10 Prime Videos to stream in the UK

Times are still pretty weird out here. Any governmental dialogue is turned into a million memes in a matter of minutes, and we are still in the midst of some kind of battle. While we are all staying alert, however which way we manage to define that against something imperceptible to the human eye, here is a thrown together list of 10 Prime Video titles available to stream here in the UK that we can actually use our eyes for. I won’t use that superlative ‘Top 10’ because the catalogue is insanely deep and no two people have the same taste. But I’ve tried to pick a bunch that will hopefully satiate whatever cinematic cravings you have.

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Cold War (2018, Pawel Pawlikowski) in Polish, French, Croatian, German, Russian, Serbian and Italian with English subtitles

This sweeping, monochromatic love story is set against the backdrop of 1950s communist Poland and finds a music director (Tomasz Kot) who falls in love with a singer (Joanna Kulig) and tries to persuade her to flee to Paris. The two leads intoxicating chemistry and the sheer scope Oscar-winning filmmaker Pawel Pawlikowski manages to instil into this brisk 90-minute masterpiece is unparalleled, charting an impossible, decade-long love that spans several countries and features some of the most remarkable cinematography in cinema, along with some of the most meticulous and glorious musical sequences on film.

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Midsommar (2019, Ari Aster)

Ari Aster burst to the forefront of contemporary horror filmmakers with Hereditary in 2018, and continued this streak last year with Midsommar, a sun-soaked psychological horror that sees a group of friends travel to Sweden to attend a rural mid-summer festival. What starts as a seemingly idyllic retreat for Dani (one of two outstanding turns in 2019 from Florence Pugh) and her increasingly detached boyfriend Christian (Jack Reynor) soon escalates into a series of violent, drug-induced competitions amongst a pagan cult. Described as much as a breakup movie as a horror, Aster crafted another unique and harrowing submergence into the human psyche.

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Fantastic Mr. Fox (2009, Wes Anderson)

Something a little bit light is due considering how increasingly fucked 2020 is looking as a whole. Fortunately the quirky and lauded Wes Anderson took his unique cinematic framing and sensibilities to the renowned Roald Dahl book back in 2009 with the two-time Oscar-nominated Fantastic Mr. Fox. Boasting a dreamy ensemble that is another staple of Anderson’s work, this punchy and fun film sees a crafty fox attempt one last raid against three of the meanest farmers around, before turning to his community of friends for help in the wake of the farmers’ retaliation. It’s a delight to watch from start to finish, both witty in script and unforgettable in form, with the vocal works of George Clooney, Meryl Streep and Bill Murray to soothe you along with the story.

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Take Shelter (2011, Jeff Nichols)

Heading straight back into paranoia-land is the hidden gem of 2011, Jeff Nichols’ superb thriller-drama Take Shelter. Michael Shannon is one of the most fascinating and consistent actors around, one who again flies under the radar despite his two Oscar-nominations, and is perhaps at his absolute best as the young husband and father who is plagued by apocalyptic visions. As his concerns grow from feverish nights to panicked days, he risks pulling apart his family and his community as he begins to build a shelter in his garden in the steadfast belief that a coming storm is going to wipe everyone out. It’s a thrilling and impeccably crafted film, one that doesn’t reveal itself until the end and buries itself under your skin for weeks to come.

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M (1931, Fritz Lang) in German with English subtitles

Fritz Lang helped  herald a new age of German expressionist cinema in the late 20s and early 30s, from the mesmerising and futuristic Metropolis to M, an absolute must-see for any fans of the crime and thriller genre. This taut film sees an elusive child-killer forced into a frightening game of cat-and-mouse when other criminals begin to join in on the manhunt, to avoid the police’s continuing pressure on them. Just as infamous for its breathtaking conclusion as it is for its heart-dropping opening, every minute in between is filled with cinematic ingenuity and encroaching tensions that nearly 90 years later still reverberate throughout the genre as the apex.

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What We Do in The Shadows (2014, Jermaine Clement, Taika Waititi)

This cult horror-mockumentary has since spawned an equally impressive TV series, but this original outing from the minds behind Flight of the Conchords and Eagle vs Shark is one of the most hilarious genre-crossovers since This is Spinal Tap. The premise is simple enough; a documentary crew are given access to a house populated with vampires. But what this film does exceptionally well is build on the mythology whilst consistently pulling out genius moments of comedy and superb character development. It is one of the kind of films where the less said about it going in, the more you will likely enjoy its sense of humour and stylistic framework, and is one of two of a potential Taika Waititi double bill…

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Hunt for the Wilderpeople (2016, Taika Waititi)

Comedy is probably what people need in spades right now. Fortunately, Taika Waititi happens to be one of the funniest filmmakers around, and two of his absolute best before he rocketed off to Marvel and Star Wars are around to check out. Hunt for the Wilderpeople is perhaps the best example of his ability to balance off-kilt humour and heartbreak, with delicately measured performances from Sam Neill and breakout lead Julian Dennison. A national manhunt begins when a rebellious kid and his foster uncle go missing in the wild New Zealand bush, leading to bizarre and heartwarming escapades that are a wonderfully timed bit of escapism for those craving the great outdoors.

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American Psycho (2000, Mary Harron)

Bret Easton Ellis’ iconic novel was given a brilliant adaptation by Mary Harron in 2000, with the glowingly charismatic Christian Bale embodying Patrick Bateman, a seemingly usual Wall Street executive whose mask of normalcy begins to slip and fade, revealing a bubbling psychopath waiting to get out underneath. Working fundamentally as a satire of the ultra-rich, American Psycho is one of the most endlessly quotable pitch-black comedies of all-time. Bale is absolutely transformative, as has become his trademark, getting lost in sadistic and cynical monologues as he slowly begins to lose his grip on sanity. But it’s okay, because everyone around him is so invested in money that they can’t tell.

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Mommy (2014, Xavier Dolan) in French with English subtitles

Xavier Dolan broke through into cinematic royalty by the time he was in his mid-20s, and Mommy is possibly his undisputed masterpiece so far. Taking pleasure in the melodrama, this unusually shot film (1:1 aspect ratio) sees a hard-working widow trying to raise her problematic and violent child alone. Hope is found, maybe, when a mysterious neighbour begins to integrate herself within their family dynamic. It’s a beautiful story, it’s heartbreaking and life-affirming, featuring a trio of bravura performances and despite the fact it can be a bit scrappy at times, it is never anything short of totally arresting.

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No Country For Old Men (2007, Joel & Ethan Coen)

The Coen Brothers are by now one of the most universally adored and acclaimed filmmakers of a generation. From the gritty Blood Simple, through to the deadpan Fargo and stoner classic The Big Lebowski, they have successfully crafted a cinematic canon that few in history have had the ability to rival. But somehow, even with at least half a dozen classics under their belt, the greatest achievement to date for the brothers is No Country For Old Men. Adapted from the Cormac McCarthy novel, this hard-boiled thriller sees a hunter stumble on a dead body with $2m in cash next to him. Opting to take it puts him in the crosshairs of the absolutely unstoppable Anton Chigurgh (Javier Bardem in one of the best on-screen performances of all-time). The cat-and-mouse thriller takes twists and turns aplenty in its epic rural Texan background. It exists as one of the most gripping watches of the last twenty years and demands to be seen. And we are all stuck at home still, so go for it.

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Top 10 Films to stream on Netflix UK

These are weird times. Every five minutes there’s conflicting and speculative articles circulating every avenue they can to get to us about Covid-19, to a degree that is just as contagious as the virus itself. Sometimes it’s pretty great to switch off from all the Draconian gloom that buzzes from our phone screens and relax with a great film. There’s a transformative aura to filmmaking done not just well, but superbly. It can act as a catalyst for our own (sometimes desperately) needed escapism just as much as an outlet of cathartic emotional release. Or it can just be mindless shit to be hungover in bed to, eyes weighing you in and out of consciousness where there’s no prerequisite of understanding earlier narrative jumps in order to piece together what’s happening. Shit like John Wick, you know? Great shit, though. Anyway.

I’ve been scouring the seemingly endless catalogue of Netflix for many years now, some would call it a profession and others a humongous waste of time. It can be hard to pick a film when you don’t know what you’re in the mood for. Do you want some foreign Horror or some classic creature comfort? Ah, who knows. It’s like asking someone what they want for dinner and they reply with “I don’t know” – and then you offer multiple options that are met with utter indifference. Well, I’ve found 10 gems on Netflix that may hopefully disperse any mind-numbing scrolls.

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You Were Never Really Here (Lynne Ramsay, 2017)

Joaquin Phoenix is one of the most incredibly versatile actors of our age. If that doesn’t sound right to you, check out The Master, Walk The Line, Joker and this dark drama from visionary filmmaker Lynne Ramsay. You Were Never Really Here has the makings of being a typical revenge story, wherein Phoenix plays PTSD-riddled Joe, a man so fractured by his past he struggles to see any future. Making a job enacting justice over sex trafficked young girls, Joe is pulled into a conspiracy over Nina, a young daughter of a senator. Any notions that this will be a run-of-the-mill blood-soaked saga will be knocked out of you within ten minutes, as this isn’t about a man on a mission as it is an introspective study of a man who struggles to continue existing. Sounds fun, right? Bonus is Jonny Greenwood did the soundtrack and absolutely nails the frayed, disconnected tones of the taut, 89-minute thriller that will stick around long after it finishes.

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Lady Bird (Greta Gerwig, 2017)

Greta Gerwig has transitioned from Golden Globe-nominated actress to two-time Oscar-nominated filmmaker, and her first solo directorial effort is the beautiful coming-of-age dramedy Lady Bird. Saoirse Ronan is such a joy to watch in this film about a Catholic schoolgirl in Sacramento who is constantly at odds with her like-minded mother, navigating the final term before college and finding first love. It’s so often hilarious and emotive in equal measures, the script so airtight it doesn’t miss a beat and the direction so self-assured that there isn’t an ounce of fat in this 94-minute masterpiece. Every character feels fleshed out enough, unique enough and paced to perfection, and the soundtrack from Jon Brion captures the youthful angst and blossoming of adulthood to a t.

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Kiki’s Delivery Service (Hayao Miyazaki, 1989)

Hayao Miyazaki is the undisputed legend of animated movies over the last thirty years. It’s easy to jump to the Pixar classics, but Miyazaki has such an environmentalist approach to making films, that are so meticulously designed and fascinating to behold and differ so much in narrative form that it any one of his films could be on this list. Netflix have done the best thing ever (until Seinfeld comes on in 2021) by obtaining all of the greats – Princess Mononke, Spirited Away, Nausicaa of the Valley of the Wind to name a few – but Kiki’s Delivery Service is just so wholesome and visually arresting that I’ve opted for this. It’s as simple a tale as a young witch making a living in her own town delivering goods to folks. But it’s also the sweetest tale of helping one another and finding a sense of community, something that is beyond relevant right now.

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The Wailing (Hong Jin-Na, 2016)

Horror isn’t everyone’s cup of tea – throw in a 156-minute run-time and the fact it’s in Korean and this is probably not going to appeal to many people. But, for those who are open (or bored enough), if there’s one amazing thing to come out of the huge success of Parasite it’s the open door to experience other fantastic genre pieces that stem from Eastern Asian cinema.

The Wailing tells the story of a small Korean village that soon finds itself plagued by a strange sickness that draws in a local Policeman whose daughter begins to fall victim to it. It’s a surreal horror, one that mixes in some comedy and deep familial drama, but it is one of the most visually striking Horrors I’ve ever seen, with a story that constantly peels back layers of depth and to top it off, it has one of the most memorable endings. It’s really fucking cool and should be a must for any fans of the genre.

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Lost in Translation (Sofia Coppola, 2003)

Sofia Coppola earned herself an Oscar for Best Original Screenplay for this wry comedy that sees Bill Murray and Scarlett Johannson at their near-best as a mismatched, lonesome duo who embark on a series of escapades in Tokyo. Murray turned out a deadpan knockout performance as the faded actor who finds a kindred spirit in the young philosophy major in Johannson. Pitted against the cultural differences as well as being thousands of miles from home, this is a bittersweet and nuanced story that is for sure a comfort watch.

