Just A Little Bit Random

LFF 2021: Belfast – Review

Release Date – 21st January 2022, Cert – 12, Run-time – 1 hour 38 minutes, Director – Kenneth Branagh

Nine-year-old Buddy (Jude Hill) finds the future of his family in their Belfast home thrown into uncertainty when the Troubles break into his neighbourhood.

As the effects of the Troubles create dividing tensions within the working class neighbourhood of nine-year-old Buddy (Jude Hill) the street where kids once freely played and parents casually chattered has become littered with rubbish, rubble and conversations in which tension hangs in every word like a loosely wrapped threat. The setting appears to become darker, greyer in terms of the black and white nature in which writer-director Kenneth Branagh captures this late 60s throwback of sorts. Yet, amongst the fear that the Troubles cause and the rifts that emerge within the neighbourhood the film largely follows young Buddy as he tries to go about his daily life. There’s a warmth of innocence – brought about by a stunning performance from Hill in the leading role – that washes over each scene as he tries to play and the Troubles, to him at times, almost feel like a background element to the course that he takes.

The effects are certainly shown on his already struggling parents (played by Jamie Dornan and Caitriona Balfe), who while struggling for money are having circulating conversations about moving to the seeming safety of England – where Dornan frequently travels to for work. The family unit feels natural and brings you in to their mixture, as if placed at the same table (or living room) during many scenes. None more so than when Judi Dench and Ciarán Hinds are on screen as Buddy’s Granny and Pop. Both performances bring about a fine sense of warmth and humour and almost act as the true escape from everything going on in the outside world, while still being the greatest givers of advice and thought to Buddy as his biggest worries are still how he can get to talk to a girl he likes at school. Through each strand and figure the heart of Branagh’s film is increased and when blended with an excellent soundtrack there’s a true piece of work about a child simply growing up and living his life, while never dampening the extent of the various dramas at play.

Everything comes across with a fine sense of care and ease. Branagh looks back with a thoughtful nature that feels far from self-indulgent. There may be a personal story here, yet he opens the world out for everyone, by showing events through Buddy’s eyes; particularly the loud chaos and confusion of an impactful riot scene which he gets caught up in. Branagh puts himself into the craft and look of Belfast. The way in which it’s shot and edited, both finely constructed and helping to tell the story and engage the viewer further, emphasise the details and the way in which he wants you to see the film. Making sure you notice the struggles which Dornan and Balfe (and indeed the rest of the tightly-packed estate – intensifying the rising tensions later on) are facing and fighting through, while still focusing on the personal story of a young boy finding his place in the world, and potentially having to move away from it; after having spent his whole life there and largely loving it. You just have to see simple scenes such as walks home from school or family outings to go and see Chitty Chitty Bang Bang for proof of this.

What we see over the just over 90 minute course of the film is something of a time capsule. An early shift from the colour of modern day Belfast to the initially light black and white of the late 1960s puts this feeling into place. There’s a story being told and unfolded that the characters live through, and its easy to get caught up in and form a connection with them thanks to the naturality that almost every moment comes with. This isn’t as much a coming-of-age film for the young protagonist, but one where we see him acting out his life against the darkness of where he lives. This is as much a family drama, with its fair share of heart and laughs, as much as it is something about the Troubles. All finely balanced and depicted by Branagh who opens up his story book and guides his camera through the pages, bringing the viewer along for the ride as they observe a childhood acted out against the backdrop of the Troubles. There are fine performances to bring the piece to life – especially a pitch perfect Jude Hill in the central role – and capture the natural feel of each scene. It’s hard not to fall for, and in to, Belfast. A thoughtfully and caringly told story of family and childhood.

By placing an excellent Jude Hill at the centre of his piece Kenneth Branagh’s Belfast is a tightly-edited piece on childhood and growing up, set against the finely tuned and balanced tensions of the Troubles the gradual changes in the world never hinder the innocence and familial warmth that’s on display from the supporting cast.

Scream – Review

Cert – 18, Run-time – 1 hour 54 minutes, Directors – Matt Bettinelli-Olpin, Tyler Gillett

When her younger sister (Jenna Ortega) is attacked by a new Ghostface killer (Roger L. Jackson), Sam (Mellissa Barrera) finds herself seeking the help of ‘legacy’ survivors Dewey Riley (David Arquette), Gale Weathers (Courteney Cox) and Sidney Prescott (Neve Campbell) to find the new killer.

It takes a while for us to finally hear Roger L. Jackson’s voice once again say “Hello Sidney”, but when that almost iconic horror line is spoken it’s hard not to feel a slight rush of excitement as we know that Neve Campbell’s Sidney Prescott is truly back in Ghostface’s world and traps. However, in the case of this latest entry into the Scream franchise Prescott is far from the central figure. She’s a noted ‘legacy’ character, alongside her fellow survivors from the previous four films – Courteney Cox’s Gale Weathers and David Arquette’s Dewey Riley. Instead the new Ghostface killer is largely being hunted down by newcomer Sam Carpenter (Melissa Barrera). After Sam’s younger sister Tara (Jenna Ortega) is attacked by the new masked slasher her entire friendship group is put at risk, uncertain of how to survive apart from using previous patterns and the now long-running (and apparently tired) Stab franchise. It’s here that Sam decides to bring in the ‘legacy’ characters to help her find out who the new killer is.

Scream has been known for its convention poking, both in and out of its own franchise. It started out as a kind of slasher-parody after all. However, here writers James Vanderbilt and Guy Busick take things to another level. There’s a truly meta and self-aware nature to this ‘requel’ – something which it acknowledges and runs with; like an extended version of Jamie Kennedy’s horror-sequel explanation in Scream 2 – this knowingly being titled Scream instead of Scream 5, for example, is just the tip of the iceberg. It makes for a funnier feel to some of the previous films in the series and means that in many ways the parody truly comes to the fore. In fact, it’s as it properly begins to kick off – and the legacy figures come more into play – that the narrative truly takes off and brings you with it, after a somewhat slow and gradual build-up.

Yet, amongst all the parody the horror is truly still in place. This is perhaps the most intense Scream film yet in terms of the horror and attacks that the new Ghostface killer acts out. The levels of blood and gore brought in co-directors Matt Bettinelli-Olpin and Tyler Gillett’s previous feature Ready Or Not are also present here, while never bordering on the feeling of being sadistic or simply too much. It adds to the overall style and nature of the film, adding a sense of darkness and allowing the attack sequences to become the highlights of the film, not to mentioning warranting its 18 rating. Pushing the threat that this new killer poses. One who, as we know, will likely be unmasked at the end. And the film further leans into this within the narrative, making a point of the mystery; bringing the viewer in to play along like a truly dark, twisted, horror-tinged murder mystery. It greatly moves on from the strong (perhaps intentional) 90s feel of the majority of the first act (opening scene/ recreation aside) and brings you into a familiar world with one or two different central faces, many of whom we know will be bumped off at some point.

The film makes note of all of this, makes us aware that it knows what it’s doing and that we just know that. Pointing out its conventions and commentaries and simply picking itself apart as it moves along. It does this with a fair sense of ease as it eventually moves along quickly, once having established itself, and allows for the new characters to simply try and track down (or in some cases be tracked down by) the new killer. There are plenty of thrills along the way and some finely tuned moments; particularly those involving returning characters, David Arquette in particular delivers a fine performance that truly sets the tone for the return of Cox and Campbell – both of whom enjoy their moments in the spotlight, while never being crowbarred in for too long, it’s clear that this is not their film but they play pivotal roles in the outcome.

Everything is laid out for the viewer yet there’s still plenty of mystery and suspense along the way, all working well with the overall parody nature. This latest Scream film takes plenty of the elements that has made this franchise a firm favourite for many people and emphasises them to ramp up the overall intensity and nature of the humour too. All moulding together to create a fine continuation that certainly feels like a Scream film, is almost unmistakeably a Scream film, and brings you in to feel at home within the run-time while still bringing in the senses of tension, horror and unease. There’s a fine film here that knows what’s it’s doing and is all the better for the fact that it lets the audience know just this while avoiding a feeling of smugness within its personal and wider dissection, not to mention each brutal slash and stab.

