absolutely okay feel good by the numbers family film). Danielle Brooks was fantastic in The Color Purple as Sofia. She got her emotional cues perfectly and had some great big numbers. However, Da’Vine Joy Randolph‘s performance as the grieving Mary in the holdovers was understated and brilliant. She really brought the film together and gave it a sense of levity.
Best Actress
The line up for Best Actress is stacked this year, and is probably the best one since Ladybird, Billboards, Shape of Water and I Tonya came out in the same year. Annette Bening was decent in Nyad, while Sandra Huller was very good in Anatomy of a Fall, carrying that film brilliantly (As well as Zone of Interest for which she wasn’t nominated). Carey Mulligan as Felicia Montague, Emma Stone in Poor Things and Lily Gladstone were all fantastic, with the latter being the only good thing in Killers of the Flower Moon. This is a really tight one, and I might change it before clicking publish, but I’ll go for Lily Gladstone in KotFM who did significantly better than pouty Leo Di Caprio.
Best Actor
The ladies won this year, but there were some good male performances. Bradley Cooper as Bernstein in Maestro was fine (His writing certainly let him down), as was Jeffrey Wright as a writer in American fiction. Colman Domingo was good as gay black activist Bayard Rustin, in a solid biopic movie. The best performances were Cillian Murphy as Oppenheimer and Paul Giamatti as a disenfranchised teacher in The Holdovers. Murphy’s contrast between steely focus and regret are fantastic, as he really acts with his face and posture. While Giamatti is great at showing a bitter anger, I doubt he has any for me saying that Cillian Murphy – Oppenheimer was the best male performance this year.
Best Picture
While this year’s nominees didn’t suck, there were lots of middling films.
10) Maestro: While there weren’t any true stinkers of the ilk of Don’t Look Up, Maestro was definitely the weakest of this year’s nominees. A biopic about Leonard Bernstein directed by and starring Bradley Cooper, the whole thing is just a bit flat. It really fails to find and deliver themes in a way that last year’s conductor movie Tar was able to. Carey Mulligan brings a powerhouse performance, and Doris from work is in the Ely Castle scene which was the best bit, but otherwise it was a tad so-and-so in it’s begging to be loved
9) Killers of the Flower Moon: The Martin Scorcese.epic about really interesting native Americans having their land stolen which focuses on the most boring white guy, KotFM very much struggled to justify its very long run time. There were highlights. It was well shot, however the main reason to watch was a star turn from Lily Gladstone.
8) American Fiction I really wanted to like this movie. A debut film with a good cast, American Fiction wanted to say something brilliant. However, after it ran out of steam with its one joke, it didn’t really know how to say it. A fairly easy Saturday night film, it’s by no means a bad movie. However, it’s never going to be remembered as one of the very best.
7) Barbie Maybe it was my own fault for going in with really high expectations. Barbie was a guns blazing feminist film which lacked that polish. The whole thing felt like it lost its way half way through. However, it’s success was not undeserved. Margot Robbie was great, likewise Ryan Gosling and every costume and set design was on point. It just needed to be a little bit tighter.
6) The Zone of Interest This film seemed to be one to appreciate more than like. Based on a family who live a banal existence next to Auschwitz, technically it’s a really good film with great production and sound design. However, the lack of hook towards a character made it one for those more pretentious than me. I appreciate the message and the parallels with what’s happening today, it was just very implicit.
5) Anatomy of a Fall Now we’re getting to the films we enjoyed. Anatomy of a Fall was very much a good standard court drama, expect that it’s not about who done it. A film about communication and ambiguity, the question is whether Sandra Huller’s character pushed her husband or whether he fell from the top storey of their house. A solid script and some good performances make this a decent watch.
4) Past Lives While this year’s indie darling wasn’t top of my year end list, unlike seemingly all the big critics, I was warm towards Past Lives. Wonderfully shot, and criminally overlooked for the acting Oscars (Both Greta Lee and Teo Yoo should’ve been in there) this gentle movie about love over time and distance was a real pleasure. There is a scene in a bar about 20 minutes before the end which is one of my favourite ones, and until the emotion came pouring out from the characters (which felt inconsistent with the rest of the movie), I was engaged and rooting for these two.