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Annihilation (Alex Garland, 2018)

Following the success of his 2015 Oscar-winning science-fiction debut Ex Machina, Alex Garland continued down the conceptual rabbit hole with Annihilation, an adaptation born out of a dream-like rendition of the novel by Jeff VanderMeer that sees Natalie Portman star as a biologist who signs up for a dangerous mission into a mysterious zone that doesn’t abide by the laws of nature, in order to find out what happened to her husband. It’s a tripped out, existential science-fiction soaked in atmosphere from the off, with shades of body horror and a beating heart at its core, bolstered by a phenomenal ensemble including Oscar Isaac, Tessa Thompson and Jennifer Jason Leigh.

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Marriage Story (Noah Baumbach, 2019)

This compassionate study of a marriage coming apart and the impact on a family that vies to stick together is one of the best Netflix originals there has been. Noah Baumbach writes and directs this incisive drama that stars Adam Driver and Scarlett Johannson as the couple who option a divorce. Where the film works is in its patchwork narrative that doesn’t place the blame on either individual but instead hones in on the human elements of a relationship and the result is a sweeping and heartfelt film that options for hope in a circumstance where normally one party is vilified – and the two central performances are absolutely mesmerising in every scene.

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Nightcrawler (Dan Gilroy, 2014)

One of the biggest Oscar shocks (despite the constant lack of diversity) of the last decade was Jake Gyllenhaal not receiving even an Oscar-nomination for his unrecognisable embodiment of the elements of mass media that are most toxic as Lou Bloom in Nightcrawler. Oozing an eerie charisma in every syllable and facial movement, Gyllenhaal crafts a true villain that speaks to our life and times. Starting off as a makeshift photographer of crime scenes for news outlets, Bloom soon sets off on a path of morbid ambition, blurring the line between voyeur and perpetrator. Riz Ahmed is remarkable in his role, a victim in every sense to Bloom’s inherent charm and passion, and creates a brilliant dynamic to this timely thriller.

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Uncut Gems (Josh & Benny Safdie, 2019)

An absolutely exhilarating, excruciating, anxiety-attack inducing piece of cinema from the incredible Safdie Brothers (their other exceptional gritty crime film Good Time is also on Netflix and worth checking out) pits Adam Sandler in to the pinwheeling lunatic brain of NYC jeweller Howard Ratner. He lives and breathes gambling, so addicted he fails to see the encroaching adversaries lurking around every corner in his undying pursuit of the ultimate win. There’s a lot happening in every scene, with gritty cinematography and an eclectic soundtrack from Daniel Lopatin (better known as Oneohtrix Point Never). Lakeith Stanfield offers a sublime supporting performance alongside Kevin Durant, Idina Menzel and Julia Fox. This film is straight up bat-shit crazy fun, and you need to experience it.

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The Guilty (Gustav Moller, 2018)

Taking a minimalist approach to cinema creates unique opportunities to hone your craft when it comes to direction and writing. Gustav Moller does exactly that with his thrilling, twisty crime film The Guilty. Taking place entirely within the confines of a police office where a desk cop answers a series of seemingly innocuous calls. Mostly drunks and pranks – until he is contacted by a kidnapped woman. This film is the shortest on the list, clocking in at 84 minutes, and it doesn’t waste a minute getting in to the tense and escalating stakes as every scene reveals shocking information, both about the main character and the events unfolding on the other end of the line. It is so well-balanced and has a brilliant payoff, with a dedicated lead from Jakob Cedergren.

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Aaaaaand that’s it. Hopefully there’s something on here for you, and if not? Well, sorry about that. Back to scrolling.

Top 10 Films of 2019 for the Quarantine

Theatrical releases are a weird one, especially now that we have a global pandemic completely resurfacing the landscape of how we engage with films. Universal have prompted an interesting perspective in this conversation by allowing folks to rent new cinematic releases on their respective VOD. Traditionally, and most especially with prestigious film titles, they will have a limited run in US cinemas in order to qualify for the Awards that everybody wants to get. Here in the UK, we have to wait some time – so when I say Top 10 Films of 2019, I mean films that were 2019 productions – even though some of these have only entered cinemas here over the last couple months. Anyway, enough of that parameter-setting introduction.

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10. The Farewell

Lulu Wang writes and directs this semi-autobiographical comedy drama starring Awkwafina as a young woman who returns to China for a wedding that’s been set up as a reason for her family to gather and say goodbye to their beloved Grandmother, who is terminally ill.

It’s a beautiful thing when a film manages to make you laugh before delivering a gut punch, something that requires a deep-seated understanding of the emotional nuances of genre as well as timing. The Farewell manages to do this so much to such great effect that it is more than deserving of all the praise it received, including a well-earned Golden Globe win for the lead. Both a statement on the cultural expectations of family from East-to-West as well as a love letter to the inevitability of death and the celebration of life, The Farewell is a gem that completely blindsided me with how subtly it gets itself under your skin before delivering a third act that is completely heartbreaking and heartwarming in equal measures.

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9. Knives Out

Rian Johnson broke out with the intuitive and singular teen-noir film Brick back in 2005, before finding blockbuster successes with Looper and Star Wars VIII, so to see him dial back the sci-fi finesse and create a whodunnit in the vein of Agatha Christie was an exciting prospect, especially considering the sheer talent of the cast involved. Toni Collette, Ana de Armas, Chris Evans, Michael Shannon, Lakeith Stanfield and Daniel Craig to name a few.

Centred on a prolific author who is found dead, this twisty-crime caper sees a rich family all fighting over the will, with a private investigator (Craig) hired anonymously to look into matters. What unfolds is a brazen, cleverly orchestrated and often-hilarious two hours of madcap scheming and plotting that all indicates Johnson’s contempt for the ultra-rich. Seeing a family of prestige turn into vulturous creatures at the thought of inheriting a fortune, along with all of the intricacies in their dynamics, is so much fun because the script and cast are air-tight in their craft. And though some of the pieces may form quicker in your mind than the narrative, it manages to keep enough tricks up its sleeve to keep you guessing until the end credits.

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8. Booksmart

I’m a huge fan of coming-of-age comedies – films like Dazed and Confused and Lady Bird sit near the very top of my all-time favourites – and Booksmart is another incredible contemporary entry into this sub-genre. Olivia Wilde starts her directorial debut so effortlessly, with such a fantastic and subversive cast of characters that buck the tropes of predecessors, it’s hard to see why it didn’t get more accolades.

Most of the chemistry is between Beanie Feldstein and Kaitlyn Dever, who are both so immediately believable as the two dedicated, straight-A students who find out that everyone who had a great time in high school also got into the same colleges as them. Alienated in their mindset, they set off for a night of debauchery to right the wrongs they feel they’ve made over the years. It’s a brilliant concept that is handled so gracefully that it seldom sets a foot wrong in its short run time. The cast is vividly realised and smartly written in a way that sidesteps conventions at every possible turn. It feels instead as though we are watching the evolution of this sub-genre rather than a spirited continuation, and it’s fucking hilarious.

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7. Ad Astra

Brad Pitt turned in two pretty spectacular performances in 2019, and back-to-back no less. In Tarantino’s meandering love letter blah blah he’s hands down the highlight, and in Ad Astra he is absolutely sublime as the fractured vessel of an astronaut who is sent on an interstellar journey to find his Father, who may be responsible for an attack threatening the existence of Earth.

What unfolds is a strangely disconnected, introverted science-fiction journey that left a lot of people I know unfettered by its efforts. What is essentially a story of the immutable distance between a father and son is stretched across the vastness of our universe and cast as a logic-defying Apocalypse Now-esque genre piece. The further from Earth Pitt gets, the less things make sense. The more random the things around him, the less value is placed on human life and the more he starts to question what it’s all for. Family is the core of this beautifully stripped back and patient blockbuster, and we have rarely seen a film of this budget strive so closely to the realms of Arthouse cinema in its execution. It’s absolute bewildering filmmaking, brave when it can be and reserved when it should be. And at its core is one of the most understated and delicate performances by Brad Pitt.

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6. Marriage Story

Netflix has come to the forefront of awards season conversations over the last couple years, mostly as a topic of debate amongst the likes of Steven Spielberg and the Academy itself. Does something that is released on a streaming platform really carry the same weight in prestige as the classic cinematic releases? Has the experience of going to the cinema been tarnished somewhat by the immediacy of hitting play and pausing on command at your convenience? A conversation like this is likely broadening by the second as the minutia of Coronavirus and its impact on release schedules continues to develop. But, keeping things December 2019, Marriage Story is a film of abject beauty, a high-wire act of balancing the humanity of a deteriorating relationship where neither party is a villain or particularly heroic. They are simply a family, weathering something commonplace in society today, in a way that is humble, funny, engaging and emotional all at once, bolstered on the back of three incredible performances in Adam Driver, Scarlett Johannson and Laura Dern. It’s a quarantine must.

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5. 1917

Sam Mendes has become accustomed to the blockbuster filmmaking foray, directing the last two Bond entries Skyfall and Spectre. After taking some time away, his next project proved to be a deeply impressive, technically proficient WWI story that balances the weight of time against two Privates sent to warn 1600 troops from walking in to certain death.

Roger Deakins bagged his second (very well deserved) Oscar for his incredible work on this picture. Shot and edited in order to look like one (okay, two) fluid take, what could have been gimmicky ended up becoming immersive in a way few War films are (Dunkirk springs to mind, with a similar focus on timelines). Full credit goes to George Mackay for his physical commitment to the lead role, literally put through hell and back on a journey that is a harrowing insight into the horrors of a war rarely depicted on this scale.

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4. Uncut Gems

I’m a huge fan of the Safdie brothers – they put Robert Pattinson on the map in a big way after his transformative performance in Good Time, and here they follow up their anxiety attack-inducing thrills with Uncut Gems.

Adam Sandler puts in the performance of a lifetime as Howard Ratner, a NYC jeweller with a crippling gambling addiction, whose mounting debts threaten to consume his life. When he comes into possession of an ultra-rare opal, an odyssey of high-stake bets follow, the threats slowly escalating to a boiling point that will either break him, or give him the win of a lifetime. It’s searing, enthralling cinema that travels at 100mph for over 2 hours, without so much as a minute to catch your breath. It’s unnerving, like being taped to the pinwheeling brain of a lunatic, and by the end of it you come out not knowing what the fuck just happened but being glad you’re a part of it. It’s ballsy filmmaking, and it’s exactly what we needed.

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3. Little Women

Greta Gerwig is one of the most impressive filmmakers of recent years. With only two films (the other being the five-time Oscar-nominated Lady Bird) she has made incredible steps in style, scope and precision. Based on the beloved novel, Little Women follows the March sisters, who grow up during and after the Civil War, facing poverty and societal expectations.

Saoirse Ronan is exceptional as always, carrying the main arc of the story effortlessly as the begrudging older sister Jo March, who dreams of being a writer in a world dominated by male publishers who think they know what literature is or should be. Florence Pugh however breathes life into Amy, and is perhaps the dark horse of the entire film. Strong-willed and intelligent, she is the heart of a film that feels alive at every moment. Greta is a master of knowing exactly when to pull on the emotional threads, and there are plenty of those in this film, but that’s not saying enough about her direction. Every single moving piece comes and goes with perfect timing, the narrative a seamless blend of past and present, love and loss, beauty and the ugly truths of family, all tied up with a fantastic ensemble performance and a gorgeous score from two-time Oscar-winner Alexandre Desplat.

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2. The Lighthouse

Robert Eggers has carved out a distinct cinematic voice with his previous film The VVitch and now this hallucinatory and hypnotic, surrealist vision The Lighthouse.

Robert Pattinson goes head-to-head with Willem Dafoe as two lighthouse keepers stranded on a desolate island in the 1890s, attempting to hold on to a semblance of sanity as the storming seas rage around them, a strange mythology threatens to curse them and alcohol seems to be the eventual manner in which to pass the time. This is a very special kind of horror, one imbued with components that span the entire history of film itself. German expressionism harkens with some of the close-up shots of Pattinson, who is mesmerising in his descent into insanity by way of seafaring superstition and mythos of unkown etymology. It’s batshit crazy, hilarious and for a time where we are all staring down the barrel of a 12-week isolation stretch, this could very well be the way things go. I mean, hopefully not, but I can see a surge of drunken shanty dances going viral by week 3. It’s a film that buries itself in your subconscious, with striking imagery that lingers for a long time after the film is finished serving up its endless barrage of head-scratching turns. It’s absolutely magnetic in its remorseless shrugging of what mystic world we have entered, and it is absolutely one you will struggle to forget afterwards.