Ghostface is back and brings with them a self-aware set of characters and events who make for plenty of meta parody and effectively intense attacks and killings. Once things truly get going there’s a fine mix throughout the film of such tones, alongside the balance between new characters and welcome, well-used legacy figures.

Hotel Transylvania: Transformania – Review

Cert – U, Run-time – 1 hour 28 minutes, Director – Derek Drymon, Jennife Kluska

Dracula (Brian Hull) and Johnny (Andy Samberg) travel to South America to find a crystal to power a machine which has reversed their human and monster forms, while those back at Hotel Transylvania are dealing with their own human troubles.

Towards the end of my review for Hotel Transylvania 3: A Monster Vacation I stated that it’s perhaps time to put the nail in the coffin for this franchise. Not that it’s been in any way bad, however the feeling of repetition certainly began to settle in, particularly in terms of echoes of conventions from outside of the franchise. Yet, here we now are with a fourth entry that has been sent by the studio direct to streaming (through Amazon Prime). The case very much feels the same as we once again see Dracula (now played by Brian Hull doing a rather spot-on performance, instead of Adam Sandler) attempting to bond with daughter Mavis’ (Selena Gomez) human husband Johnny (Andy Samberg). It’s after he backtracks on his decision to hand his beloved century and a quarter old hotel to the couple when he fears that Johnny will transform it into an unrecognisable health spa of colour, instead of the gothic castle which it currently is.

After being told that the reason is simply because he’s not a monster Johnny receives help from Jim Gaffigan’s monsterfication ray wielding Van Helsing. However, while Johnny is happy in his dragon-like body things go wrong when Dracula and co are given human form – something which they must revert by finding a crystal to replace the now broken one which lies in the ray. Much of this happens within the first 15-20 minutes of the rather short 88 minute run-time – particularly within one lengthy opening scene. It’s clear that the film wants to set itself up quickly and get into the plot, but the general feel begins to come across as something like an extended TV episode rather than that of a fully-rounded feature film. While this somewhat fades away once the father son-in-law pairing travel to South America to find the crystal it lingers when jumping back to the titular hotel as the supporting set of characters (Frankenstein (Brad Abrell), wolfman Wayne (Steve Buscemi), invisible man Griffin (David Spade) – often the literal butt of the joke when it’s revealed that he’s been naked all these years – and mummy Murray (Keegan-Michael Key)) find themselves dealing with their own human transformations.

We see occasional tangents to the supporting figures, who it seems like the screenwriters aren’t quite sure what to do with for most of the feature, yet still feel obliged to include them. They wander around the hotel trying to hide from their respective partners in emphasised cartoonish manners (largely displayed in the animation style) in the hope their transformations aren’t discovered. It’s a set of sequences that, much like the core narrative, doesn’t overly hold a lot of laughs; but does manage to be something fairly watchable and harmless for the time that it’s on. Perhaps this is the film in the franchise most targeted towards kids rather than the family as a whole, with its standard narrative and occasionally emphasised Saturday-morning cartoon style.

When it comes to the course of the central narrative we’ve certainly seen it before; both within this series and out of it. It’s a recognisable one, but there’s just about enough within the film and its slight simplicity that helps hold this up and allow things to not feel completely tired and dead in the water, generally making for an easier watch overall. There are one or two chuckles (perhaps just that) and the cartoonish style to the animation helps move things along and excuse some of the more uncertain moments. While there may not be anything completely original here what we do get is done well enough to make for a passable and watchable feature that’s not too taxing and certainly doesn’t feel like a struggle. All feelings helped along by the fact that the film feels overall unpretentious. Not trying to be anything masterful or beloved by generations to come. It feels as if it’s simply trying to amuse people for the time it’s on in that moment. It’s a fairly standard entry into a franchise which may be becoming known for its more standard output.

We’ve certainly seen the lines that Hotel Transylvania: Transformania travels along before, both in and out of the franchise, but it’s just about held up by its emphasised cartoon style, particularly during uncertain scenes involving side-characters, and lack of pretentiousness.

The 355 – Review

Cert – 12, Run-time – 2 hours 3 minutes, Director – Simon Kinberg

CIA agent Mace (Jessica Chastain) assembles a team of agents from some of the world’s biggest intelligence agencies in order to track down a device which could start World War 3 by hacking any other device in the world.

The 355 sets itself in stone when it ticks the “we have a common enemy…” box. After a brief scrap the faces of Jessica Chastain, Lupita Nyong’o, Diane Kruger and Penélope Cruz team up to track down a device with deadly potential. That potential being that it can hack into any other device in the world, and in the wrong hands could start World War 3. The hands which want it most belong to Jason Flemyng – although this is sometimes forgotten as we see so little of him throughout the film. It’s often his henchmen sent out to retrieve what he wants, although often ending up having their faces kicked (or shot in) by the central team, made up of figures from some of the world’s biggest intelligence agencies.

While it may take a little while for the central team to actually assemble there’s still some form of mild entertainment to be found within the action sequences that co-writer (alongside Theresa Rebeck) and director Simon Kinberg captures. While what we get may not be anything revolutionary we don’t always need a film to do this. Sometimes all we need is some decent action that’s easy enough to follow. It might not have many thrills, but at least there’s a handful of spills to keep the flow of things going. And while building up to the formation of the central team such sequences keep you interested in the gradually unfolding narrative – which takes bigger steps in the second half of the piece – where there’s still time for some lengthier punch-ups, and some quite fun moments; including a well-used ‘perfume bomb’.

Where the film slightly loses you is within its quieter moments; looking into the more personal sides of its characters. While throughout we frequently hear Cruz mention that she’s a mother, just as often she can be found Facetiming her family, there are hints and details of the relationships the rest of the titular agent ensemble but perhaps not enough to form a proper connection with them. It’s perhaps this lack of connection to the characters that adds to the overall middling feel of the film. While what we get certainly isn’t bad it does more often than not feel like a relatively middle-of-the-road spy/ action flick that, while decent enough viewing for the time that it’s on, may be forgotten about shortly after watching it.

Yet, while watching it, the action is still enjoyable enough and is often well used to progress the narrative that’s being told, particularly building up to a worthwhile finale. And it’s often the action and extended sequences that keep you placed within the film, over the slower, more personal beats for the characters. It knows that its strengths lie within the fight skills and tact of its central team and largely uses that to both advance the narrative and heighten its better moments. As a whole what we get might not be anything brilliant, but it’s certainly not bad. It’s a decent enough middle-of-the-road action-thriller. Perhaps forgettable, but not without its likable moments that make for good viewing when watching.

A thriller with a few more spills than thrills there are still some engaging moments, focusing more on the fights and tact of its central characters than anything else throughout, within The 355’s longer sequences that keep you in the mostly middle-of-the-road arc of the film.

Boiling Point – Review

Cert – 15, Run-time – 1 hour 35 minutes, Director – Phillip Barantini

Staff tensions run high when a restaurant experiences its most stressful, and overbooked, night of the year.

“We’re the good guys, we’re here for you” head chef Andy (Stephen Graham) finds himself told by patronising former boss, and celebrity chef, Alastair Skye (Jason Flemyng). It’s words that are hard to believe on a stressful and overbooked night where the critical figure, alongside food critic friend Sara (Lourdes Faberes). Throughout one shot we follow the restaurant’s staff as they put up with rude customers (the dreaded Table 7 – which causes stress and tension at even its mention), improperly noted allergies, menu changes and; perhaps the worst of the lot, Insta-pillocks. The kind of people who believe that they can get what they want simply through the fact that they allegedly have 30 thousand followers on Instagram, who they must livestream their whole lives to. It’s these figures who perhaps create the most frustration in the film, as soon as they request that the ‘not very us’ menu is altered for them so they can have steak and chips – not helped by simply agreement from manager Beth (Alice Feetham).

Each new element, sequence and stress is wonderfully captured in what still manages to feel like a new individual scene or moment that contributes to the overall feel of the piece. The real-time aspect allows for everything to come at once and put the viewer into the heat of the kitchen, while still giving chance to have the occasional look at the bar staff or waiters. During such moments – such as looking into brief conversational interactions at the tables – also help to push the natural working environment feel of the workplace, an extra layer of authenticity and naturalism to the piece as a whole. Thus allowing for there to be what feels like little asides and tracks of other characters to separate locations just so something can be setup behind the camera – particularly in the first half – as sometimes feels to be the case with such one-shots.