3) The Holdovers Now at the point where I’d be happy if any of these movies won best picture. The Holdovers took us back to a simpler time, where movies were just about the characters. Much like some of my festive favourites in It’s a Wonderful Life and The Apartment, The Holdovers is just people being sad at Christmas. When a teacher, a cook and a student are left at a boarding school, all somewhat empty bitter and alone, the film sees them find comfort and family as they get to know one another much better. It’s a sweet melancholy movie of days gone by and will definitely be on future festive watch lists.
2) Oppenheimer The film that will win best picture tonight, it will certainly be deserved. Much like the best pictures of the 80s/90s, a three hour historic biopic about a scientist caused a shock with the amount of interest and sales it garnered. No doubt helped by Barbie, it also stood strong on its own with a well balanced focus on the science and the characters. Technically it was fantastic, it was well written and the acting was brilliant. Much like The Holdovers, these are the films which felt like they were relics of the past, so it’s great to see one this good do so well.
1) Poor Things A best picture always seems to reflect a time as well as a brilliant film. Parasite reflected increasing social inequality, The Best Days of Our Lives as post WWII struggles and Nomadland a feeling of post COVID loss. Poor Things reflects a fight for gender equality and the struggles there, much like Barbie does, but in a much less compromising and gentle way. Bella has the brain of a child but the adult of a body. She goes out and learns about the world. The world is full of horrible scummy men who look to take advantage, so basically Barbie. The script, set design and acting from Emma Stone are all brilliant in this career best from Yorgos Lanthimos, a director I’m usually lukewarm on. Out of the ten movies for best picture, this one is surely the best.
The Best of the Rest
Best Director – A prime example of the Oscars picking some wrong names (Celine Song anyone), however the deserved winner is in there. While Glazer made some art, and Triet and Lanthimos did their things, the career best biographical epic for Christopher Nolan – Oppenheimer deserves this one.
Best Original Screenplay – Probably the strongest of all categories, all of these films are so well written. Maestro is a bit crap, but oh well… Anatomy of a Fall and May, December were both very slick and that scene in Past Lives at the bar is just magic. However, the perfectly balanced dialogue and mood of The Holdovers means it deserves a win.
Best Adapted Screenplay – Definitely the weaker side of the screenplay draw, with Barbie and American Fiction both feeling like films that knew what they wanted to say, but not how. Zone of Interest provided an interesting look into a story but without the hook from the dialogue and an off-beat second half. Oppenheimer was great, with some fantastic lines. However, the madness of Poor Things and the naturally evolving dialogue of Bella deserve this one.
Best Animated Film – I’ve not seen Elemental (Don’t really want to) or Robot Dreams (Do want to). Out of the rest, we have three really strong films each of which are worth a watch. However, Spider-verse’s dull half-baked story and Nimona’s simplicity can’t compare to the art and imagination of The Boy and The Heron.
Best International Film – So I’ve only seen three of these movies. I was lukewarm on Zone of Interest. I enjoyed the slow slice of life of a content toilet cleaner is Japan’s Perfect Days. However, best film of the three was Spain’s Society of Snow which is on Netflix.
Best Original Score – Can’t remember much of American Fiction’s score being brilliant, nor Killers of the Flower Moon. I didn’t watch Indiana Jones 5 so can’t comment. Again, it’s between Poor Things and Oppenheimer. Poor Things was mad, but Oppenheimer‘s score was just incredible.
Best Original Song – I’m Just Ken, from Barbie (but not the version of Matt Hancock Lip Synching)
Best Sound – This is a really good category. Sure, The Creator was good and I never watched Mission Impossible, but Maestro was fantastic, especially in the scene in Ely Cathedral. Oppenheimer was ridiculous, especially the bomb test scene. That sent a shockwave through me. However, The Zone of Interest has simply incredible sound work. A film about a family who live next to Auschwitz, you see domestic bliss next to this background screaming to paint a really horrific picture.