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Honourable Mentions: Le Mans ’66, Midsommar, Joker, 1917, Jojo Rabbit, Thunder Road, Eighth Grade, The Sisters Brothers

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1. Parasite

Bong Joon Ho has long been an international filmmaking phenomenon, with an incredible finesse for genre-merging and blending. Memories of Murder is a taut crime thriller with a strong vein of humour in its body, The Host an amalgamation of political and environmental outrage satirised in a monster movie, and Mother being a story of lifetime persecution, scapegoating and maternal panics. Class has long since been a thematic staple of Bong’ cinema, particularly in films such as Snowpiercer, where the entire class system is embodied in a horizontal moving train.

Parasite managed to do the impossible. It translated universally, making over $250m and breaking down the Oscar barrier by taking home the Best Picture accolade, the only ever foreign language film to do so. And it took home the Best Director and Original Screenplay statuettes for good measure. And all of that is not for nothing. This film is Bong’s masterwork, a hybrid creature that will make you laugh, make you sit on the edge of your seat and make your cry in its succinct and bullet-fast pacing.

The film centres on the Kim family, all unemployed and residing in a semi-basement, who grasp at a golden opportunity when their son, Ki-Woo, begins tutoring English to the daughter of the affluent Park family. What begins as an innocent statement on class divide and the extent lower-class families will go to for financial stability, albeit said with tongue-in-cheek humour, soon devolves into a Hitchcockian thriller of profoundly shocking execution, before culminating in a melancholic soliloquy for the state of the world today. It is a script force of nature, acted to perfection and edited with aplomb, giving this absolute masterpiece a legacy that will ripple through the history of film from here on out. There is a new standard of filmmaking on display here, one that Bong himself states as ‘a comedy without clowns, a tragedy without villains’. It’s the closest thing to perfect 2019 offered, and the closest thing to perfect as anything I’ve seen.

 

 

 

 

 

Top 20 Films of the 1990s, Part II: Films 10-1

Here’s Part II of the Top 20 Films of the 1990s. It’s a hard list to condense down in to just 20, because there are some killer films that have just missed the cut, but there’s a heavy dosage of my own personal favourites, and I’m sure number 1 won’t be of much surprise to people who know me. Either which way, enjoy and let me know what you think:

 

10) Dazed and Confused – 7.7 on IMDb and 78 on MetaCritic
Released: 1993
Directed by: Richard Linklater

Breaking in to the Top 10 is the 1993 Richard Linklater flick, Dazed and Confused. Set over the course of one long day and night, this story focuses on the tribulations of Seniors leaving school, and Juniors coming in as Freshmen. There’s a brilliant coming-of-age story that permeates throughout this fun-filled, laid-back ride through 1976 – set to an incredible soundtrack that features tracks from Bob Dylan, Aerosmith and Ted Nugent. There’s not much to say, because Linklater lets the narrative unfold in its own time. Instead, it just feels like we’re hanging out with these groups of friends, playing pool with cigarettes, driving with joints, throwing bowling balls through windshields. It never gets old, bearing multiple repeat viewings for the sake of re-capturing all these brilliantly realised characters and all the troublesome antics they cause. It’s about living life the way you want to, not what other people want you to, and there’s a staple of malaise and youthful meandering present throughout. It’s all subtly underscored by the thematic device of signing a sheet for the baseball coach – one that states no drugs or alcohol. Randall “Pink” Floyd is the protagonist in this spinning wheel of ensemble cliques, and is brilliant as the glue that holds all the various groups together. Plus, it’s got Matthew McConaughey as lovable stoner Wooderson. What more can you want?

 

9) The Usual Suspects – 8.6 on IMDb and 77 on MetaCritic
Released: 1995
Directed by: Bryan Singer

Kevin Spacey really nailed the 1990s. If he’s not the John Doe in Seven, he’s winning an Oscar in American Beauty – but before that Oscar came the one he picked up for this 1995 crime masterpiece, The Usual Suspects. The film centres on the last surviving person after a blood-bath on a boat. The police take him in and question the events that led up to the death of dozens. And that person is none of that than Verbal Kint, a small-time crook with a physical disability. Kevin Spacey is fantastic from the first shot to the last in this saga, as he weaves for the police a recollection of everything that happened over the last few months – starting with a random police line-up.

It’s got shades of noir, and is confident in its execution – though it seems a little slow-paced, there’s enough tantalising dialogue that exudes from every larger-than-life cog in the make-shift gang. It’s clever, always one step ahead of the viewer, and without a doubt helped to re-write a few rules of cinematic storytelling. If ever you want a film that perfectly encapsulates everything a final act should be, it would be The Usual Suspects. Tension ratchets up in the final half hour, which showcases the events that the film centres the aftermath on. It’s brooding and efficiently shot by Bryan Singer, and is one of the most successful tweaks on the crime narrative in recent years.

 

8) The Silence of the Lambs – 8.6 on IMDb and 84 on MetaCritic.
Released: 1991
Directed by: Jonathan Demme

This is another flick I’ve done a post on before, so I won’t stick it too long on here. It’s an immediately engaging, twisty-turny thrill ride that takes FBI agent Clarice Starling into the jaws of hell, in the form of Hannibal Lecter, in order to locate and subdue an at-large serial killer known simply as Buffalo Bill.

It’s grisly, it’s effective, it’s incredibly smart filmmaking that toils with expectations before throwing them aside to leave you aghast – and it’s bolstered by one of the most insatiably sinister villains of all time, played magnificently and unrelentingly by Anthony Hopkins. It threw a slew of sequels at us in the coming years, but none matter half as much as The Silence of the Lambs.

 

7) Saving Private Ryan – 8.6 on IMDb and 90 on MetaCritic
Released: 1998
Directed by: Steven Spielberg

There were few war movies in the 1990s as painstakingly epic, sweeping and riddled with emotion. The Thin Red Line deserves a mention, but of course it is Spielberg whose war-time search for a soldier makes it into the number seven spot.

With a strong cast and one of the most jaw-dropping opening half-hours of cinema, Saving Private Ryan more than earned the acclaim it received, picking up 5 little golden men at the Oscars. Tom Hanks is another actor who made the 90s his own personal acting bitch, and he is phenomenal as the hard-headed Captain Miller. Pitch perfect with emotional nuances, Hanks is the leader of the pack searching for Private Ryan (Matt Damon), the last surviving brother whose Mother wants him home safe. The cost it comes at is a gruelling, beautiful and patriotic journey through war-torn France, where the odds are forever stacked against this 8-man team. Spielberg predictably hones in on the emotive nature of the mission, as well as the subtle yet defining characteristics of each soldier. They’re all desperate men seeking refuge in their own way, and it makes for some remarkable film history, making the War-genre forever better for its effort.
 

6) Forrest Gump – 8.8 on IMDb and 82 on MetaCritic
Released: 1994
Directed by: Robert Zemeckis

Speaking of Tom Hanks making the 90s his personal bitch, Forrest Gump is the 1994 drama centred on a mentally disabled man and his remarkable presence in several historic events. From the jiving of Elvis to the buttock-shot Vietnam war, Forrest is a man who is considered simple – but has in fact lead one of the most memorable, fascinating lives of anyone around.

It’s a beautiful message, and one that hinges upon the performance of the lead character. Luckily, Tom Hanks is as convincing in this role as he is in every other performance ever. I mean, this is the guy that made watching a stranded man talk to a blood-stained volleyball great. He’s pretty much golden, and doesn’t skip a thematic beat in this vignette of life. It’s got a great soundtrack attached to it, and as always there’s a love story residing underneath. One that accentuates the emotional nature of the story, and one that ends in heartbreak. It’s a timeless story that gave us an wholly unique and lovable protagonist in Forrest, and one that swept the Oscars (in the same year as Pulp Fiction, no less). It’s the best work of Robert Zemeckis by a long shot, and rests comfortably in the annals of film history because of it.

 

5) Toy Story – 8.3 on IMDb and 92 on MetaCritic
Released: 1995
Directed by: John Lasseter

And that’s three in a row for Tom hanks. 90s. Acting. His bitch.

This animated flick was the first from Pixar, and set the bar sky-high for its lovable array of characters and near-perfect execution of a great concept. Woody is the most loved toy of Andy, and is pretty much the literal sheriff to the rest of the toys. Acting as spokesperson and mentor, the films starts with the necessary preparations for a house move that is just one week away. Everything goes to shit when they realise that Andy is having his birthday celebrations early – and soon enough, Woody is usurped by Buzz Lightyear, the coolest toy kicking it in this galaxy.

There’s a wonderfully realised human element to this story that centres on inanimate objects, and they all feel as real as the humans around them. Riddled with clever ideas and a funny script that makes use of every character’s quirks, Toy Story is a brilliant introduction to one of the most successful and ingenious production companies around. The sequels are also brilliant, but it is this first one that came around in 1995 that really re-defined the constraints of animation and voice acting. Visually pleasing, tonally on point and endlessly re-watchable at just 79 minutes, Toy Story is a classic in every definition.

 

4) The Matrix – 8.7 on IMDb and 73 on MetaCritic
Released: 1999
Directed by: Lana and Lilly Wachowski

Again, I’ve done a post fairly recently on this – so I’ll keep it as succinct as possible. Visually ground-breaking, featuring break-neck stunts and CGI, this sci-fi tale focuses on an everyday hacker who soon realises the truth about the world around him, and his role in the wars to come.

The first in a trilogy that rapidly plummeted into the inane, this first and best is one of the most complete packages in a film. Jaw-dropping action set pieces, a resounding story teetering above it, and a cast of slick-as-you-like characters all culminate in this effortlessly stylish action-thriller that re-defined the scope of Sci-Fi storytelling and introduced us to the coolest invention ever: those gravity-defying sunglasses Morpheus wears that have no arms. Maybe not the coolest thing ever, but I did spend a long stretch of my youth contemplating the physics behind it all.

 

3) The Big Lebowski – 8.2 on IMDb and 69 on MetaCritic
Released: 1998
Directed by: Joel Coen, Ethan Coen (Uncredited)

The Coen Brothers released a slew of cinematic gems in the 1990s, ranging from Miller’s Crossing in the opening year of the decade, to the Oscar-winning crime fuck-up, Fargo. But it’s their sweeping, stoned envisioning of a crime-noir in the form of The Big Lebowski that squeezes into the Top 3.

Firstly, there’s something about this film that you have to be aware of before watching it: narratively, it’s really about nothing. But that’s not the point – Jeff Bridges is electrifying and hilarious as Jeffrey “The Dude” Lebowski – and he transports us through all the ups, downs and strange turns in this uproarious and, at times, surrealist flick. The best scenes are perhaps the most elusive, narratively, which focus on The Dude’s hallucinatory dreams that mostly involve bowling. In fact, you could say that’s what this film is really about: dude’s that want to bowl. There’s a lot more kicking it in this laid-back hilarious ride through the Coen brothers warped heads, and there’s elements that are lifted from The Big Sleep, albeit in a subversive manner. It’s a strange concoction that all starts with a case of mistaken identity and a soiled rug. It really tied the room together. John Goodman is as brilliant as I’ve seen him as the short-tempered, Vietnam-obsessed friend of the dude, Walt, and most of the laughs come from his exclamatory tendencies that more often than not end with him stating “Shut the fuck up, Donny”. It’s a film that sometimes goes over people’s heads, but it’s one of my all-time favourites and is one of the stand-out cerebral flicks of the 90s from the genius brains of the Coen brothers.