Helped along by a series of great performances – all demonstrating a strong, tightly-held ensemble nature with all cast members supporting each other – the staff stresses are bubbling up to heated outbursts and arguments right in front of the busy tables of paying customers. However, there’s always uncertainty as to when such a moment will explode, especially as everyone is trying to keep their cool and stay calm amongst the regular chaos of their jobs. A stunning rant by chef Carly (Vinette Robinson) – who practically runs the kitchen and manages the staff herself – brings every to a crashing halt as your held in suspense with every word she screams at her employer. The camera glides back and forth between them to show gradually shifting reactions, multiple things at once while never losing focus of anything in the scene – and all other figures working and eating in the building.

It’s a shame that after this point the film then begins to build into some form of resolve. While not complete resolve – the evening still has its frustrations – the final half hour manages to shift its tension into effective fear and worry from the characters about their futures, and relationships with those who they work with. This tonal shift certainly brings about a different feel to the film, and while it still works and has you engaged it takes a bit of time to properly settle in to it. There’s still a flow and the film as a whole still works, it just feels rather quickly different due to the change in tone which suddenly takes place after the highlight rant. The film still works and has you involved in the well-caught and tracked world, just not as much as it did in the escalating stress of the almost perfect first hour.

While the final half hour makes for a slight tonal shift, transforming the existing stress and tension conjured by the fine ensemble cast and crew into effective worry, the fluidity of Boiling Point’s first hour brings you in to the busy and impactful restaurant environment.

Just A Little Bit Random Audience Top Ten Films Of 2021

In a year where blockbusters came back, and largely appeared to thrive, we were still met with plenty of stories of the equally successful indie scene. There was plenty of conversation around smaller films, particularly in the earlier months of 2021 when we were still mostly indoors, and even with the return of the scale of the big screen there were clearly many films that stayed with us throughout the year. It’s shown in the results of this year’s audience vote for the best films of the year. The latter half of the top ten appeared to change almost every day, while the race occurring between the top four was tightly fought, and a tie for a large segment of the voting period. So, from the smaller-title awards successes to the major franchise names, here is what the readers, listeners and visitors, and people who just wanted to take part in the poll, of Just A Little Bit Random named the top ten films of 2021 (by UK release date).

10. House Of Gucci

While The Last Duel found favour in the later months of 2021, once landing on Disney+, it appears to be Ridley Scott’s other release which found favour amongst the voting audience. With its multiple arcs featuring a series of major A-List actors, not to mention the various costumes that line the piece, there was clearly plenty for people to find themselves involved and engaged in over the course of the film’s narrative.

Following the course of the romance and marriage between Maurizio Gucci (Adam Driver) and Patrizia Reggiani (Lady Gaga) the film also follows the downfall of the Gucci family empire as it was at the time. A decades long course caught in a developing landscape with few shifts in change and style in order to keep up; there’s a twisting want for power and influence from Patrizia (Gaga still in conversation as a potential Leading Actress contender in this year’s Oscar race). Her performance, and general character, adds to the general weight of the drama in the various strands that the film explores for each of the characters, all while still finding moments to almost satirise the Gucci brand and fashion houses at the time.

Jared Leto (who certainly received mixed responses for his performance to say the least) and Al Pacino could almost be a comedy double act with their performances, as they increasingly struggle to keep up in the fashion world, and have their voices and influences heard over those who are beginning to take over. It simply adds to the blend of figures and feuds within the Gucci dynasty that unfold and find themselves explored by the film over the course of the narrative. It clearly provided plenty for people to engage and find interest in, as it’s found its way into the top ten for 2021.

9. Nomadland

The clear favourite, and eventual winner, in this year’s Best Picture Oscar race, Nomadland also found wins in the Best Director and Leading Actress categories. It’s a stripped back, personal piece that allows the characters to speak for themselves as each event is lead by thoughtfulness, consideration and grief. There’s something new to notice with each viewing, and each time you’re simply guided by the subtleties of Frances McDormand’s central performance and Chloe Zhao’s calm direction as they guide you on a wandering journey through the American plains.

With the help of Joshua James Richards’ stunning cinematography you’re given a front row seat to the often pastel-like colours of the sweeping landscapes through which the film travels. Giving fine backdrops to the unfolding conversations about identity which enhance the lives and stories of the characters – most of the cast being non-actors and nomads themselves. During such moments it feels as if time has been stopped as you’re simply brought into the conversation and each figure is given time to think, breathe and speak.

There are plenty of elements of Nomadland which can undeniably connect to the past two years. Themes of loss, isolation, grief and community, which still continue to echo and have an effect on many people, are highly present and add to the personal connection to the film for both the characters and the viewer. Perhaps it’s such themes and elements which had the most effect on audiences – plus the fact that it’s simply a very well-made film – and brought thekm to voting for it as one of the best films of the year.

8. Barb And Star Go To Vista Del Mar

Perhaps one of the most gloriously silly films of 2021, the title of Barb And Star Go To Vista Del Mar is enough in itself to make me personally chuckle and smile. The film as a whole was clearly one of the funniest, and best, of the year for many people with its ZAZ, and occasionally Pythonesque, style humour, riffs and parodies (who can forget Jamie Dornan passionately singing to a seagull).

There’s something oddly engaging and believable about the stereotypical mid-western American 40-somethings that are Barb (Annie Mumolo) and Star (Kristen Wiig) that bring the various dumb jokes, and musical numbers, around them to life. Perhaps it comes from familiarity with the characters from their role as screenwriters, but even moments such as an entire plane journey being taken up with a conversation, and then discussion of an entire backstory for a person who doesn’t exist, about the name Trish has plenty of chuckles within it.

Jamie Dornan as well, playing against type, ditches all seriousness as conflicted love interest Edgar. Working for the film’s villain (also played by Wiig, imaging Millicent Clyde played for laughs) who wants to send a swarm of deadly mosquitos to Vista Del Mar. Even in this strand, aside from the fun and joy of the central holiday and high-pitched discussions, there’s plenty of silliness to be found within the parody that the film lines itself with. The absurdity is often pushed with this blend of elements, and the styles of humour – verbal, visual and musical – also increased. There’s simply just a good time to be found within Barb and Star’s chaotic trip to Vista Del Mar.

7. Don’t Look Up

A late release in the year, particularly when landing on Netflix, but Don’t Look Up was a clear favourite of voters. With its mixture of drama and satire there’s a true ‘unfortunate’ nature to it and the way it shows a very believable reaction of modern society to a trending world-ending threat.

Adam McKay’s satire has been noted as breaking a number of Netflix records within its first week of release, and there was plenty of discussion to be found about it on various social media platforms. Although none of which quite sparked the divisions shown in the film, with those depicted largely being political divisions. It’s lucky that as a whole the film, and its performances – even Meryl Streep as an undeniably Trump-inspired President and Jonah Hill as her son and Chief of Staff – manage to avoid falling into a state of complete parody. It adds to the dramatic stakes of the film, as Leonardo DiCaprio and Jennifer Lawrence become increasingly frustrated at the ignorance of the world to the fact that a comet, which they discovered, is going to hit the Earth in a short amount of time an likely wipe out all life on it.

As their rage and anger, particularly DiCaprio in the second half the film, increases there’s a real sense of suspense and tension that begins to set in – making for a stirring mixture in the final, and truly uncertain, stages. It’s a film that shines a mirror for better and worse and manages to find the right balance in terms of how to show certain subjects and points throughout its run-time and which tones to strike. Further fuelling hr tension and worry that still comes in hand with the dramatic stakes and the glimpses of humour and satire present in various scenes. It’s a seemingly accurate mirror to the world in a number of cases, and quite an unfortunate one at that.