Best Production Design – Again, a really strong catergory. I didn’t see Napoleon. Flower moon was good, as was Oppenheimer. However, it’s going to be between Barbie and Poor Things, both of which were weirdly vibrant. As much as I’d love to give Poor Things a bit more love, I think this has to go to the set which caused a world pink paint shortage, Barbie
Best Cinematography – Barbie used its light and camera in interesting ways. I STILL haven’t seen Napoleon and Flower Moon was fine. El Conde exists. I’ve watched it. Thatcher’s a vampire or something. Poor Things and Oppenheimer are again very close here, but I’ll go with Oppenheimer being the better at it.
Best Makeup and Hairstyling – I never watched Golda, but everyone is going to be talking about Bardley Cooper’s nose which makes this a non-contest. Oppenheimer was good, while Poor Things had some very interesting looking characters. However, the slow madness of Society of Snow was really well done, as we see people more and more desperate to survive so I’ll go off-piste and award that movie.
Best Costume Design – Poor Things was really cool, and I’ve seen the dresses in person which is nice. However, this one has to go to Barbie.
Best Editing – This is the one about how they cut up the film. Oppenheimer is great with its pacing, as are Holdovers and Poor Things. Flower Moon is also there. However, the best edited movie has to go to Anatomy of a Fall which shows actions and reactions equally well.
Best Visual Effects – I’ve only seen two of these. The Creator was vibrant, but Godzilla minus one showed the horror of people fantastically, and I’d rather reward that film, because it was also actually a solid film which did fantastically well on a low budget.
The Count:
4 – Barbie, Oppenheimer
3 –
2 – The Holdovers, Poor Things, Society of Snow
1 – Anatomy of a Fall, The Boy and the Heron, Godzilla Minus One, Killers of the Flower Moon, The Zone of Interest
Blow off the cobwebs, we are back. I know it’s been a while since I’ve updated this blog. Unfortunately it’s been a busy few months and I then had to choose between sitting down and writing or going to watch a movie and I picked the latter. What that has meant is that I have a great list of twenty films that I want to share with you. I’m basically the British Obama.
The main takeaway I want to say is that cinema is pretty great. How wonderful was Barbenheimer? Beyond the hype for that there were so many great films which didn’t even make the below list. Sick of Myself, Royal Hotel, Godzilla Minus One, You Resemble Me, Return to Seoul, Spiderverse-2, Fabelmans, Blackberry, Marcel are just some of the brilliant films which wouldn’t have been out of place, as are indie darlings Anatomy of a Fall and Past Lives. However, the films have been ranked and the final results are below. (Full list here: https://letterboxd.com/thefilmramble/list/2023-ranked/, I’d recommend any film in the top 50).
Anyway, usual rules. Releases between 26/12/22-21/12/23 as the week in between Christmas and New Year is Purdah
20) Reality
Is there a more shocking name in existence than Reality Winner. The true story film is a really interesting experimental piece. It uses the recordings from FBI investigations, turning them into a script with both the interesting and mundane parts shown. A fairly low budget piece, if you don’t know the story, you’re not sure how it’s going to end. While there isn’t the emotional connection as people are acting closed off, the film remains an interesting one, as you see the workings of something you rarely do so authentically blurring the lines between documentary and drama. [Reality is available for digital download]
19) Leave the World Behind
Probably the most divisive film on this list, Leave the World Behind didn’t receive a fantastic reception from most movie goers on its release. However, I found it to be a real highlight this year. Based on a 2020 novel of the same name, this film sees a family rent out an AirBnB. With a couple of weird things happening, you can start to tell something big is going on. When another family come and claim they own the place, distrust starts to increase, with underlying themes of gender, age and race being part of the conflict, although never said (Much like in Night of the Living Dead). As the situation becomes more stark, the families need to work out whether they trust each other and survive what seems an apocalyptic event. Some people don’t like the film because it doesn’t explain everything. It isn’t handed to you on a platter. However, I think that’s too its advantage. Those in the scenario don’t know the answers, just that they need to survive. Director Sam Esmail also uses slow, brooding scenes to create tension, cutting between multiple climaxing stories at once. It’s slick, stylish and controlled and with powerhouse acting from Julia Roberts, Ethan Hawke and Mahershala Ali, it’s worth a watch if you like the more human side of a catastrophe. [LTWB is available on Netflix]
18) May, December
May December is most interesting because of its characters. When an actress (Natalie Portman) goes to meet a woman (Julianne Moore) and her husband (Charles Melton) who were found to be in a relationship when he was 13 and she was old enough to be his mother, she finds almost infantilised characters. As she’ll be playing the woman in an upcoming movie, she needs to know everything about her, studying her. This starts to lead to a bridge between the two characters. The dynamics are fun and interesting in this film. With great performances, this is sure to do well in the awards season. A well paced, well written movie, it’s definitely worth your time. [May December is available of Now Cinema]
17) The First Slam Dunk
There is something really interesting about basketball, both to watch in a film and in real life. It’s a sport where you can go on a hot streak, or just collapse in the space of 5 or 10 minutes, which almost makes it cinematic. While nothing will ever top Hoop Dreams as the greatest sport film of all time, TFSD is a fun anime about a rag tag team in a big final, based on a 1990’s series. Switching between their stories and the final itself, it does get crammed, but you pick up what you need to root for the characters. Each one is full of charm and personality, and the classic anime style is gorgeous.