 

2) Fight Club – 8.8 on IMDb and 66 on MetaCritic
Released: 1999
Directed by: David Fincher

David Fincher comes up again in the number 2 spot for this 1999 mind bender starring Edward Norton and Brad Pitt. Somewhat overlooked in its release, this film garnished one solitary Oscar nomination – for best Sound Effects Editing. Somewhat staggering, considering how iconic this film has become, both for its rhetoric on consumerism and for its brilliant upside-down third-act that exits on the legendary Pixies track, ‘Where is my Mind?’.

Edward Norton is the Narrator, whose life is chaotic and constant. Meeting Tyler Durden, a soap salesman played charismatically by Brad Pitt, the two strike a bond that slowly escalates from philosophical to physical to… An underground terrorist organisation. It’s all shot with pinpoint precision by David Fincher, who utilises clever cinematic tools to construct a paranoid insight into contemporary society, ruled by materialistic things and people. Turning this upside down, the fight club becomes an expressionist form of humanity. It’s rich in subtext, and adapted brilliantly from the Chuck Palahniuk novel of the same name. Fight Club is a clear inspiration to filmmakers and TV shows now, most notable in recent years in the form of Mr. Robot. Utilising a similar end-game and characterisation, Mr. Robot owes a lot to the concepts so rousingly portrayed in this dark, humorous vision of our times. Fincher’s best to date, and that’s saying a lot.

 

Honourable Mentions: – Trainspotting – L.A. Confidential – Schindler’s List (Will be featuring this on a list just around the corner) – Leon – Life is Beautiful – The Green Mile – The Lion King – Reservoir Dogs – Lock, Stock and Two Smoking Barrels – Good Will Hunting – Heat – Fargo – The Truman Show – Twelve Monkeys – Groundhog Day – La Haine
 

 

 

1) Pulp Fiction – 8.9 on IMDb and 94 on MetaCritic
Released: 1994
Directed by: Quentin Tarantino

A few years back I threw together an insanely long review on this film, which is either my all-time favourite film, or number 2 behind There Will Be Blood depending on my mood.

Instead of boring you all with another 2,500 diatribe on my feelings towards this film, you can head over to this link and read it for yourself – hope you enjoy:

https://lazyfilmblog.wordpress.com/2014/05/14/pulp-fiction-review-its-a-long-one-guys/

 

There’s the list for the 1990s! Next I’ll be doing a Top 5 list of Films you can’t re-watch, focusing on the disturbing but brilliant films that have been and gone that you can love, but not watch again. Let me know your thoughts on this list, and thanks for reading through this letter-fest that has been the Top 20 Films of the 1990s!

 

Top 20 Films of the 1990s, Part I: 20-11

This is the first of a two-part list that will list the Top 20 films of the 1990s. It was a groundbreaking decade that brought forward some of the most incredible directing talents of our time, and so many films that re-defined the constraints of genre. Originally, I was going to do a Top 10 – but there was simply too many incredible films that I love, so I’m upping it to 20. This list will feature films that helped widen the scope of narrative form and genre, showcased action packed storytelling and character depth, and will be mixed with a healthy dose of my own personal opinion. Part II will follow in a couple days:

20) Princess Mononoke – 8.4 on IMDb and 76 on MetaCritic.
Released: 1997
Directed by: Hayao Miyazaki

Kicking off this Top 20 list is the Hayao Miyazaki’s 1997 effort, Princess Mononoke. Centring on a boy plagued by the Tatarigami curse and seeking a cure, he soon ends up caught in a war between the Forest Gods and a mining colony. There’s already a pretty stark statement on ecological issues and the concept of what deforestation does to an environment, but that’s barely scratching the surface of this beautifully animated and written cautionary tale. At times it is vivid and beautiful in design and texture, foregoing dialogue for passages of silence to really hone in on the idyllic nature surroundings. But Mononoke is also a brooding, dark tale that is capable of sharp and poignant violence to remind us of what is at stake. The most interesting part of this film is undoubtedly the forest creatures and gods, who come out in silhouettes and watch on, as though they were some sort of omnipotent being, but their physical presence is in the final act, which is one wrought with tension and some well-placed twists in the story. Perhaps a little darker than 2001’s Spirited Away, Princess Mononoke is a fascinating and masterfully made piece of cinema from the late 1990s.

19) Magnolia – 8.0 on IMDb and 77 on MetaCritic.
Released: 1999
Directed by: Paul Thomas Anderson

Next up is the 1999 epic from my all-time favourite filmmaker, Paul Thomas Anderson. Magnolia is a story of several characters in the San Fernando Valley, told across one day, as they find love, meaning and happiness. It’s a mosaic of tortured souls finding their place in a world that is filled with coincidences and twists of fate – ones that lead characters to do bad things for good reasons, and good things for bad reasons. It’s certainly an epic, clocking in at 188 minutes, and it’s all by design. Paul Thomas Anderson soaks each and every frame with so much character that it can feel at times overwhelming, or at the very least uncomfortable, but as the stories all progress there’s a deeper understanding of what PTA is making a statement on. Sometimes life is so crazy and strange that it’s hard to ever believe that it’s true. That any of these occurrences could happen. But the film benefits from its firm self-belief that it can, and every single day on this planet of over 7 billion, it does. It’s a marvel of cinematic language and technicality bolstered by a fantastic ensemble cast that includes Philip Seymour Hoffman, Julianne Moore and a career-best performance from Tom Cruise.

18) American History X – 8.6 on IMDb and 62 on MetaCritic.
Released: 1998
Directed by: Tony Kaye

Keeping it bleak and not-so-cheerful on this list is the 1998 drama, American History X. This film focuses on the generational problems of racism by utilising the Neo-Nazi Skinhead movement as its looming antagonistic force. Derek Vinyard, played by Edward Norton to an Oscar-nominated level of intensity, is a reformed skinhead who sees his younger brother, Danny, going down the same path that he did years before. Jumping back and forth in the narrative, in black-and-white vignettes interspersed throughout, we slowly see the unveiling of Derek, as he haplessly gestates from being a vicious antagonist, a truly deplorable human being, to finding a semblance of hope in his life to turn it all around. It’s pacing is the biggest benefactor to this film and its quality, and there were rumours that Edward Norton ended up editing together the final cut against the wishes of Director Tony Kaye, but this peculiar format of filmmaking ended up being one of the most powerhouse films of the decade. Showing us the dangerous nature of racism and leaving the film on a bittersweet, blood-soaked ending, American History X is a film that buries itself under your skin for weeks, leaving you traumatised and disoriented.

17) Seven – 8.6 on IMDb and 65 on MetaCritic.
Released: 1995
Directed by: David Fincher

David Fincher has been subtly giving us the cinematic goods for some twenty-odd years now, and his 1995 crime epic, Seven (or Se7en), is undoubtedly the film that kick-started his career from Madonna music videographer and Alien franchise destroyer, and moved it into the realm of cinematographic perfectionism. Utilising the seven deadly sins as modus operandi for a serial killer is, without sounding too sadistic, a great concept. It bears a biblical subtext, provides a startling amount of graphic interpretations and makes for a killer as enigmatic as Zodiac himself. Throw in Brad Pitt as the cocksure, arrogant new cop Mills and Morgan Freeman as his partner Somerset, one week away from retirement and already tired of the world around him, and you end up with a brilliant, bloody and jaw-dropping cat-and-mouse thriller that utilises noir elements and pushes them into post-modern cinema with a literal bang. It’s at times breakneck and other times it can be a slow, moody scene that teeters with audience expectations. There’s twists abound as the final sin killing looms inevitably over the heads of Somerset and Mills, and the ending will forever be engrained into cinematic history as one of the most nail-bitingly horrific sculptures of recent times. It all boils down to how David Fincher weaves the story through the lens, however, and here he is in his element dealing with the abhorrent.

 

16) American Beauty – 8.4 on IMDb and 86 on MetaCritic.
Released: 1999
Directed by: Sam Mendes

Rocking in at 16 is the Sam Mendes-helmed Drama about Lester Burnham, a husband and father going through a rough mid-life crisis that leads him into an infatuation with his daughter’s best friend. It’s an emotionally poignant film, that is filled with humour and visual quirks, but hands down the biggest start of this film is Kevin Spacey, who claimed his second Oscar in just five years for his performance. Oozing a self-realised sense of charisma and charm, Lester slowly begins to lose faith in all the materialistic things around him – including his cheating wife – and soon enough, through his malaise and existential crisis, Lester is put on track for an untimely end. It’s beautifully underscored by Thomas Newmann, who cultivates a piano melody that wonderfully accentuates the subtle chaos of everyday life. It’s all fantastically realised by Alan Ball, the writer who also picked up Oscar-gold, reeling us in as an audience with fully fleshed out characters that feel worn into their roles from the first frame to the very last.

 

15) Boogie Nights – 7.9 on IMDb and 85 on MetaCritic.
Released: 1997
Directed by: Paul Thomas Anderson

Normally, I’d only allow one film per Director for a list, but there’s an exception: Paul Thomas Anderson, of course. Utilising an ensemble cast once again, PTA showcased his ability to make larger-than-life characters by the bucketful, throwing them into a blender and churning out a glitzy, glamourous look at the late 1970s porn industry, before the bleak turn of events in the 1980s. PTA watched a lot of porn (in a researching way, I’m sure) to prepare this film, and focused on the change up in style and form from 70s to 80s porn, specifically adapting dialogue from porn films he watched so that people couldn’t say “the dialogue is fake”. It’s an apt decision to make, and by utilising his own distinct feelings about the porn industry and linking it to the rise and fall of Dirk Diggler, PTA created a film that is filled with neat narrative tricks that shake-up the formula of any drama, always managing to keep it grounded in porn. The characters all scattershot themselves around in the two-and-a-half-hour run time, rising and falling – meeting grisly ends from drugs and violence – or finding a love and settling down, away from the limelight. Mark Wahlberg is fantastically well realised as Diggler, and brings a naïve charm to the role before the drugs kick in and he becomes an unstable wreck. It’s all set to a thumping soundtrack that is used contrapuntally to the events being depicted on-screen, and helps keep the tone consistent throughout – no easy feat for a filmmaker who was only 26 at the time of filming.

14) Jurassic Park – 8.1 on IMDb and 68 on MetaCritic.
Released: 1993
Directed by: Steven Spielberg

Steven Spielberg has without a doubt had one of the most pressing impacts on cinematic form over the last forty years or so. Bringing us stories that are other-worldly and being able to ground them in relatable protagonists is part of his charm, and concepts that are larger-than-life seem to be always that little bit better when Spielberg is behind the camera. And so, Jurassic Park – a film about the genetic splicing of dinosaur DNA that leads scientists, rather foolishly might I add, to open up a park filled with these prehistoric predators. On its preview tour no less, everything pretty much goes upside down and completely shits itself. Featuring (at the time) phenomenal CGI, Spielberg manages to create an environment over the first act that almost feels utopian, if not for the subtle underscores of something sinister waiting around the corner, and Sam Neill is the perfect choice for the lead character, Grant. Comic relief comes from the ever-strange but always-lovable Jeff Goldblum as Malcolm, and what starts out as a fascinating invocation of scientific innovation soon turns into pandemonium and a T-Rex chase sequence that’ll brings the intense goods to this adventure film like few others. There’s a formula over the top, but it’s easily distracted away by the constant one-liners and action sequences that teeter on to being aneurysm-inducing. It’s all good fun though, and the sequels inevitably came thick and fast – none quite matching the marvel of the original.

 

13) The Shawshank Redemption – 9.3 on IMDb and 80 on MetaCritic
Released: 1994
Directed by: Frank Darabont

This film holds the remarkable accolade of being Number 1 on the Top 250 IMDb list. I personally don’t agree, and think that the film has been somewhat overrated in its time. It’s a great film, no mistaking it – it has a beating heart underneath the soulless prison that it resides in – and Tim Robbins and Morgan Freeman are both monumental in their performances. It showcases the side of prison that isn’t spoken about a lot in films. The hopelessness, the time that fades away when you’re innocent, and the encounters with other prisoners. Tim Robbins holds this all together like super glue with his emotionally vulnerable performance, that would be considered career-best if not for Mystic River, but it’s the delicate and sparsely narrated scenes that evoke the most emotion. Who better for an internal monologue than Morgan Freeman, whose voice I could listen to all day every day, and its these moments that really get to the flesh and bone of this film and its message. Never lose hope, and for that reason I suppose I can understand why it’s number 1 on IMDb – it’s a message so universally relatable and wholesome that it is impossible to not cheer as Andy Dufresne comes out the other side. It’s perhaps one of the most striking images in the history of film, covered in filth and mud in a thunderstorm, but all the while still being victorious. It’s pretty heart-wrenching stuff, and picked up seven Oscar-nods for its efforts.