6. Another Round

Many have said that one of the best scenes, and perhaps the best ending, of the year belongs to the finale of Another Round. The pure energy that runs throughout Mads Mikkelsen’s free-spirited dance routine to Scarlet Pleasure’s What A Life sums up the more positive sides of the film. A film which manages to find a balance within both its comedic, dramatic and tragic depictions of a mid-life crisis created through worrying about a mid-life crisis.

While successfully holding plenty of humour as the four central teachers (Mikkelsen, Thomas Bo Larsen, Magnus Millang and Lars Ranthe) – all of whom form a tight ensemble – experiment with booze and blood-alcohol levels there’s a real sense of thought that comes into play as the drama is introduced. Looking into themes of relationships and rejuvenation as the narrative develops, as each of the central figures becomes increasingly drunk – some falling into addiction. A clear personal strand for each of the cast and crew, particularly writer-director Thomas Vinterberg who lost his daughter four days into filming and re-worked the film to make it more about “being awakened to life”.

The final stages of Another Round, particularly the final scene, certainly hold this feeling, especially after the course that has come before it. It connects with you and creates an engaging, enjoyable, care-free and, perhaps, slightly tipsy nature to summarise the events that have come beforehand, as a true sense of pay-off. It’s a great ending and look back at, what many clearly believe to be, a great film.

5. Shang-Chi And The Legend Of The Ten Rings

Shang-Chi And The Legend Of The Ten Rings has been largely praised for its visual style and the nature of its fight scenes – for me, the smoothly choreography fight-cum-dance between Tony Leung and Fala Chen in the opening stages of the film is one of the scenes of the year – not to mention Simu Liu in the leading role. However, it also takes a slightly different step in terms of introductions and ‘origins’ for characters within the Marvel Cinematic Universe. It feels different thanks to the fact that the central character is already aware of their abilities and powers. Where the film then takes this idea is by introducing the easily likable Shang-Chi (posing as Shaun) to us through his being brought back into a life he managed to escape, and coming to terms with his potential destiny, and father (Leung).

There’s a compelling family story at the centre of the film, with perhaps the most initially everyday heroes in the MCU since (maybe discounting Tom Holland’s Spider-Man) leading it. Yet, it is the fight sequences that have largely been the most discussed part of the film. Each stylised sequence manages to bring you further into the world, something different from the rest of the MCU, and shows off the creativity of the filmmakers as events unfold and feel as if they could truly be a part of a legend – not to mention the dragon, and Morris!

It was a film that had plenty of surprises and unique offerings from other entries into the franchise – and perhaps, for a number of viewers, caused it to stand out from the studio’s other releases this year; amongst many other reasons. Not to mention the pandemic box office success that it was and being one of the films that brought some audiences back to the cinema, even if just for the one film or viewing. It was clearly something that meant a lot to a number of audiences in terms of representation and also succeeded in providing a strong action/ superhero film in the process.

4. Dune

Dune was perhaps the box office success that not many of us expected. There were certainly those who thought that it would do well, and those who hoped that it would so that we could get the sequel, adapted from the second half of Frank Herbert’s classic sci-fi novel. Denis Villeneuve’s vision matches the scale of Herbert’s work and fills the big screen with stunning visuals to truly immerse you in the futuristic world of desert planet Arrakis.

Simply in terms of the visuals the film is a triumph, thanks to the scale and scope that it achieves. It’s understandable reading reviews and thoughts on the film where some suggest it to be a new Lord Of The Rings, at least in terms of scale. The film manages to use its handful of narrative beats to explore the world and the various figures and elements within it, which build up to the now greenlit sequel. From towering sand worms to the simple use of red flashes to show a strike on a protective suit there’s plenty o engage you in the film, alongside the gradual development of the narrative, particularly as the drama and action picks up in the final 45 minutes of the piece.

There’s a lot going on in the film through the individual scenes and sequences that form the progression of central figure Paul Atreides (Timothée Chalamet), and the plans of litt-eseen; yet still enjoyable, villain Baron Harkonnen (Stellan Skarsgård). And Villeneuve manages to keep you in place for much of the two and a half hour plus run-time without it being felt. It’s testament to the action and detail held within Dune (:Part One) and just how caught up in it all you find yourself. All thanks to the initial impressive visual spectacle which it unleashes onto the audience and makes what has proved to be for many a memorable cinematic experience.

3. West Side Story

Despite a positive reception to the trailers there was still a fair deal of trepidation for many going into Steven Spielberg’s remake of classic musical West Side Story. The question was in the air of how do you improve upon something as acclaimed and loved as West Side Story. Well, it seems the answer is you get Steven Spielberg to direct it. His take on the musical has all the traditional Hollywood studio flourishes and yet opens the song and dance numbers out into the world, to take full advantage of the space for a true celebratory feel that runs throughout the film. Not to mention the slight tweaks and changes to introduce some more modern sensibilities to the piece, while still highlighting the relevancy of the original production.

The infectious energy that a number of songs provide with their fluidity and general nature, especially Gee, Officer Krupke and America (led by a scene-stealing Ariana DeBose), are further pushed by Spielberg’s gliding and effortlessly sweeping camera. All combining to truly bring to life the idea that “tonight, tonight, the world is wild and bright. Going mad, shooting sparks into space”. There’s plenty of detail to be found within the joy of each of the songs that line the musical, all pushing the general style that each moment is aiming for, working as a true ensemble piece while also contributing to the wider film as a whole.

Yet, aside from the joy and energy there’s still space for the dramatic tension and feeling of eventual/ foreboding tragedy within this Romeo and Juliet inspired love story. You certainly feel the bond between Tony (Ansel Elgort) and María (Rachel Zegler) as they sing the first rendition of Tonight, growing from something quiet to something with a powerful effect – much like the film as a whole – and it makes for a grander effect overall that shapes your reaction to many events throughout the rest of the film. For many trepidation was easily moved aside on seeing Spielberg’s take on West Side Story. Some consider it better than the 1961 adaptation, some just as good, others almost as good. Generally, though, the film received plenty of crowd-pleased acclaim, enough to bring it to be voted as the third best film of the year in what became a very close race between the top four.

2. Spider-Man: No Way Home

With each new trailer, poster, advert, fan theory and piece of new speculation Spider-Man: No Way Home increasingly became, for many people, the most anticipated film of the year. And such hopes and expectations were seemingly not let down. The film, with it’s multiverse opening narrative and re-introduction of villains from previous iterations of Spider-Man, was a hit with both audiences (you may have seen some of the reactions online of screening rooms going wild over certain shots, revelations and plot beats) and critics alike.

There are certainly a number of bold steps taken within the film, perhaps most notably juggling multiple villains while also trying to progress the Spider-Man/ Peter Parker narrative for Tom Holland’s iteration of the character, and carry on from previous entry Far From Home (voted as the sixth best film of 2019 – where Avengers: Endgame came out on top). Yet, the film succeeded in pretty much all of these, while also managing to provide plenty of action and spectacle along the way – particularly involving Benedict Cumberbatch’s Doctor Strange.

Perhaps where the film most succeeds is in not only providing plenty for fans of all forms of Spider-Man, and the MCU and comics, to enjoy and hook onto, but also not alienating those not aware of characters featured in previous movie versions that followed the titular superhero. Managing to easily fill the two and a half hour run-time, while never feeling too full, there’s plenty to enjoy, get caught up in and be thrilled by within the universe expanding course of the piece. One which has clearly pleased plenty of fans, and more casual viewers, easily becoming the highest grossing film of the year – smashing pandemic box office records – and even now getting an Oscars push after receiving such mass acclaim and success. The wait was worth it for a film packed with plenty of surprises, after successfully keeping much under wraps, which met, and even went above, many, many expectations to become one of the most acclaimed, and undeniably successful, of 2021.

1. No Time To Die

Continuing the idea of films being worth the wait, No Time To Die has been largely labelled as the first film to truly come along and save UK cinemas, despite one or two mild hits beforehand. The much delayed return of James Bond was an action-packed blast with plenty of the traditional Bond elements for fans and casual viewers alike. Daniel Craig’s final performance as 007 is one that reflects on what has made his iteration of the character so different to those before him. A punchier, grittier 21st century Bond. Yet, No Time To Die is perhaps also his most traditional outing, and seemingly intentionally so.