16) Women Talking
Following attacks on women by men in the Mennonite society, all of the women need to decide whether to run, fight or forgive. This leads to them having in depth conversations, considering the impacts of each one and the characters’ own moral compasses. A slow paced, and thoughtful film, it’s shot with dull colours but remains interesting thanks to the tight writing and brilliant acting from Rooney Mara, Jessie Buckley and Claire Foy among others. Nominated for Best picture among other awards at the Oscars last year, the film particularly got deserved recognition for its screenplay. Not an easy watch, but still an important one. [Women Talking is streaming on Prime Video or available for Digital Download]
15) Brother
A Canadian film focussing on themes of masculinity and grief, but in a variety of different ways, Brother is the story of two teenage brothers Michael and Francis. Francis presents himself as more macho and confident, while Michael is shy. However, we learn about these characters and their insecurities in a harsh environment throughout the two hours. With flashbacks and a well paced movie revealing itself, the film really thrives thanks to its brilliant acting. [Available for digital download]
14) The Beasts
The Beasts is a masterstroke in tension. A true-crime drama, the film focuses on a French couple who move into the Spanish mountains to set up a farm. However, when they refuse to sell land for wind farms, the poor residents of the town become hostile as they are also denied life saving money. A slow, but tense thriller, this film sees the French couple start to breakdown as they feel increasingly isolated. Wonderful acting and writing, this Spanish film is fantastic. [Streaming on BFI Player and available on digital]
13) Puss In Boots: The Last Wish
Quite possibly the biggest surprise of the year, Puss 2 is a sequel to a very mediocre animated film. In a year of high quality animation (Marcel and Spiderverse to name a couple), this film stands as the best thanks to its colourful and creative animation and tight script. Puss has used up eight of his nine lives, and now death is coming to hunt him down. To cheat death, Puss has to find a meteor (or something, I can’t exactly remember) before different sets of rag-tag villains can. The film deals with anxiety and fear in a fresh way you don’t expect. Each character has depth and vulnerabilities. Even the annoying side character isn’t annoying. The villain with his creepy whistle is one of the best. This film does become dark at times, but that’s refreshing. Despite that, it’s still a fantastic family film, heck it’s even better than Shrek 2. [Available on Now Cinema/Sky]
12) Tár
This year two films about conductors came out. Maestro was a hammy biopic about someone we never learnt about that didn’t want to say anything. Tár was an agonisingly slow film about a despicable person who got cancelled and spiralled as she lost control, the one vital part of being a conductor. Despite the glacial pace, and the desire to show things without telling, the film still works not just because its so well made, but mainly due to Cate Blanchett’s performance as the titular character. Even when she was monologuing, she controlled the whole screen with her commanding voice and demeanour. It’s a fantastic movie, one which requires patience and investment. [Available on Now Cinema/Sky]
11) How to Have Sex
A fantastic British independent film, HTHS sees three young British women go on holiday to a Spanish resort. Two have lost their virginity and one hasn’t and is started to feel pressured about it. They then meet these British boys and following a night of heavy drinking, something has happened which distressed the lead character. With fantastic writing and brilliant acting from an inexperienced cast, HTHS primarily runs on showing teenage angst around identity and who people are in the world. The sex element is only part of a greater picture of mystery and confusion of teenage life. A really well made movie. [Available on MUBI]