 
12) T2: Judgement Day – 8.5 on IMDb and 75 on MetaCritic.
Released: 1991
Directed by: James Cameron

Judgement Day featured on a list I did not too long ago, so I’ll keep this brief and try to keep the writing as fresh as humanely possible. Where to begin, anyway, with an epic that re-wrote the fundamentals of action films and re-introduced us to an already iconic character, only to make him more iconic? Every shot is a burst of zany brilliance from James Cameron, and is infused with a fantastic performance from Edward Furlong (who was equally as multi-faceted in American History X) and Arnold Schwarzenegger. Their chemistry gives the film more depth than its predecessor, as well as the fact that the antagonist is the liquid steel T-1000, a stone-cold bastard played by the glassy-eyed Robert Patrick. It was for sure the peak of this franchise, which has since seen a few different paths taken in Rise of the Machines, Salvation and Genisys. None of them come close to matching the scope of this 1991 epic, and it shows just how much it has stood the test of time.

 

11) Goodfellas – 8.7 on IMDb and 89 on MetaCritic.
Released: 1990
Directed by: Martin Scorsese

Topping off this first half of the list is the Scorsese helmed crime epic, Goodfellas, which details Henry Hill and his mob friends as they work their way up the hierarchy. What goes up in the crime world inevitably comes down, and in this sense there are parallels to be drawn between Goodfellas and Scorsese’s more recent film, The Wolf of Wall Street. Though it goes without saying, Goodfellas is infinitely better for its no holds barred approach to mob violence, the incredible triumvirate that lead the film (including an Oscar win for Joe Pesci), and for the attention to detail that only Scorsese can be responsible for. It’s a brilliant take on the crime genre, and showcases the moral dilemmas that inevitably come with being at the top – Ray Liotta breathes life force into Henry Hill, with his charming presence and contagious laughter, and Robert De Niro is, as usual, a looming and straight-cut gangster as James Conway. The most interesting part of the film is the rise, as it normally is. It’s kind of fun to see the trio work their way up, in fine suits and chomping cigars, more so than it is to see them fall. And that’s the magnificence of Scorsese’s work – he actually makes us feel something for these killing bastards. You almost forget that, unequivocally, these guys are bad. In any other film, they could be the antagonists and make for a damn fine set of them, too. But here, in this world that Scorsese cultivates for us, we’re on their side. The bad side. And it’s a load of fun.

I’ll be working on the Top 10 for a posting mid-week!

Top 10 Romance Movies

Romance. Aw, it’s always so much sweeter up on the big screen. It’s certainly more dramatic, either way.

And so here’s my Top 10 list of Romance Movies:

10) Let The Right One In

Yes, this list kicks off with a Horror-Romance hybrid. This little Swedish gem came out in 2008, and concerns a young bullied boy called Oskar and his growing romance with his neighbour, Eli, who harbours a sinister secret. That secret? She’s a blood-sucking vampire, of course (this was the year that also brought us, shudder, Twilight)! But it still, through the sinew and splatter, manages to be a wholly sweet and innocent love story that is as touching as it is engrossing. One to watch if it slipped under your radar, but don’t expect any glistening sun-vampires with a perfect jawline.

 

9) The Perks of Being a Wallflower

 

Written and directed by Stephen Chbosky, who also penned the book, The Perks of Being a Wallflower is based around introverted freshman, Charlie, who is taken under the wing of a group of Seniors.

It’s a heart-wrenching story, one that I was absolutely not prepared for, and it has always sat with me as being one of the most beautiful, goosebump-inducing films of its kind. The three leads are nothing short of exceptional in their respective roles, and though I had initially pegged this feature as many of its kind, (you know; those deliberating tear-jerking stories that purposely tug at our heart-strings shamelessly),  but several Kleenex tissues later I realised that I made a horrible mistake and that this film was, indeed, something wholly more meaningful and inspiring.

 

8) Annie Hall

And now for a Comedy-Romance. And who better to be at the helm (and lead male role) than Woody Allen. Ongoing controversy aside, Woody Allen is unquestionably one of the most talented filmmakers and writers of comedy ever. I mean, receiving 24 Oscar-nominations (4 of which he won) and managing to churn out a film every single damn year is an impressive feat. Sure, they’re not all bangers – To Rome With Love, for example – but when he gets it right, he nails it like no other.

So, the 1977 classic, Annie Hall, rests comfortably in my number eight spot. There’s something endlessly enjoyable about watching a neurotic Jewish nerd-type blundering a line of cocaine and blowing it all over his own face. That, and the chemistry between his Alvy Singer and the titular Annie Hall, played to Oscar-winning perfection by Diane Keaton. It’s an up-and-down ride of break ups and make ups, all  written so sharply that the jokes come at you with such endless ferocity that half of the punchlines may ride over your head on the first venture. Either way, a classic.

 

7) Her

Joaquin Phoenix is one of the best actors of our time. Whether he’s being a brutish prick in Gladiator, a PTSD-riddled war vet in The Master, he’s always convincing to a degree of immersion that few other actors encompass. And so, here he plays a loner writer who develops a relationship with an operating system.

With an Oscar-winning script penned by Spike Jonze (talent behind Being John Malkovich and Where the Wild Things Are), Her is bolstered by the eclectic cast that includes Olivia Wilde, Chris Pratt and Scarlett Johannsson as the aforementioned OS. It’s quirky weirdness, and at times it makes for an uncomfortable viewing experience – but that’s sort of the point. It’s meant to be a hyperbolic vision of the future, one that is subtly realised with great cinematography and designs. Los Angeles becomes Neo-Tokyo in this Romantic flick like no other, and Joaquin Phoenix is just too endearing and sweet to not watch at all-times.

 

6) Before Sunset

The second in the ‘Before’ trilogy (Sunrise before this, Midnight after), this continues the love-story established in 1995 with Before Sunrise between Jesse (Ethan Hawke) and Celine (Julie Delpy).

It’s hard to describe what this film is ‘about’ in so many words, as most of the film is about Jesse and Celine encountering each other in Paris and going on a really long stroll together, where Richard Linklater puts the camera in a place that lets us eavesdrop on their musings on life. It’s Romantic realism, none of this meeting in the rain and expressing love for one another lark, instead it’s got the humility of everyday life. Both actors contributed to the screenplay in their own way, which makes the characters feel fleshed out – no line of dialogue is meaningless as much as seems random, and no expression is wasted – it’s my favourite of the trilogy. But to be fair, all three are amazing pieces of work that deserve to be seen.

 

5) Blue Valentine

So, this film is absolutely heart-breaking. Utilising the patented non-linear storytelling format to the fullest, Blue Valentine criss-crosses through a contemporary relationship between Dean and Cindy.

From the sweet ukulele singing-and-dancing scene to the bruising realisation of married life, Blue Valentine doesn’t pull any punches in the drama department, nor does it try and dress up modern romance in any glossy, Katherine Heigl-bullshit. Throw in Grizzly Bear to write some original songs for the soundtrack and this film is bound to get the tears flowing. It’s all beautifully shot by Derek Cianfrance, who seems to enjoy putting Ryan Gosling through some sort of hell, much like he did in his follow-up film, The Place Beyond the Pines.

 

4) Punch-Drunk Love

Somehow, and it must have taken some sort of miracle, Adam Sandler managed to star in an incredible film. How can this be, I hear you angrily screaming at your screen? Paul Thomas Anderson, that’s how. With his energetic, fast-tracking camerawork that zips around the scenes with an art-house vibe, PTA and Adam Sandler managed to create a totally distinctive and wholly original love story.

Adam Sandler plays Barry Egan, a psychologically troubled man prone to fits of rage, who falls victim to a sex-line scandal involving a mattress salesman, finds a loophole in a pudding promotional deal and falls in love with Lena. It’s as scattershot as it sounds, and its all held in place thanks to a surprisingly great turn from Adam Sandler, ingeniously crafted long takes from PTA and a tonally pinpoint soundtrack from Jon Brion. The dialogue is sweet, the symbolism is endlessly debateable and the sweeping visuals showcase a true auteur of cinema at work.

 

3) 500 Days of Summer

This independent romance-comedy came out in 2009, and by the time the credits rolled the entire planet was submerged in Joseph Gordon-Levitt (or JGL) fever. And rightfully so, because he is straight up lovable.

Another non-linear piece of cinematic storytelling on this list, 500 Days of Summer details the relationship between Tom and Summer, played by the equally adorable Zooey Deschanel. The script has great jokes that seldom go into cheesy territory, the narrative twists and turns and gives us a smile before smacking it off our faces with that damn ‘Expectations/Reality’ scene, and the soundtrack is spot-on. From The Smiths to Pixies, it all fits together into the story without feeling tacked on. The chemistry between the two leads is another factor that drives this so high up the list. In fact, I still sometimes scratch my head wondering how Deschanel and Gordon-Levitt aren’t married in real life. And that’s how convincing they are in this film. Though it missed out on the big awards season goodies, 500 Days of Summer is one of the best films of 2009 and one of the best contemporary romantic comedies. Not the best, mind…

 

2) The Graduate

This 1967 classic from Mike Nichols actually inspired parts of 500 Days of Summer, and is mentioned in the opening few minutes as the basis for Tom’s outlook on “love”. And what a film to draw inspiration from, this Oscar-winning Romantic Comedy is an entirely different breed. Concerning the disillusioned college graduate, Benjamin Braddock, the film details his affair with his father’s business partner’s wife, Mrs. Robinson. You know, that Simon & Garfunkel song? It’s a classic, and for a reason.

The film benefits from brilliant visual cues from the director, not just gestating on the words on the page but instead embedding them within the story. The entire hotel scene with Mrs. Robinson is a marvel to watch, as well as the pool scene. Dustin Hoffman and Anne Bancroft are fantastic to watch opposite each other. The lust/love and regret is so well realised, and there’s an element of relatability to the theme of disillusionment after graduating college – the pondering on what’s next, the strange confusion, and all those big questions that need answers. It’s all captured within the film and accentuated by perhaps the best soundtrack on this list. And that ending is one of the best around.

 

Here are a few honourable mentions before I hit number one:

– Lost in Translation (2003, Directed by Sofia Coppola)
– Midnight in Paris (2011, Directed by Woody Allen)
– Moonrise Kingdom (2012, Directed by Wes Anderson)
– Moulin Rouge! (2001, Directed by Baz Luhrmann)
-High Fidelity (2000, Directed by Stephen Frears)

 

1)  Eternal Sunshine of the Spotless Mind

In the same way that Punch-Drunk Love manages to subvert the comedic expectations of an actor like Adam Sandler, Eternal Sunshine of the Spotless Mind does the same (to a better degree) with Jim Carrey. Michel Gondry directs an Oscar-winning script from Charlie Kaufman that centers on Joel Barish (Carrey), who finds out that his ex-girlfriend Clementine (Kate Winslet) has erased their relationship from her memory. In an act of desperation, Joel decides to do the same, only during the operation he begins to realise what exactly he’s erasing.

A wonderfully realised Sci-Fi Romance with a brilliant concept, Eternal Sunshine plays out almost in reverse – as the relationship unfolds from its bitter end to the solemnly sweet beginning, Joel begins to rekindle the love for Clementine. The frenetic editing and camerawork makes the idea of ‘deleting’ a memory seem not just plausible, but disturbing. The idea of losing someone you love, someone who, in a way, made you who you are, is one that seldom gets the attention it deserves in Romance.

Throw in career-best performances by Jim Carrey and Kate Winslet and another rousing and tonally adept soundtrack from Jon Brion and you have the best Romantic film ever made. If you haven’t seen this film, I seriously urge you to go and watch it now. Literally, right now.

 

 

 

There’s the Top 10! Hope you enjoyed and that at least one of your favourites popped up on this list at some point.