The film observes Bond as a character, allowing Craig to bow out with his best performance in the role, and gives him a proper emotional arc over the course of the nearly three hour narrative – managing to fill it with plenty of engaging action and spectacle to keep you in place. Looking back on his course over five films and fifteen years, the relationships that he’s had and how it’s impacted him. And yet, we still have what crucially feels like a James Bond film thanks to the inclusion of the standard elements. There are, obviously, differences to the rest of the series and director Cary Joji Fukunaga knows how to bring these about through the strong visual style of the piece.

Yet, amongst all of this there’s still plenty of time for each of the supporting characters to have their chance to shine. Whether it be Lashana Lynch’s new 007, Moneypenny (Naomie Harris), Q (Ben Whishaw), M (Ralph Fiennes) or new addition Paloma (a delightful, if one-sequence, Ana De Armas) there’s plenty to like about the supporting cast who each play their role in progressing the narrative and pushing Bond forward, certainly not alone. It’s a fine look back at he character as a whole and indeed Craig’s iteration of him. The relationships that have been built up, and lost, and forming a true arc over five films and this one alone.

Clearly having an impact, and a strong emotional response from audiences, it was what brought many back to the cinema, particularly after strong box office success and word of mouth in its opening weekend (particularly in the UK). The many delays and pushbacks (from November 2019 to September 2021 – not all delays because of COVID) seemingly made the film and everything that it held in store worth the wait. Leading it to be a firm favourite of many from the new releases of 2021, as it’s been voted the best film of the year by the Just A Little Bit Random audience.

Licorice Pizza – Review

Cert – 15, Run-time – 2 hours 14 minutes, Director – Paul Thomas Anderson

25 year old Alana (Alana Haim) and 15 year old Gary (Cooper Hoffman) spark a budding friendship through various business ventures together after the latter asks the former out on a date.

There’s something about a group of teenagers casually sitting, listening to Chuck Berry’s My Ding-A-Ling that almost firmly puts you in the 1973 spirit that Paul Thomas Anderson attempts to conjure up, or perhaps recapture, in his latest feature, Licorice Pizza. The writer-director manages to avoid an overall personally nostalgic feel to his throwback film, although elements certainly slip through in a number of scenes, as the cameras capture the somewhat hazy friendship, and business partnership, of 25 year old Alana (Alana Haim) and 15 year old Gary (Cooper Hoffman).

A romantic relationship is strictly off the cards, despite Gary’s initial (and likely continuing) hopes. On their first meeting he almost abruptly asks her out while in the queue to get his picture taken at high school. Nonetheless Alana finds herself turning up to the restaurant and from there a friendship, although one that certainly occasionally pushes lines, blossoms between the seemingly loaded child actor and the young woman still working out what she wants to do in the world. There’s a loose plot as we track their relationship through its various ups and downs. We see them enter the waterbed business, with some chaotic outcomes; including an up-close interaction with Bradley Cooper as producer Jon Peters (Cooper effectively using every frame of his short time on screen with a wonderful performance that he’s clearly enjoying), and even Alana also trying her hand at acting (this marking the feature debut of the musician who gives a fine performance).

In many ways the film appears to made up slightly of various vignettes and moments tied together through the central friendship. The cinematography and general visual style helps to bring you in and engage with the piece, helped by the fact that Anderson’s direction is truly wonderful and helps bring the film further to life. Yet, the lack of story is both a push and hinderance to the film. There a moments where it feels as if it’s starting to go in circles with the fluctuations between the main two characters – particularly as it shifts from focusing on Cooper to Alana and back again (and vice versa). And while there’s still enjoyment to be found within the film – particularly when it comes to some of the ‘continuing sagas’ and sequences that it holds within its run-time, there are still one or two arc-based elements that slightly hold it back, and perhaps your level of enjoyment too.

However, what has been created is still a personal throwback that doesn’t exclude the viewer. One not completely drenched in nostalgia to be alienating. While the 70s acts as the authentic backdrop the characters and there friendship are just as upfront as the decade – or rather the single year. Their relationship feels caught in the heat of a summer, although far from a doomed romance, after all this is strictly just a friendship with nothing bubbling underneath – at least for one of them, for a fair deal of the run-time. It’s entertaining and amusing to see how things pan out, even if they do begin to border on repetition and much of it is helped by the general style, feel and, most of all, look of the time in which the handful of events and moments pan out.

While some character arcs begin to slightly border on repetition there’s enough in the detail and look of Licorice Pizza to keep you engaged and involved in the film. Helped by great performances and direction, it’s easy to get caught up in the spirit of many of the sequences and moments that run throughout it.

The Electrical Life Of Louis Wain – Review

Cert – 12, Run-time – 1 hour 51 minutes, Director – Will Sharpe

Victorian artist Louis Wain (Benedict Cumberbatch) begins to be accused of increasing insanity as his drawings of cats, which follow his branded-‘odd’ views that they can be kept as pets, begin to gain worldwide acclaim.

As the doors slowly open up and we’re introduced to the world of Louis Wain the only word that can be used to describe the tone and images that you’re witnessing is ‘whimsical’. There’s a large degree of charming whimsy as the skilled, and slightly shambolic, artist (Benedict Cumberbatch), fresh from a heated interaction with a bull, stumbles through a train where he reveals just the start of his artistic talents, when asked to draw the dog of the man next to him (Adeel Akhtar). The images, and style, feel like they’ve been taken directly from a traditional picturebook of scratchy drawings – even down to the humorous narration of Olivia Colman. Even the performances have that edge to them that creates a form of slightly offbeat familiarity. All kept in a box-like frame to push the idea of Wain’s pictures.

Yet, it’s his pictures, despite bringing in money for his sisters, that cause him to be branded as insane. As he begins to explore the animal world and the images around him, replicating and putting them into various settings, his own world appears to open up. None more so than when taking in a kitten with wife, and former live-in teacher, Emily Richardson (Claire Foy). “You are a prism through which that beam of light refracts” she tells him as his speciality becomes drawings of cats. In a world where people are no longer needed to draw pictures for newspaper articles – cameras have just been introduced – what they truly want in these increasingly dark and uncertain times are images of cats in suits! A new burst of colour and inspiration enter Wain’s life, despite the personal knockbacks that he experiences, and his talents are soon recognised around the world.

However, despite the success that his artwork is experiencing, Wain’s own personal life is struggle after struggle. His family return to him, when everyone finds themselves struggling for money, and he finds himself not the only one labelled as insane. Such elements are largely introduced in the second half of the film, when the true nature of the cat drawings are brought into the narrative, where they create something of a distinct tonal shift from what initially felt like it could be something of a rather charming family(ish) film. It’s a tonal shift that bats back and forth with the original, more charming, nature of the piece and perhaps doesn’t sit as well either. There’s still something watchable and enjoyable present, however the film as a whole doesn’t appear to settle down in a comfortable tone and style once it starts to juggle the various different points and elements that it appears to be tackling.

The humour is certainly still present, although more distant and scattered, and it helps to be brought about by a truly eccentric turn from Cumberbatch – although Wain’s eccentricities are toned down once the plot, and his relationship with Emily becomes the core factor of the piece, before moving on and progressing to other elements and reaches. Visual flourishes still remain, some of which do have an interesting impact; such as a red flare-like flash tinting the screen to indicate the titular figure’s increasing stress and frustration in unfamiliar settings.

Yet, such points and details don’t quite distract from the generally changed nature of the second half, which perhaps doesn’t quite have the same connection that was formed with the contents of the first half, particularly the opening and the fine way in which it establishes its world, characters and style. The course of the plot simply feels uneven in the end from the introduction of the drama which, while still well-handled, makes for something of a tonal shift amongst the otherwise rather enjoyable ‘whimsy’ that the film and its cast of often pleasantly-surprising-to-see British actors have to offer.

While still holding to much of the interesting visual style there’s a drop in charm and eccentricities as the seriousness of The Electrical Life Of Louis Wain’s drama comes to the fore and makes for a series of tonal shifts which slightly bring you out of the world.