10) Wonka
Well, this list is certainly eclectic, if nothing else. Wonka is a funny, charming light musical and is one of the best family films of the year. A prequel about Wonka starting in a chocolate shop, Chalamet’s character is an all singing and dancing optimist. However, the locals lock him up and the chocolate cartel look to shut him down, meaning he has a battle on his hands to achieve his dream to sell and share his chocolate. A wonderful holiday movie for the whole family. [Wonka is available in the cinema]
9) Joyland
Despite being nominated for best international film at last year’s Oscars for Pakistan, this film was banned in a large number of areas of the country. In a patriarchal family, long time unemployed Haider finds a job as a back up dancer in a group lead by a trans woman, whom he soon starts to fall for. Meanwhile, his wife Mumtaz is forced to give up her job by the family to help a sister in law look after her children, leading to her own unhappiness. A tender, tragic tale of family, sexuality and misogyny, Joyland is a sensitive portrayal of problems in a society. Great performances and tight writing do make it one of the year’s best. [Available on BFI Player and available elsewhere for digital download]
8) Theatre Camp
Honestly, I expected to go into Theatre Camp hating it. The trailer alone looked loud and annoying, at best it would be a Saturday night lazy film when I’m feeling tired. However, judging a book by its cover is something idiots do, and I was an idiot. Theatre Camp is a mockumentary about a camp owned by Joan, who has recently gone into a coma. When her son who knows nothing about theatre takes over, and finds its finances in a dire state, he needs to do what he can to save it. Meanwhile, all the hapless former theatre kid teachers seem just as clueless, trying to run a good summer. It’s a really goofy, exaggerated movie. However, its got a lovely warm soul and is genuinely very funny. Theatre kids will love it as they’ll consider it an exaggerated film which they can laugh at. Those who aren’t theatre kids will love it because it’s an accurate description of theatre kids. A wonderful family film which more people should see. [Streaming now on Disney+]
7) How to Blow Up a Pipeline
Are we the baddies? HTBUAP is a thriller about a group of eco-terrorists who look to blow up a pipeline. Based on a book of the same name, this movie takes its time to show the process from flashbacks showing each character’s motivations in amongst the high pressure situations of making bombs and strapping them to oil pipes. As these are amateurs, it could all go wrong at any point, whether by dropping something, drilling something wrongly or not doing the maths correctly. Resultantly, this thriller is so high stakes that there were long periods where I wasn’t even breating. [Streaming now on Netflix]
6) Oppenheimer
Definitely the film on this list that you most likely saw, Oppenheimer was not only half of an incredible cultural phenomenon, but also a fantastic film. Lead by the fantastic Cillian Murphy as the titular character, the slow three hour biopic about a scientists caught the imagination of a world increasingly dumbed down by CGI was a minor miracle. With a strong script, cast and practical effects, this film will deservedly win Best Picture at the Oscars next year. The test bomb drop moment was an outer body experience and definitely my favourite film watching moment of the year.