 

 

 

 

 

Top 10 Horror Films

Time to bore out another list, this time looking at the most effective horror movies. I’m not basing this list on the amount of bloodshed or gore because that isn’t horror, instead I’m judging it on a mixture of critical acclaim and my own personal favourites. Again, limiting to only one entry per Director, otherwise John Carpenter and Wes Craven would undoubtedly dominate the list.

 

10) It Follows

This psychological horror gem took an artsy spin on the formula. When Jay has a seemingly innocent sexual encounter, she soon finds herself being followed by strange beings, all with one goal: to catch and kill her.

It’s a head-scratching concept, but one that plays its strengths through the subtext of the piece – the idea of the ‘viriginal’ girl in Horror is quite broadly spoken about. Think of most Horror classics, the girl who stays ‘pure’ and what have you gets to the end. It’s the template that The Cabin in the Woods satirises so well, and here in It Follows it allows for us to read into the stigma attached to casual sex. Plagued by these entities that want to consume her, Jay and her ragtag group of friends try to figure it all out before what’s following her catches up.

It’s filled with tension-brimming scenes, beautifully contextualised through the first act, allowing for some set-pieces that leave you mouth agape, eyed-widened staring at the screen hoping for a respite. There is never much of one, however, with evil lurking just around the corner. Though the final ten minutes or so does get a bit up-in-the-air, the ninety minutes that come before are some of the most effective horror scenes of recent times, all set to a thumping and nostalgic soundtrack that ratchets up the atmosphere to electrifying effect.

 

 

 

 9) Alien

This 1979 classic, brought to us by Ridley Scott, is a sci-fi horror masterpiece that has forever gone down in the annals of film history. What seems like a rudimentary explorative space mission turns sinister after a distress call lures the Nostromo to a distant planet. Inhabited with strange terrain and an annoying little face-grabbing alien, the crew soon finds themselves fighting for their lives on the very ship they need to get home.

It’s Sigourney Weaver being a badass, it’s beautifully orchestrated cinematography that creates fear and dread around every dimly lit corner. It’s everything you could want in a horror film – the atmosphere overwhelms the violence in this film, which it could easily have not done. After Aliens the franchise went south very fast, but nothing tops the original in ideas and execution. Ridley Scott is now working on a prequel, which should be rolling out next year. Whether or not it’ll add or subtract from the legacy is up for debate, but anything that has the word ‘Alien’ and the director ‘Ridley Scott’ attached is going to be a fun ride either which way. If only there was more Ripley.

 

 

8) The Shining

 

Stanley Kubrick is without a doubt the most masterful filmmaker of all-time. Perfectionist to a degree of borderline insanity, his filmography boasts such classics as Spartacus, Dr. Strangelove, A Clockwork Orange and Barry Lyndon. But what was to come next in his filmography was his own interpretation of the Stephen King novel, The Shining.

With Jack Nicholson comfortably sat as the lead, the film unravels in a complex, psychological series of events that confuse just as much as they terrify. The most fantastically choreographed shots are when Danny, the young son of Jack and Wendy, cycles around the peculiarly designed hotel on his tricycle. Encountering the ghostly apparitions of murders long since past, Danny finds himself able to wield The Shining, a psychic gift.

Taunted with the visions of his family, Jack Torrence finds himself slowly decaying away, psychologically speaking. I mean, we all know how it goes down – Here’s Jonny – but it’s the getting there that makes it so unique. Not receiving much appraise on its release, The Shining has found itself a fan base over the years for the massive amount of symbolism utilised throughout. Some film readings have gone as far as to say that the film stands as a parable for Kubrick’s own inner turmoil at faking the moon landing. Either way, Kubrick’s genius really knows no bounds and decades later, everyone still talks about this highly.

 

 

 

7) Psycho

You can’t have a Horror list without featuring Alfred Hitchcock’s Psycho. This 1960 classic is perhaps most known for the shower scene of Marion Crane’s murder. Context is key here, though, as Hitchcock cleverly used Marion as the ‘main’ character for the story. Then, just as we start to connect with her moral ambiguity, she’s offed. A real ‘What the fuck?’ moment and perhaps one of the first of its kind, filmmakers such as Wes Craven mimic this Horror narrative styling with the first of his horror film series, A Nightmare on Elm Street.

It’s a tale that keeps churning along, too. No pace is lost from the shower scene, and the harsh violins that forebode violence illuminate the psychological terror that lies underneath. Toiling with the notion that Norman Bates is dominated by his mother, the last ten minutes shock even more so when it’s revealed that (SPOILERS) it was him all along. The bone-chilling final scene that beautifully weaves a shot of his Mother’s skull against his sadistic grin. It’s cinematically ahead of its time, but more importantly it’s horrific.

 

 

 

6) The Exorcist

The 360-degree head turn, the projectile vomiting and the crab walking. All of these scenes speak for themselves, and are a testament to the vision of William Friedkin’s disturbing 1973 masterpiece, The Exorcist. Two priests are tasked with visiting a young girl, whose mother fears has been possessed. She sure has, and we lay witness to the ultimate battle of Good Vs. Evil.

Renown for how frightened this film left the audience, it may be easy to staple The Exorcist as a slow-burner by today’s standards of screams and splatter. But, the Two Academy Awards aside, The Exorcist is still capable of shocking some 43 years later. Perhaps it’s the end scene, that leaves us dangling on the edge of our seats, or perhaps it is the religious subtext strewn throughout the 120-minute epic. Either which way, this film is untouchable in its own right, and though there have been countless (I mean, really, countless) carbon copies, no film has managed to convey the same sense of hopelessness while still keeping the audience interested.

 

 

 

5) Let The Right One In

This Swedish Vampire flick came out of the woodwork in 2008, and breathed new life into a sub-genre of horror films that was, in the same year, being systematically destroyed by the first entry in the Twilight Saga. Truly fantastic, the emotion captured in this story is in part thanks to the desolate, snowly landscapes – but more so, it’s due to the dynamic between the two leads. Oskar, a quiet and bullied boy, falls for Eli, a vampire girl who moves into the same building.

Utilising its setting and the dynamic between Oskar and Eli, Let the Right One In was remade (as most amazing foreign films are) in the US as Let Me In. Rest assured, it’s a copy of this film almost shot-for-shot, so it’s worth reading the subtitles to get the real emotive nature of its narrative out in full force. The unsettling scenes that linger, the respect it has for the Vampire lore and the contemporary reflections all elevate this to a cult status. Much like Eli, it’s sweet and somber on the outside, but underneath is a monster waiting to get out.

 

 

4) The Thing

John Carpenter’s classic, not the 2011 CGI-transfomration prequel, I might add. A stand out in a catalogue of fantastic horrors, nothing can top the 1982 sci-fi horror lead by Kurt Russell. An American Research Base is met by an alien force that can assimilate any form it comes into contact with. Cue the paranoia, cue the flamethrower and cue the… Stomach splitting open into a mouth and biting your hands off. It’s bat-shit crazy and the special effects are a result of Rob Bottin’s genius.

Managing to stay afloat in part thanks to its surprising narrative depth, The Thing remains a staple of horror that all newcomers try and base their efforts on. In between the grotesque transformative sequences and Ennio Morricone score, the film boasts a deep underlying message – the secret monsters that walk among us, invisible to our eye. That’s just one reading of many, but needless to say when this film initially came out it wasn’t anywhere near as lauded as it now is. The cult fanbase coming into effect once again, even John Carpenter considers this film the pinnacle of his craftsmanship. The spooky setting, unsettling underscore and penchant for tension make this an edge-of-your-seat horror of its own breed. And that blood test scene is one of the most nail-biting sequences of all time.

 

3) A Nightmare on Elm Street

Wes Craven’s horror film series, A Nightmare on Elm Street, debuted in cinemas with a fresh-faced Johnny Depp in 1984. Giving us the nightmarish figure of Freddy Kruger, Craven managed to give us the creepers in the one place that we should by all rights be safe – in our sleep. What a bastard move, but what a fantastically twisted concept to play around with.

Kruger, the victim of a neighbourhood’s own brand of justice, comes back in full pizza-faced force to take revenge on their kids. We focus on Tina for the first half hour or so, her being taunted by the eponymous Kruger playing out in feverish dream sequences that gain more hallucinatory traction as they progress. Then, a-la Alfred Hitchcock, she’s offed. Brutally. Jesus, what a bastard Craven is being.

The rest of the film plays out like slasher film but with our protagonists trying their best to stay awake as a few (including poor Depp) get suckered into a hellish abyss by Freddy. Spawning a droll nursery rhyme, this mammoth of Horror filmmaking went on to spawn countless sequels, a TV-series and a remake. But the remake is awful, just to clarify. This, the first of its kind, is hands down the best of the bunch.

 

 

2) The Texas Chainsaw Massacre

Taking us to the isolated outbacks of America as a group of friends travel in their hippie van, The Texas Chainsaw Massacre is the low-budget 1974 horror piece that gave us another huge icon of Horror today – Leatherface.

Using the screeching soundtrack that calls back to Psycho, TCM benefits from its grainy filmmaking, almost adding a documentary feel to the proceedings. Sure, the characters aren’t always on the top of their intellectual game – but the final twenty minutes play out like a slideshow of tortuous techniques, from the dinner table laughing to the now-iconic beyond all measure final shot of Leatherface swinging wildly as the sun sets. Beautiful, chaotic, grimy, grisly and at all times uncomfortable viewing, TCM is another film that spawned a plethora of sequels, prequels, threequels and remakes. Again, if you want the best possible fix – your best bet would be to aim for this film. Few horrors craft their atmospheres so effectively, and even fewer end as full-fledged as this original.

 

 

Honourable Mentions:

• Friday the 13th (1980)

• Halloween (1979)

• Carrie (1976)

• Hellraiser (1987)

• Ringu (1998)

• A Tale of Two Sisters (2003)

• Ju-on (2002)

• Saw (2004)

• 28 Days Later (2002)

• The Cabin in the Woods (2010)

 

1. Evil Dead II: Dead By Dawn

Taking the top spot on this list is the Sam Raimi follow-up to his also incredible horror flick, The Evil Dead. This 1987 sequel sets up the same pretense as the original – Ash is holed up in a cabin filled with evil spirits after they are accidentally unleashed form the book of the dead. A group of strangers come by in a similar time, and together they band to fight against the un-killable force that wants so badly to take their souls to hell.

It’s incredibly quirky, and helped to establish the original ‘Cabin in the Woods’ storyline that so many films have used either satirically or literally. It’s shot with an aura that changes perspectives – one moment we are Ash slowly losing his grip on sanity, or at least losing his grip on account of having one hand. The next moment, we are the POV of the spirit trying to find a way in. The classic shots of the camera chasing Ash around the house are cinematic gold for the genre – and a cheeky way of making the scene terrifying on a lower budget than if he included some large CGI/Animatronic/Claymation beast.

The craziness keeps going up and up until the explosive conclusion that sends Ash whirling in a time spiral to the medieval ages. It truly is the most fun, scary horror experience that cinema has offered up to us in its time. Though some would argue that there are more fitting number ones, this takes the top spot for the imagination going into the creatures and demons that target Ash and co, but also because Bruce Campbell’s charisma and charm lead this film wherever its weird director takes it. And with Ash vs. Evil Dead a TV series now some 30 years later, it goes to show that his appeal doesn’t die with age, and neither does this classic. Check it if you want a fun slice of horror with a self-aware campness and trademark for the surreal.

 

 

Hope you enjoyed!

 

 

 

 

 

 

 

 

 

 

 

Top 10 Foreign Films

Another totally subjective list of my favourite foreign films. Keeping it at One film per Director and only focusing on more contemporary flicks (1990s +) so no classics like Jean-Luc Godard’s Breathless or The Battle of Algiers. 

 

10) Elite Squad: The Enemy Within

Before Narcos came Elite Squad: The Enemy Within, the sequel to… Elite Squad, no sub-title. Jose Padhilia and Wagner Moura are now synonymous with their depiction of Pablo Escobar, but this wasn’t their first foray into the seedy criminality of the Southern American populance.