Top Ten Best Films Of 2021

2021 was the year which many claimed saw the return of cinema, after the short bursts of intermittent returns in 2020. Cinemas, distributors, studios and cinemagoers each had their fair share of worry about how well certain major films would fare while still in a pandemic, and yet audiences came back with high demand to see the return of their favourite franchises. While popular throughout the year, Marvel truly proved their draw when ending 2021 with the pandemic-record-shattering (not to mention crowd-pleasing) Spider-Man: No Way Home. While before then the UK saw a hit with the return of Bond, and Venom: Let There Be Carnage proved to be an equal hit in the States. And, let’s not forget the blockbuster that caused some of us to return in the first place, Godzilla Vs. Kong (because nothing truly signals the return of cinema like a giant monkey lamping a lizard!)

However, there was still much of the year spent indoors, yes, catching up on old favourites, but also hearing the love for newer, original titles. The likes of The Mitchells Vs. The Machines and Love And Monsters appeared to come out of nowhere, but both proved to be favourites amongst their respective audiences and pleasing surprises from the past year. Streaming services provided plenty of acclaimed films throughout the pandemic, including a number of awards favourites. It was through them that many viewers got to see the likes of Sound Of Metal (Amazon Prime), Promising Young Woman (Sky Cinema) and this year’s Best Picture winner Nomadland (Disney+). They even continued to do so once lockdowns were lifted, releasing films such as Tick, Tick… Boom, The Harder They Fall and Don’t Look Up (all Netflix). Even titles such as The Green Knight, Palm Springs (Amazon Prime), First Cow and Shiva Baby (MUBI) perhaps gained larger attention thanks to their placement on such services.

Post-awards season, when other contenders finally saw a big screen release, there was plenty of attention towards the likes of The Father and other indie films that may not have had a light shone upon them had 2020 been a more regular year with bigger titles released. Indie films thrived throughout the year, even before Wes Anderson came back to do for arthouse cinemas what Bond and Spider-Man did for chains. Annette, Censor, Pig, Another Round and Titane all saw plenty of audience discussion and reception, and were perhaps amongst some of the most talked about films of the year.

It can be said that a number of films have struggled this year, at least when looking at box office figures for the likes of ‘underperformers’ like West Side Story, In The Heights and The Suicide Squad (although West Side Story certainly pulled in an audience and the latter two titles were also available to stream on HBO Max in the US). But, there’s still been plenty of original titles, alongside the continuing success of franchise titles and blockbusters, that have created conversation and brought more audiences to various titles. Plenty of the most-praised, and often rightfully so, titles of 2021 have been original features. It’s been a strong year for film, and not just in terms of the return of cinema and box office numbers and records (even if ‘records’ does have to be prefaced by ‘pandemic’), and perhaps one of the most difficult in the last few years to put together a top ten where I didn’t have to remove multiple films that I really wish I could have kept in and mentioned (particularly those that I wish had been discussed more, such as Spontaneous, Bad Trip, Herself and Wildfire). However, after yet another overlong introduction simply listing film titles, here are my top ten films of 2021.

10. Demon Slayer The Movie: Mugen Train

Demon Slayer The Movie: Mugen Train was one of the true surprises of 2021. For me, it was one of those films that you go into knowing absolutely nothing about and leave rather amazed at what you’ve just seen. I knew barely anything about the film, especially not the fact that it was a bridge between the first and second series of hit anime show Demon Slayer: Kimetsu no Yaiba. The film certainly doesn’t feel like a bridge, although perhaps leaning that way very slightly towards the very end. I was easily swept up in the narrative as it flowed and moved with the pace of the train that it’s almost entirely set on.

As the demon slaying protagonists do battle with the various demons that reside on the train, including core villain Enmu (Daisuke Hirakawa) – bringing about some of the best combat exchanges of the film, with his open-mouthed hand like a much more gothic version of Thing from The Addams Family – there’s plenty of striking visual flare to expand the world. The detail of the animation heightens the fantasy element and pulls you into the world, and yet also helps to engage you into the psychological delves into each figure. The action almost seems to stop at one point as we experience character beats and flashbacks which help to propel action further on and the nightmarish events occurring throughout the train which has seen the disappearance of many demon slayers before.

The crew and animation team have crafted something which makes the most of your heightened sense, particularly when it comes to the extended sequences of non-stop action. Particularly as stylish anime style is mixed with CG animation to create an occasional extra layer of visual power that puts you back in your seat with the simple response of “wow!”. There’s plenty to like about the stylish action of Demon Slayer The Movie: Mugen Train. It holds plenty of thrills and engaging sequences that truly come to life on the big screen. Yet, it still finds time for dream and subconscious-delving character beats which help to advance the train-rattling narrative and allow you further connection with the world and its characters.

9. Another Round

There’s something about the Scarlet Pleasure song What A Life accompanying the final (and opening) stages of Another Round which perfectly summarise the film. It’s part midlife crisis drama, part midlife crisis comedy mixed with booze. A true cocktail of dizzying proportions as we see an excellent Mads Mikkelsen and fellow teaching staff (Thomas Bo Larsen, Lars Ranthe and Magnus Millang, all forming an excellent ensemble) attempt to write a paper on whether a theory that humans work best with a blood-alcohol level of 0.05%, although increasing the level of alcohol overtime.

There’s humour to be found within the drunken antics of the quarter, however as time goes on the levels of drama are pushed with fine balance and introduction to form something rather thoughtful, and not without its elements of emotion and tragedy. Clearly all coming from a personal angle from writer-director Thomas Vinterberg, who appears to be supported just as much by his cast and crew as he does them.

Everyone appears to band together to create a story about relationships and rejuvenation. One which, as it goes on, begins to blend the lines between comedy and drama as you start to wonder whether you should laugh or be fearful for the characters as their lives indeed become something of a drunken blur. It’s all helped by a number of great central performances, the supporting cast around Mikkelsen truly shining and almost showing as co-leads on re-watches, and a real sense of (perhaps booze-infused) hope amongst crisis. Not to mention, perhaps, the best ending of the year!

8. The Lost Daughter

The Lost Daughter starts out the way in which the perfect film, or travel series, might; simply showing Olivia Colman having a lovely time on holiday. Luring you into something of a false sense of security Colman’s happily relaxing on the beach eating an ice cream far from prepares you for the strongly compelling set of flashbacks and repetitions that are to come over the course of the film.

As fellow holidaymaker Dakota Johnson loses her daughter on the beach it triggers callbacks for Colman to her years as a young mother, the younger version of herself played by Jessie Buckley. She almost sees herself in Johnson and the events that pan out on the Greek island they find themselves on, Colman seemingly there to escape herself and her past – yet almost always talking about her younger years and her now seemingly estranged children. She gives a truly fantastic performance, that draws you further into the film, as someone still experiencing, yet not trying to show out of fear and guilt, years of pain and regret.

Everything pans out very gradually, yet you’re held in place by writer-director Maggie Gyllenhaal (making her feature debut in both respects) as the film offers new insight and information at each turn. Simply strengthening each character and the unfolding events which feel as if they could go in any direction, and lean into any genre, at any moment. It’s all finely balanced and helps expand the detail that lines, and is even hidden in, the piece. Forming an engaging, compelling and thoughtful film which is so wonderfully conveyed by Gyllenhaal’s camera, and the stunning subtlety of Olivia Colman’s central performance.

7. Nobody

Towards the end of John Wick: Chapter 3 – Parabellum I began to think to myself ‘I don’t know how much more of this I’m going to be able to watch’. While I really enjoy that trilogy I’m tentative about the upcoming fourth and even fifth instalments of the franchise, wondering if (and when) it’s going to begin to feel somewhat tired and done with. In the case of Nobody, penned by John Wick writer Derek Kolstad, that answer might be not any time soon.

Another film which lures you into something of false sense of security, although with a sense of being rather self-aware, Nobody begins to Bob Odenkirk as mild-mannered, number-crunching, family man (and past-life ‘auditor’) Hutch Mansell. However, it’s not long until you anticipate who’s face will meet his bloodied fist next, after introductory lines and one-liners lead the way to (sometimes literally) explosive needle-drops which can only really be described as COOL! Through fist, knife and gun fights Nobody forms engaging action which brings you in for perhaps one of the most entertaining films of the year, helped along by the fact that it appears to be so aware of itself and exactly what it’s trying to be – particularly as Hutch’s simple quest to get his daughter’s beloved kitty-cat bracelet back from a pair of home-invaders leads him to a run-in with the Russian mob, led by Aleksey Serebryakov’s Yulian Kuznetsov.