The first film I saw this year, and only four were better. If you asked me for a list of my favourite directors, Kore-Eda would be regularly near the top and after a European break with the disappointing “The Truth”, he’s closer to his Japanese home in Korea. This time, however, he’s thematically back in his comfort zone of the made family. When two men in a church who look after abandoned babies go to steal one of them to sell, the police are after them. Meanwhile, the mother finds them and also wants to help sell it. While it sounds like trafficking, it’s also people looking to find a baby a loving home but making money, thus leading to some moral grey areas. As we learn each character’s stories and motivations, we find a kind and tender movie as four strangers start to become an odd mix and match family. It’s interesting cinema based on a true Korean concept. [Available on Sky/Nowor for digital download]
4) The Five Devils
A French arthouse, gothic time travelling sci-fi lesbian romance. Could this be any more pretentious? Well, I don’t care because it’s a brilliant movie. Full of intrigue and layers, a husband and wife take his sister into the house, but there is an undercurrent, with the wife being unhappy about this. We soon learn why as the daughter, who constructs smells to remind her of people, travels back in time to see the story of the three adults’ past. In a Back to the Future-esque twist, she also wants to stop her mum and aunt from falling in love in the past to make sure that she exists in the future. Quiet, brilliantly acted and a really well told drama, this underseen gem is a left-field movie worthy of a watch. [Available on MUBIor for digital download]
3) Are you there God? It’s me, Margaret
Based on the iconic Judie Bloom novel, Margaret is a wonderful coming of age film, discussing growing up as a young girl from a female perspective. Margaret moves from New York to New Jersey, and has to deal with a new life in suburbia. Starting to reach puberty, she and her new group of friends are curious and worried about their changing bodies. She also looks to find her identity and religion with her Christian and Jewish parents not quite able to give her an answer. A heartfelt movie with wonderful characters and funny sharp writing, this female gaze movie feels refreshing and new, while also being warm and familiar. [Available on Amazon Prime and for digital download]
2) EO
My top two of the year were pretty neck and neck, so deciding between two such different movies was challenging. Therefore, consider this to be the crème de la crème. EO is a circus donkey in Poland who is separated from his best friend following the circus’ bankruptcy. Throughout the film, his goal is to find her. He doesn’t say anything, but this is the clear aim. Just walk around Poland and interact with many people and animals. It’s almost a set of vignettes showing the best and worst of humanity. It’s beautifully filmed as we see EO’s response to what is happening and feel a true sense of jubilation and also tragedy. We see people who celebrate him and show him affection, while others use him and want to harm him for very little reason. While no animals were harmed in the making of the movie, it isn’t an easy watch. However, there is no character I’ve wanted to succeed in a film this year more than the damn donkey. [EO is streaming on BFI player and available for digital download]
And the film of the year is…
When I build these lists, I always hope they show a variety of films. Comedies, tragedies, family films, animations, art house quiet dramas, musicals, action movies (Sorry Godzilla minus one didn’t make the cut, but you should watch it). As I watch more and more films it’s rarer I sit there and think “This film is the best of its genre”. However, there is one film that truly did that for me this year and is worthy.
When I first watched When Harry Met Sally, that was the benchmark. A nearly perfect rom-com, the story was great and the chemistry between Harry and Sally was wonderful, leading up to the new years scene. I was never going to watch a romantic comedy as good as this ever again, and I was fine with that…
That was until a small British film came out this year called Rye Lane. Dom has recently had a big break up and is crying in the bathroom. Yas hears this and soon when she sees him again starts talking to him to learn his story. Yas also has had a bad break up and over the course of the day they help each other find closure, while also starting to fall for one another.
At only 82 minutes long, this movie is fast moving and full of energy. It has plenty of laugh out loud moments as well as heart felt ones. A feel good rom-com, it’s totally fresh in its story telling while retaining a sense of familiar. The two lead characters have so much chemistry and really bring the whole movie together. Not only is Rye Lane a love story, but it’s also a love story about Peckham, with each character and place being vibrant. A truly wonderful feel good film, Rye Lane is not just one of the great rom-coms of the year, but one of the greatest of all time.
[Rye Lane is streaming on Disney+ and available for Digital Download]
This Sunday is the day where Hollywood acknowledge some pretty great films and Bohemian Rhapsody. Will they get the right winner? Maybe. But I’m not going to comment on their choices. Instead I will hand out the 2019 ASBO awards for great films. From this list, you will hopefully get a good idea of which films to watch and avoid. There are plenty of good ones to see, yet a limited time to see them in.
I will use the Oscar nominations as a general framework, but throw in some of my own suggestions.
Now, why am I calling them the ASBO awards when in the UK that means Anti-Social Behaviour Order. Well, my family calls our cat Oscar, even though his birth certificate name is ASBO. Therefore, to restore the balance of the world it is only necessary. So, lets begin:
The Film Ramble 