Moura is Lt. Colonel Nascimento, a high-ranking security official. After a bloody prison riot early on, Nascimento is swept into an escalating battle against corruption within the government. Showing us more than just intense fight scenes, the film sparks a question as to the ethics of government in Brazil and is lead fantastically by Moura under the taut direction of Padhilia. Gripping, brutal and always leaving you guessing, Elite Squad is one of the slickest foreign action flicks around.

 

Moura before he donned the extra weight as Pablo Escobar.

 

 

 

9) Run Lola Run

This short but punchy thrill-ride uses a simple idea and tweaks it by featuring three alternate takes on its outcome: Lola must find 100,000 Deutschmarks in 20 minutes after a botched robbery.

What unfolds is a blink-and-you’ll-miss-it piece of cinema, Lola’s everyday interactions on her journey shaping it into a different ending that is always fitting and doesn’t stay a second longer than it needs to. Clocking in at 81 minutes, this is the shortest film on the list and can be a reason as to why it’s so accessible for people to pick up and watch. It’s 90s fun, nothing too overtly serious but it’s always a treat to come back and revisit years later.

 

Lola living up to the title of the film.

 

8) The Lives of Others

This Oscar-Winning Foreign Film is set in 1984, in East Berlin. It centres around an agent of the secret police who comes in to surveillance a writer and his lover. Soon, he becomes entangled in their lives, forming a seeming connection through a pair of headphones.

It’s a stark statement on the extent the East German Secret Police went to in order to obtain information. Voyeurism that would make Hitchcock hot under the collar, this film benefits from the slow-burning nature of its narrative. Holding on to the emotional intensity that rivets straight up until the last, Ulrich Muhle as Gerd Weisler is sensational as the conflicted surveillance officer, offering an Orwellian look into a society that sees and hears every thing you say. It’s at times chilling, always interesting and a smartly crafted piece of cinema rife with political subtext.

 

The physical manifestation of the unsettling East German Secret Police.

 

 

7) The Raid

Coming seemingly out of nowhere in 2011, this action epic is often compared to Dredd in its plot – a team of SWAT officers are sent into a 30-storey complex filled with criminals. As they sneak in under the guise of darkness, they soon find themselves trapped and the odds ever slipping away for them to ever get out alive.

It’s Gareth Edwards brainchild, bolstered up by Iko Uwais fantastic physical commitment to the role of Rama. The fight sequences are almost legendary by now, and its sequel would be included on this list too but the first one edges it out in terms of its condensed run time and accessibility. The seeds of The Raid 2’s story are subtly sewn into this first action epic – and the soundtrack (for the foreign releases) is fantastically tone-setting, Linkin Park’s Mike Shinoda lending his talents. Overall it’s a short, full-on action film that doesn’t let up for hardly a moment once the first bullet casing hits the floor. And it’s probably the most fun you’ll have, if you’re not too squeamish for its brutality.

 

Rama’s having a really, really bad day at the office.

 

 

6) A Prophet

This crime epic was featured on my last Top 10 and it’s probably not much of a surprise it’s ended up on here too. Fantastically led and abound with artistic flourishes, nineteen year old Malik is sent to jail for six years, where he is taken in by a crime boss and slowly works up the ranks, all the while hiding his own agenda.

Constantly underestimated, Malik is a fantastically complex protagonist. An illiterate, two-bit criminal, his journey is filled with bloodshed and hair-raising encounters, each scene surpassing the previous in diretorial flair. The symbolism is rife, the subtext of an Arab Frenchman is sewn deeply into the narrative and with great pay-offs – an all around fantastic film, if you have the two-and-a-half hours to spare.

 

 

 

5) Pan’s Labyrinth

Guillermo Del Toro’s  no stranger to Horror. With cult classics under his belt such as Cronos and The Devil’s Backbone, Del Toro returned to his roots with Pan’s Labyrinth. Combining elements of wartime horror with fantasy, Pan’s Labyrinth is very much in its own league. Picking up 3 Oscars in 2007 (albeit not for Foreign Language film), the film focuses on Ophelia, the step-daughter of a sadistic army officer, and her escape into a fantasy world.

Known mostly for that infamous scene where the guy has his eyes on his hands, this visually breathtaking film bends and moulds genres around it, leaping from grisly wartime drama to sinister fantasy, Pan’s Labyrinth is a showcase for the power of Foreign Cinema. Picking up a string of accolades in its wake, Del Toro’s assured eye for design (this is the guy who did Hellboy and Crimson Peak), helps make this films setting as unforgettable as the narrative. A haunting fantasy, and one of the best foreign films of the 2000s.

 

Something to haunt you in your sleep…

 

 

4) Oldboy

Part II in director Park-Chan Wook’s ‘Revenge Trilogy’, Oldboy centres on Oh-Dae Su, a bumbling Father who is kidnapped and kept in a confined space for fifteen years. When he is finally freed, he is given five days to discover who did this to him and why, otherwise the captor will kill himself. And if that sounds too morbid or strange, then perhaps this film isn’t for you.

Revelatory for its beautiful one-take fight scene, Oldboy is a blending of noir-elements, action and drama. Its artistically astounding, director Park-Chan Wook never passing up on the option to add some stylistic choices to the way he shoots scenes, and the symbolism throughout makes the story feel focused and almost prophetic. Not for the weak of heart, the story is controversial as it is groudbreaking, but Min-Sik Choi is marvellous as the hapless Oh-Dae Su and the film is worth watching for him alone.

 

 

3) City of God

This sprawling epic came straight out of Brazil in 2002 – presenting a mosaic of criminal life in the slums of Rio de Janiero. The narrative revolves around two kids. One – Li’l Ze, who wants to be the most feared gangbanger in the slums, and two – Rocket, the bystander who wants to get away from it all.

Their two stories clash and collide along the way, but not without other stories going on at the same time. Using a storytelling method akin to Pulp Fiction, we are presented with three different tales surrounding the slums and the inhabitants, each one more eye-opening and dehumanising than the last. A fast-paced, brutal picture that garnished 4 Oscar nominations, City of God is a true work of art, mostly because throughout all the escalating gang warfare it manages to keep a heart and soul.

 

 

2) A Bittersweet Life

Another South Korean flick, this time from acclaimed director Jee-Woon Kim, A Bittersweet Life is a sleek crime flick in the vein of Scorsese. Sun-Woo is an enforcer for his crime boss, Kang. Asked to make sure Kang’s youthful girlfriend isn’t cheating behind his back, Sun-Woo watches over her, and in a moment of weakness, goes against his bosses orders.

The repercussions play out in a beautifully shot tale of revenge and the action sequences are shot with a precise eye for detail – Sun-Woo’s blood soaked rebirth giving way to an apparition like ability to kill those who wronged him. It’s propped up on Buddhist parables at the beginning and end that contextualise the whole tale. It’s all interspersed with dark humour that makes it more than a dreary tale of ‘don’t bite the hand that feeds you’ – and although it isn’t the most famous South Korean film around, I highly recommend watching this one for the ominous soundtrack and visceral fight choreography.

 

Sun-Woo, toiling on his life choices.

 

 

A few honourable mentions

• Memories of Murder (2003, Joon-Ho Bong)

• Hero (2003, Yimou Zhang)

• I Saw The Devil (2010, Kim-Jee Woon)

• Life Is Beautiful (1997, Robert Beningi)

• Amelie (2001, Jean-Pierre Jeunet)

• Princess Mononoke (1998, Hayao Miyazaki)

 

1) Spirited Away

A masterpiece of animated cinema as well as Foreign cinema, Hayao Miyazaki’s 2001 film, Spirited Away, ranks as my favourite foreign film of all time. When her family is moving to the suburbs, ten year old Chihiro stumbles into a world ruled by witches and gods, where humans are changed into beasts.

A truly beautiful film, Spirited Away benefits from the Japanese culture it stems from. The story revels in the eccentric, from the giant baby to the washhouse – but it always keeps an assured hand on where the narrative is going, courtesy of Miyazaki’s masterful writing and directing. Spiking out Monsters, Inc. at the 2002 Academy Awards for the Best Animated Picture, Spirited Away struck a chord in the Western world just as heavily as it did in Japan. A visual treat, there really isn’t any film out there quite like this – and that just makes it all the better.

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Hope you enjoyed this quick(ish) post!

Top 10 Crime Films

Here’s my totally subjective list of the top 10 crime films. I’m using any film that deals with crime, so expect some variety on the list and not just Gangster flicks. Also, I’m limiting to only one film from a director. Critique, agree, disagree, or laugh at some of the choices – whatever floats your boat.

 

10) Scarface

Brian De Palma’s crime epic did not open up to much critical acclaim, in fact quite the opposite. It was nominated for three Razzie awards, which film-goers will know as the polar opposite of the Oscars, however it managed to grab a few Golden-Globe nominations at the same time. It’s easy to see why there was such a critical divide, it’s at-times cheesy acting, synth-pumping soundtrack and long run time can grate on some.

But with viewers, over time, it’s amassed a huge cult following – since I joined IMDB in 2005 I’ve seen it go from a 7.9/10 to an 8.3/10, just now shy of cracking into the top #100. It’s a fantastic underdog story that has cast its shadow on the entire crime genre. Filling screens in 1983, this film speaks about the Cuban Mariel Exodus of 1980 – specifically focusing on the fictional Tony Montana, who encapsulates all of America’s fear of criminality rising due to the labor workers arriving by the boatload in Miami. Slowly working his way from dishwasher to two-bit drug dealer to (quite literally, may I add) sniffing mountains of cocaine off his office desk.

It’s a wonderfully paced journey that doesn’t ever pass up the opportunities the narrative offer for some exuberance, gratuitous violence and Giorgio Moroder’s very 80s soundtrack.

Cue ‘Push It To The Limit’ while Tony Montana chomps on his cigar and buys a pet tiger.

 

See, I wasn’t kidding about a mountain of cocaine.

 

9) A Prophet

The 2009 French film won the Grand Prix at the Cannes festival, and details the imprisonment of 19-year old Malik, an Arab, who goes to serve his six-year sentence and is taken under the wing of a crime boss. Slowly building through the ranks, this narrative trope can be justly compared to Scarface (and many critics have said this), but its truly different enough to stand out on its own merits.

Utilising the cultural ploy of an Arab Frenchman, A Prophet plays to its strengths best when it drives the identity crisis card home, Malik never quite belonging to either faction after his French crime boss takes him on. Towing the line, Malik speaks and understands Corusicans but his Arab heritage leads many to undervalue and underestimate him. Clever in its exploits, the violence is no-holds barred and grisly – but what the film benefits from most is the haunting visage that Malik converses with, the ghost of the man he kills in the first act. It’s harrowing, brutal and mesmerising all in one, and if you are up for the 155 minute run time, it’ll give you more bang for your buck than most Prison-based Crime films released in the 2000s and is elevated by two electrifying leads in Tahir Rahim and Niels Arestrup.

Deserving of all its praise, A Prophet is a complex and understated film that has enough artistic flourishes to banish it from the mainstream, but all of the emotional investment and gasp-inducing twists and turns to make the most of its characters.

 

These two leads elevate A Prophet to be an instant Crime Classic.

 

 

8) L.A. Confidential

This Oscar-winning film paints the 1950s in a light of national identity crisis as well as corruption and inner-workings. Telling us the story from the perspective of three very distinct and different cops, the plot unravels like a classic noir with a wide array of fantastic performances from Guy Pearce, Kevin Spacey and Kim Basinger.

A series of murders that occur throughout the Californian streets strike the attention of the three detectives in their own way, leading them all on separate journeys that intersect, interconnect and crescendo in a classic shoot-out that plays out at nail-biting intensity. A fantastic watch for the noir-elements that are infused within, as well as a script that is taut and filled with character defining lines of dialogue that cleverly tell us more about the Detectives than any action can. It’s glitzy, it’s grimy, it’s sleazy and it’s at all times witty. Plus it’s got Danny DeVito, and that guy is just the greatest.

 

Off the record, on the QT, and very hush-hush.

 

 

 

7) The Usual Suspects

Known mainly for its jaw-dropping finale that incorporates perhaps the greatest use of a callback in film, The Usual Suspects presents us with Verbal Kint, (played to Oscar-winning perfection by Kevin Spacey), who is the last man standing after a criminal act turns into a bloody shoot-out. The limping, pitiful Verbal recounts the story that unravels in a non-linear format to its gain.