There’s plenty of thrills and entertainment to be found within this fast paced (while some might choose to show a triple headshot in slow-motion director Ilya Naishuller shows it as it happens and moves swiftly on to keep the pace going in the short 92 minute run-time) action flick. The kind which has you on the edge of your seat, leaning in to the screening in anticipatory joy, issuing excited giggles at the needle-drop infused carnage that’s on display. Whether led by Bob Odenkirk, or one of the brief appearances of Christopher Lloyd as his father, there are plenty of thrills and chuckles to be found within Nobody.

6. I Care A Lot

“Playing fair is a joke invented by rich people to keep the rest of us poor” explains Rosamund Pike’s gleefully evil Marla Grayson. Likely wearing another brightly-coloured outfit to further brighten up her sunny demeanour she makes a living by manipulating the courts into thinking she’s a trustworthy person and therefore making her the guardian of a number of aging figures. However, once guardian she blocks all contact with the family of those who have been put into her care, all in the hope of gaining inheritance money that would have otherwise gone to the children of those she’s responsible for.

That is until she manipulates, abuses and attempts to steal thousands of dollars from Jennifer Peterson (Diane Wiest), the mother of increasingly angered gangster Roman (Peter Dinklage). He’s intent on finding out who Marla is and exactly what’s happening to his mother. In multiple respects the question “what lines will I cross?” is asked, and it helps to ramp up the tension that the piece builds up. Tension which never really has anywhere to go as you can’t get behind or support anyone’s cause due to every character being a, perhaps knowingly, bad person. In fact, the only person you truly can feel sympathy for is Wiest’s as she begins to rapidly deteriorate at the uncaring control of Pike’s wonderfully performed (in a cast holding many great performances) central character.

As characters get closer to each other and the eventual clash nears the stakes rise, alongside the tension, and a delirious thriller is formed. One filled with twists and turns to boost the escalating fast pace. A pace which is even held in the high drama of courtroom and one-on-one conversation scenes. There’s plenty enjoy within the finely balance tone and nature of the film, where your tension rises due to having nowhere to go, particularly as you’re kept in the grip of the various antagonistic and villainous figures that line the piece. All revolving around Diane Wiest’s Jennifer Peterson who is largely kept in mind throughout the film, especially the build-up to when things truly kick off, so your sympathy has somewhere to go, and many later actions are contextualised and built upon for a truly built-up-to pay off and set of events.

5. The French Dispatch

Words and expression are integral to The French Dispatch. So, it’s fitting that it contains, what I believe to be, Wes Anderson’s best screenplay yet. The dialogue that makes up the three core articles, and brief travel feature, feels like it could be taken directly from a magazine, yet never distractingly so. Certain moments are altered for conversational beats, or to further bring to life the idea of a talk, or interview, however the love, care and power of words is consistently in place throughout each strand. Bringing it to life and further allowing the viewer to enter into the world which is being detailed and expanded in the very moment.

It’s easy to say ‘Wes Anderson’s made his film again’ in the build-up to a new Anderson feature, I certainly said it a number of times before the release of The French Dispatch, and probably will when it comes to his next feature too. However, I happen to quite like Wes Anderson’s film. The standard elements are there within The French Dispatch. The visual style and flair which helps to bring the film further to life – it’s clear that Anderson is showing off on some occasions here, and not just as Owen Wilson whizzes through the streets of France on a stop-motion-like bike tour. But, In ihe case of his latest feature Anderson displays slight hints of something new. Clearly on display that show brief glimpses of hints and spirits of hope and thoughtfulness. A considered style which has been very briefly on show in the likes of The Grand Budapest Hotel and Fantastic Mr. Fox. Beats which are stretched out here and feel integral to thoughts of emotion and looking towards the future in a moment where hope is being searched for.

It’s an interesting angle that adds to further engagement with the film as a whole – once which already holds the charm of Jeffrey Wright monologuing as he works his way through the confusing corridors of a police station. One, as has become expected from Wes Anderson, which is already filled with precision in the visual detail. The words match the magazine and the film as a whole. The death of the editor which signals the final issue (and his obituary), echoing throughout the film in different styles and volumes. It’s a finely thought out and sculpted piece of work brought about, much like a magazine or newspaper itself, by an entire team effort. Amongst Anderson’s best, and definitely sounding as if he wrote it that way on purpose.

4. In The Earth

While there had been one or two blockbusters (primarily Godzilla Vs. Kong) released already nothing brought back the scale of the cinematic experience quite like the visual and audible attack that is Ben Wheatley’s In The Earth. A film which, after only just having been allowed back outside, will make you want to not go back out for a considerable amount of time.

Everything is stripped back for the writer-director’s return to low-budget horror as we see scientist Martin (Joel Fry) and park scout Alma (Ellora Torchia) make the trek through the woods to deliver essential equipment to a research base run by Hayley Squires’ Olivia. From initial conversations about folk demon Parnagg Fegg and the belief that the plant-life is all connected as one active mind the pair soon find themselves fighting for their life when they encounter the cult-like figure of woods-dwelling Zach (a terrifyingly dead-pan Reece Shearsmith).

It’s here that the blend of horrors comes into play. From cult links to effective lingering body horror and simply entrapment (the environment feels like an unidentifiable, inescapable expanse yet has a truly claustrophobic feel at the same time) the film builds-up to a truly mind-melting set of events that cause you to truly question just what’s happening on-screen, while being forced back into your seat to simply witness and take everything in. All gradually built-up to after an initial, and continuous, set of subtle camera techniques, such as slight wobbles or being placed at an angle at a far distance, in the bushes, as if someone is watching the pair in secret – truly setting in an early sense of almost unrecognised unease.

The look and sound of the piece are key and truly place you into the woods in which everything takes place, gradually increasing bit by bit – hand-in-hand with the horrors that are on display – for a real cinematic experience. One which begins to take control and display a real sense of power (even when watched on the small screen). It all builds into a truly effective attack on the senses that heightens the nature of the film as a whole and the horror sub-genres that form it. It’s an excellent piece of work that’s further boosted by a small ensemble cast, each of whom delivers a great performance in helping to capture the true terror that’s unfolding in the enclosed space of the surrounding wilderness.

3. Promising Young Woman

There’s something unexpectedly tense about a high-pitched string version of Britney Spears’ Toxic, it acts as a final countdown to protagonist Cassie’s (Carey Mulligan) grand act of revenge. Her best friend Nina committed suicide after being sexually assaulted and raped while at the same medical school that Cassie would later drop out of, and she’s out for cleverly-planned justice. As the plan is enacted out there’s something increasingly sinister about Mulligan’s performance. A number of reveals, sometimes you piece things together just before the film confirms your fears, are genuinely shocking, a gasp-inducing mixture that sometimes leads to gut-punch horror – even if everything isn’t always as it seems.

Everything is mixed in a fine blend of genres within writer-director Emerald Fennell’s Oscar-winning debut feature screenplay. From the aforementioned moments of shock and horror placed neatly within the escalating drama, matching with the satire that lines the piece and some of themes that it holds. The idea of self-believing ‘nice guys’ certainly has an element of humour as their panic rises when Cassie reveals that she is in fact not drunk after they begin to try to take advantage of her after taking her home from nights out at the bar or club. There’s something rather cinematic about the way the dark satire, and ultimate act of revenge, pans out. You’re caught in the grip of the film and the suspense that it creates, for both Cassie and those that she’s after.

However, it’s Mulligan’s deeply personal monologue that acts as the film’s standout scene. Conveying the themes and ideas that it’s been playing with and forcing you back in amazement with an astounding effect. It’s the peak of a performance that has been flowing with fiery passion from the opening stages and bringing you further into the narrative with slight tension (perhaps for Cassie and what will happen to her after the discomfort that has been gone through just a few moments before in a number of instances) and plenty of intrigue. There’s a boldness to the film that comes from emotion and rage, caught up in a fiery style that you can’t help but feel the effect of. Mulligan is excellent in the leading role and wonderfully captures the tones of Emerald Fennell’s screenplay. From the dark satire to the revenge thriller there’s a sinister streak within Promising Young Woman that doesn’t try to hide itself and it adds an extra layer of force and energy to the film as a whole.

2. The Dissident

There’s a chance that the scariest film of 2021 wasn’t even a horror film, well, at least something firmly in the horror genre. Director Brian Fogel’s latest documentary, The Dissident, takes an in-depth look at the murder of Saudi Arabian journalist Jamal Khashoggi in the Saudi consulate in Turkey in 2018. As the events are detailed, and various figures relating to them and Khashoggi are interviewed, the film plays out more like a thriller than anything else. There’s a feeling of intense investigative journalism throughout the film, like a highly cinematic piece from This American Life. It all builds up the levels of tension surrounding the event and creating fear in almost anything that you’re shown over the course of the run-time.

The themes of “Learn more. Take action. Make a difference” ring throughout as it delves into Khashoggi’s journalism for various sources, including The Washington Post, and his interactions on Twitter with other critics of the Saudi government, some of whom are interviewed in the film and reveal a truly dark world. Long after the credits have rolled shockwaves remain floating around your head with an undeniable effect. There’s plenty to unpack and witness in the film, and it certainly warrants a still tense and uneasy re-watch. Potentially it’s the fact that you know what’s going to happen and where the film is going, but then again it’s testament to the fact that with everything that it covers the film remains tight and focused. Moving along with a quick pace, never overloading or rushing information but simply keeping the fast, thriller-like feel.

The Dissident is a film which is about as passionate about Khashoggi’s work as he was about fighting for freedom of speech and the right to criticise those in power. Heightening the intensity and overall effect there’s a powerful wave created by Fogel’s latest documentary created through the shock that it creates through fine craft and precision. Forming a highly cinematic documentary that feels direct (despite the messy nature of the events, the twists, turns and diversions that come with it), detailed and ultimately engaging. Keeping you in place, often glued to the screen, as the spiralling events pan out and more is revealed about the Saudi government and the context and events building up to Khashoggi’s murder. By the time a simple transcript of events comes up the feeling that runs through the viewer is that of pure terror.

1. Sound Of Metal

I said earlier in the year that if I was a voting member of the Academy, and it’s probably a good thing that I’m not, I would have voted for Riz Ahmed in the Leading Actor category this year. His turn as a heavy metal drummer, and recovering addict, whose hearing begins to rapidly deteriorate pulls you in to Darius Marder’s Sound Of Metal. It’s an angered, frustrated, scared performance that also captures all the physical beats of the character. A figure who looks like Ahmed, sounds like Ahmed (with an American accent) and more, but feels completely different in almost every way. Yes, that’s generally acting, but there’s something truly transformative about his performance in Sound Of Metal.

Ahmed’s Ruben recieveds help from Paul Raci’s Joe, teaching him, simply, how to be deaf. You can’t help but feel pride, hope, uplift and sadness as he makes his way through the film and experiences certain character changes and downfalls too. You’re placed into his shoes through the sound design. Highly detailed and effective you hear the muffled, rumbled and distorted chaos and confusion of his new life, before it may go permanently silent. All after the clear everyday noises of his creaking motorhome and slowly dripping coffee. All of a sudden everything is plunged into an equally subtle cold, grey look.

There are plenty of cliched words that could be used when talking about Sound Of Metal, I’ve likely rattled off a number of them already. There’s a true attention to detail that enhances the audible nature of the world and helps bring you in to almost be able to feel it on a number of key occasions. You’re firmly rooted there to observe the course that Ruben takes, for better and worse, from start to finish, still hoping at each turn that things will pan out ok for him or that he will make the ‘right’ decision. Regardless, there’s a truly impactful and emotion story told within Sound Of Metal. One that’s led by your responses to the central character and those around him who are simply trying to help and understand him, despite increasingly closing himself off from the rest of the world. A truly striking piece of detailed work, in multiple areas, which I believe is the best film of 2021.

The King’s Man – Review

Cert – 15, Run-time – 2 hours 11 minutes, Director – Matthew Vaughn

After having seen multiple deaths in previous wars and promising to never kill again, Orlando, Duke of Oxford (Ralph Fiennes) finds himself having to assemble a team to take down the head of an organisation which has planned and masterminded World War One.

Whatever you may think of Kingsman: The Secret Service and its sequel The Golden Circle there’s little denying that both are thoroughly modern spy ventures. Now, with largely World War One set prequel The King’s Man Matthew Vaughn takes something of a slightly more traditional route with the franchise. There are certainly some slight gadgets wound into certain scenes, but for the most part it’s back to traditional hand-to-hand combat, with the occasional gun, sword and knife. The film sees the birth of the Kingsman service as we know it, at this point before the breakout of the war Kingsman is still only known as a distinguished tailors in Savile Row. A place frequented by Ralph Fiennes’ Orlando, better known as the Duke of Oxford. It’s a shop which he hopes to see his son, Conrad (Harris Dickinson – who it’s somewhat difficult to believe is meant to be a teenager for much of this film) don the suits of in years to come.

However, Conrad has other hopes that go well against his father’s wishes; his father a man who has sworn never to take another life after witnessing mass bloodshed in previous wars. Hopes of joining the military and helping to fight in the rapidly growing First World War. It’s a war that Orlando, alongside skilled-with-a-knife servant Shola (Djimon Hounsou) and code-cracking nanny/maid Polly (Gemma Arterton), intends on stopping. However, things are much more complex than they seem. There’s a winding road of villains and figures to combat, all of whom have links to a hidden organisation run by a hidden figure intent on getting revenge on King George V (Tom Hollander – who also plays the leaders of Germany and Russia, Wilhelm II and Nicholas II) for centuries long mistreatment and ignorance of Scotland.

Starting an entire World War certainly seems like something excessively severe for the sake of Scottish nationalism, but it also manages to be one of the more amusing elements of the film when revealed (perhaps not intentionally though). It slightly suits a villain who resides in a shabbily built barn surrounded by CG goats on top of a hundreds-of-feet towering rock in the middle of nowhere – hollow it out and you’ve got a perfect Roger Moore Bond villain. A man who has a gang of villains which most prominently features the dance-battling Rasputin (Rhys Ifans). A man whose threats include “time to dance… on your graves” before going into another spin attack – you decide the correct response. While Rasputin has seemingly been advertised as the main villain this is far from the case, he’s simply a supporting character, a barrier in the way for the protagonists to get to the true antagonist. There are a number of these figures who stand in the way and they each act as slight tangents which, particularly in the second half of the film, push the run-time further.

Each one also adding to a slight mixture of tones and genres from scene to scene that don’t quite gel together – one or two early scenes looking at the grand Oxford home feel like they could be found in an episode of Downton Abbey. The King’s Man is certainly something of a mixed bag in the way that it puts itself across to the viewer. Yet, the core element of the action never seems to properly grab you. There feels to be little flare and so blood is used to liven things up in the stop-start nature of such moments, yet still little effect is to be found. It simply causes such sequences to begin falling into the feeling that the film is becoming almost a pastiche of itself. It causes disconnect between the viewer and the film, enhanced by the winding nature of the narrative. Jumping between characters and locations with various lengthy tangents it simply causes the final piece to feel long and disengaging.

There’s a long and winding nature to the narrative of The King’s Man – perhaps stemming back to its history-twisting villain. It stops the flow from every truly speeding up and means that the action also lacks an impact as you continue to disengage from the general nature of the piece, rattling along its course of tangents, trying to find a way to get its central characters to the finale. Certain elements almost feel tacked on or added to both extend the run-time and try to almost makeup a way to the ending on the spot, as if the narrative is unsure of itself and where it’s meant to go from one point to another. Sometimes choosing to scale the increasing heights and cold of a giant rock rather than simply walk around it.

There’s a more traditional feel to The King’s Man, and yet much of the run-time is spent seemingly extending it with tangents and bursts of relatively ineffective action within the winding, tone-changing plot.