Again, toiling with elements of the classic  stories of leaving you guessing, these seemingly at-odds criminals all come together as ordered from the elusive Keyser Soze, the crime boss believed to have been involved with the shootout at the start of the film. Every nuance in the script falls on our laps as single pieces of a puzzle that won’t come together until Christpher McQuarrie’s pinpoint wording laughs as it throws the final picture together for us to revel at. Truly one of the most interesting and well-crafted pieces of 90s cinema.

 

Who is Keyser Soze?

 

 

6) No Country For Old Men

Now for some Coen brothers loving. Watching this hair-raising genre-mashup unfold is enough to make you forget that these two ever gave us comedy greats such as The Big Lebowski. Instead we get to see these incisive filmmakers show us the bloody cat-and-mouse chase that arises after a hunter stumbles across $2m in cash in a desert in 1980. Chasing after him is the Oscar-winning performance of Javier Bardem as Anton Chigurgh, a killer so ruthlessly efficient and gleefully psychotic that every frame he’s in is tinted with dread.

Known for the divisive final act, the story is breakneck speed with interspersed black humour that is more aligned with the Coen brothers 1995 effort, Fargo. The desperation of Llewelyn as he fights the ghost that is Anton is a marvel of recent cinema, and deservedly won this picture the 4 Oscars it took home in 2008. One of the best films that the Coens have done since 2000, No Country For Old Men is a fantastically mesmerizing Crime/Thriller that puts the brakes on when it should by all means push the accelerator through the floor. Leaving the viewer with more to think about than the average bloodied Thriller, this flim benefits from the brains and eye that the Coen brothers have.

 

The Coen Brothers had that shotgun silencer invented for Anton, as such a thing doesn’t exist.

 

 

 

5) Memories of Murder

This South Korean crime film directed by Joon Ho-Bong came out in 2003, but not to much viewership in the Western world. Though, upon seeing it, it’s a wonder that it hasn’t been lauded more for its incredibly well orchestrated depiction of a serial killer being hunted in 1986. The ineptitude of the Detectives who are swimming out of their depth is at times frustrating but always edge-of-your-seat, as this killer at large terrifies an entire community into lockdown.

Unravelling itself at a slow-burning speed, this Crime film tells a story unlike most of its kind. It’s never overly comedic, keeping the bleak tone running throughout with long, desolate shots and bolstered up by an incredible performance by Kang-Ho Song, this film is one in a canon of fantastic South Korean crime films that have arisen since the 2000s and deserves this spot for its singular approach to what could have been another serial killer cop drama.

 

This slow-burning whodunit from South Korea won 3 Grand Bell awards in its native country.

 

 

4) Seven

What’s in the box? We already know by now, and if you haven’t you’re 21 years late to the party. David Fincher is one hell of a filmmaker, his canon far extending the recent efforts of Gone Girl and The Social Network. See, back in the 1990s he was making this and Fight Club. Seemingly no end to his directorial abilities as he tackles this Crime-noir.

Pairing a young, arrogant Detective with the more experienced, about to retire Detective is a formula that could very well have viewers shaking their head and spouting ‘Cliché!’ but hold your words because this dreary and spine-chilling serial killer picture focuses on the elusive Seven killer. Each murder tolled up mirrors, albeit in its most grim format, the seven deadly sins. It’s a fantastic reveal, too, when the killer comes into play. Utilising the story and the characters to a degree rarely seen in these kind of films, the chase leads these two detectives to the edge of their will, culminating in that magnificent desert scene that most viewers know it for. Brad Pitt is fantastic as the cocksure Mills and Morgan Freeman is just as eye-gluing with his turn as Somerset. At times grim, and at other times a slow-burner, this picture is hailed as one of the best of its kind and deservedly takes the number four spot.

 

The nail-biting conclusion shot with a golden filter from Fincher.

 

 

 

3) The Godfather

An offer you can’t refuse from a film whose legacy most viewers today may not understand. It’s the 1972 context that this film benefits from most – some may see it as a slow-moving picture by today’s standards, but that’s not to take anything away from what is a film so close to perfection you can almost see Francis Ford Coppola smugly nod with each shot. It’s some of the most clever-filmmaking around and with a plethora of fantastic performances from the likes of Al Pacino and Marlon Brando.

An aging patriarch in a criminal dynasty struggles with his mortality and offers his empire to his son, Michael Corleone. A slow-shuffling chess game unfolds, with scenes that range from hair-raising tension to bloodied gunfights. It’s made with such a clever hand that it doesn’t ever over-indulge, only giving us what we need – but the source material from Mario Puzo is so strong that the film earns its just under three-hour runtime, along with the 3 Oscars it took home.

Truly a classic, The Godfather is the template that every crime director and writer turns to in order to figure out how to do it right.

 

An offer you can’t refuse (on the day of his daughter’s wedding).

 

2) The Silence of The Lambs

The only film on this list that handles the serial killer Crime film better than seven is the 1991 multi-Oscar winning thriller, The Silence of the Lambs.

Take a young FBI agent, Clarice Starling, and her obsessive need to catch a serial killer who is skinning his victims. This leads her straight into Hannibal Lecter, who is perhaps the most pitch-perfect nightmare of a villain featuring Anthony Hopkins in a career-defining turn. What begins as simple assistance between these two leads quickly takes a sharp turn for the sinister and the plot keeps churning out twists and turns right up until the very last line. One of the most larger than life villainous performances, it spawned several other in its series including the short-lived but incredible TV show, Hannibal. The extent of influence Hannibal Lecter has had on cinema still shapes villains today, albeit never as successfully. Truly the original of its kind, no serial killer film can touch the clever directorial tricks and writing, nor the powerhouse acting. Blending elements of Crime with Horror pays off dividends for the narrative, leaving us with an unsettling ending that raises more questions than it answers – but don’t bother with the 2001 follow up, Hannibal.

 

 

Having an old friend for dinner? Keep the Fava beans and Chianti.

 

 

 

A few honourable mentions:

• A Bittersweet Life (2006, Kim-Jee Woon)

• City of God (2002, Fernando Meirelles, Katia Lund)

• Goodfellas (1991, Martin Scorsese)

• Leon (1994, Luc Besson)

• Double Indemnity (1944, Billy Wilder)

• A Clockwork Orange (1971, Stanley Kubrick)

• Elite Squad: The Enemy Within (2010, Jose Padilha)

• Sin City (2005, Frank Miller, Robert Rodriguez)

• Rope (1948, Alfred Hitchcock)

• Mystic River (2003, Clint Eastwood)

• Blue Velvet (1986, David Lynch)

 

 

1) Pulp Fiction

Coming in at number one is one of my all-time favourite films, the effortlessly slick Tarantino Crime epic that he has yet to top in sheer entertainment value. Taking a leap of faith in the Post-Modern filmmaking sense of the term, Tarantino jumbles up his narrative into a-c-d-b format, wherein we are told three stories with an interlude and an epilogue, each one surpassing the last in its dark humour, graphic violence and incredibly re-watchable performances all set to the greatest soundtrack ever (bar maybe Dazed and Confused).

It’s hard to pin down a direct plot in this film, so it’ll just be character based: two hitmen, a boxer, a crime boss and his wife are all tangled up in masterfully woven short stories that intersect, cross and crash in a glitzy, gory mess. It grabbed Tarantino his first Oscar, and it’s easy to see why – the script breaks every single one of the rules you are taught about filmmaking and screenwriting, and it does it all with that hugely eccentric cockiness that only Tarantino can make work. Each scene lingers with a trademark stamp of ingenuity that raises this from a straight-shooting Crime film to a work of art that few can try to replicate but none will ever do as successfully.

I, for one, would love to see Tarantino come back to this grounded realism in his films, especially after his latest foray, The Hateful Eight. Although, when you make a film this perfect, it’s easy to see why you wouldn’t want to try and repeat it. One of a kind, the combination of hundreds of filmmakers work all absorbed through Tarantino’s encyclopaedic mind and churned back out in the best Crime film to date.

 

Who said Crime films can’t be fun?

 

 

There it is, then. The full list – hope ya’ll enjoyed, and maybe if you haven’t seen one of the films on the list you’ll go see it at the next opportune moment.

April Films to see…

1)      Everybody Wants Some!!

There’s something about the body of work Richard Linklater has amassed that always gets overlooked by mainstream audiences. From the technically and narratively beautiful Boyhood, the romantic realism of his Before trilogy to his stoner-fuelled 70s set coming-of-age comedy (and my personal favourite) Dazed and Confused. He’s really done some incredible work, and continuing in that vein is his 80s set college comedy, Everybody Wants Some!!

From the trailer alone you can already tell the sort of haphazard, multi-strand narrative that Linklater will inevitably adhere to, but there’s the kind of energy and poise that is matched only by its spiritual precursor, Dazed and Confused. Set over the course of a weekend, Everybody Wants Some!! Looks set to get deceptively deep, profound and maybe even sentimental – but it’ll do it all whilst having as much fun as possible.

 

 

 

2)      Green Room

Jeremy Saulnier is coming in with his Sophomore effort, following on from the criminally underrated revenge-flick, Blue Ruin. Continuing in the dark domains that occupy genre space comes Green Room. A group of down and out rockers get called to a gig in the deeply hidden back gardens of Oregon. One thing leads to another and before they know it they’re fighting for their lives against… Patrick Stewart! In a rare turn, Stewart will play Darcy, the club owner, who will do what is necessary to protect his seedy criminal enterprise from having its secrets spilled. Cue the claustrophobic bloodshed, ingenious camerawork and taut, spine-chilling tension. Only, if Blue Ruin is to be an example, there will be more brains than your run-of-the-mill splatterfest.

 

 

3)      Midnight Special

Jeff Nichol’s best work was undoubtedly the 2011 drama/thriller, Take Shelter. Taking an unusual concept and rigging it with explosive quirks, Nichol’s is perhaps best when he strays from the narratively restrained (Mud, for example). Great news then, because Midnight Special looks like a whole different kind of strange.

Centering on a father, Michael Shannon (Take Shelter), who finds out that his son possesses supernatural powers, the two set off across America trying to navigate the various groups and government types that want to get their hands on the boy. It features a great supporting cast, with Joel Edgerton, Adam Driver and Kirsten Dunst, and generally the film looks set to be a unique spin on the father-and-son motif, with a sci-fi edge that will be sure to tweak the formula that little bit more. Maybe not one for everyone, this film nonetheless looks like it’ll pack an emotional punch.

 

 

 

4)      The Witch

Technically, this film already had its release and odds are if you haven’t seen it by the time this post is up, you’ll have missed your chance (until the blu-ray release in July). It’s also the second horror film on this list, and that’s more saying something about the state of the Horror genre than it is about me.

This film utilises the 1630s setting, offering a gothic vision teeming with tension and conflict. The Witch centres on a small town Christian family and the anxiety-fuelled turmoil that tears them apart when their newborn son is taken and their crops stop yielding. It looks scattered with subtext, and judging by the critical acclaim, it’s one in a notch of horror films releases lately that have been able to impress critics and offer more than monotonous, formulaic death sequences. It’ll undoubtedly be one that may not sit well with all members of the audience, perhaps by design, but if you want an alternative take on Horror, this may well be the best one in 2016.

 

 

5)      Victoria

This film did the rounds at various festivals last year, but will get a release (on demand as well as in cinemas) on April 1^st. Utilising the cinematography prowess established with Emmanuel Lubezki in Birdman comes Victoria, a film shot in a similar fashion that deals with a much larger narrative scope.

From the trailer alone it looks like a lot of content is covered in this one night, and it looks like it’ll be a slow descent into the depths of hell with explosions and gunshots a plenty. Centering on Victoria, a Spanish woman freshly moved to Berlin, and one of her male acquaintances, we see every illusion come crashing down overnight as Victoria’s friendly and innocuous curiosity turns into a nail-biting fight for her life. Clocking in at nearly 140 minutes, this one-take promises to be a gripping and visually arresting take on the heist-thriller genre with a massive emphasis on the intimacy of it all.