Onward - Movie Review - A promising return to originals for Pixar + Response to COVID-19 effects on cinema

This film is a U, was released on March 6th 2020, and this review will contain NO SPOILERS

This film takes place in a fantasy world where magic once dominated but was quickly forgotten as electricity was created and thus sent their world down the path of our own. An elf living in this world, named Ian, is gifted a magic staff left behind by his deceased father on his 16th birthday. With it comes a spell that can bring his father back for one full day. However, while performing the spell, he only brings back the lower half. With a particular stone needed to complete the spell and only twenty-four hours to do so, Ian, with his older brother Barley, set off on a quest to find it and see their father. 

If you know me, you know I'm a huge fan of Pixar. Their films never fail to amaze me, move me, and above all, entertain me. Despite this, the 2010s saw a considerable decline in quality for them. They only made two films that I love, some that I regard as "meh", and a bunch that I really like but don't love. This contrasts hugely with the 2000s, where every single film they put out was excellent, with some making it into my Top 10 films of all time. Anyway, that's the past, what about the future? 2020 sees them return to original filmmaking, as opposed to sequels, and their first of these is Onward. I didn't have high hopes for this film - the trailers made it look like a mid-tier Dreamworks offering and it just didn't ring the wonderful originality that I'm so used to from this studio. But, as a dedicated fan, I still went to see it with fingers crossed.

Thankfully, the film is actually quite good. It goes without saying that the animation is spectacular, but that's kind of inevitable for Pixar at this point so I can't really use that as praise for this film in particular. The setting was a lot of fun, and it was enjoyable to see a modern twist on the generic fantasy aesthetic that we're all so familiar with. The two leads had a nice dynamic, with one being awkward and nervous and the other naive and confident. The way they interacted on this journey really held the film together and made it an entertaining adventure - a large part of this being the charisma from the voices of Tom Holland and Chris Pratt (both of whom I love). Additionally, the story hit all the emotional beats sufficiently, and the sad moments never felt forced or hollow but very genuine. On top of all that, there were plenty of exciting set-pieces involving chases, dragons, magic and all sorts, as well as a nice score to accompany such. 

So, as far as a Pixar film goes, it has all the things I look out for going for it. However, this is sort of where the big problem lies. The film executed all of its elements well enough, but it all just felt a bit too conventional by Pixar standards. The quirky setting, the emotional story, the charming characters, etc. They're all done fine, but don't feel particularly special. While there wasn't anything the film necessarily did badly, there wasn't much it did amazingly, it was all just, as I said, fairly conventional. That may be fine for other studios, but because we've seen Pixar produce phenomenal films over the last 20+ years, anything that isn't as great, even if it's good, is going to be seen as weak to some extent. The wonderful content of theirs that I grew up with is just inseparable from them. This is just kind of an inevitability that all original content Pixar goes onto make will suffer from - unless they pull off something as strong as what they did in the 2000s. 

While it isn't the most memorable or ambitious film they've put out, Onward is still beautiful-looking, creatively constructed, emotional at times, and fun in places. I enjoyed it just fine, but then again, it's just another Pixar film to add to the ever-growing pile of films they've made that I like but don't love. I really want to see this company reaffirm their status as one of the greatest film studios currently in the industry, and not one that resorts to just good enough. Their next film Soul looks too reminiscent of Inside Out and not like anything particularly interesting to me, but there's a chance it'll be amazing. And as I said, I didn't have high hopes for Onward, so to say that I enjoyed it at all is still fine by me, so I think I can let this one slide. 

I'm going to give Onward a 7.5/10  

While I'm here, I thought I'd just take some time to address the unfortunate postponing of multiple new releases amidst the outbreak of the COVID-19 virus. I wasn't looking forward to a lot of movies scheduled to release in 2020, but of the few that I was, it's irritating that I'm now going to have to wait longer to see them. 

No Time To Die feels like it's constantly been pushed back further and further. First, the Sony hack, then all the creative differences with Danny Boyle, and when we finally got a trailer and a release that we were just a month away from, we now have to keep waiting until November. I'm beginning to wonder if it'll ever actually get released at all. 

A Quiet Place Part II is another tragic delay as that was my most anticipated film of the entire year, and we were merely a week away from it entering cinemas. What's worse about this case is that we haven't yet got a new release date at the moment, so the uncertainty about how long I have to wait is killing me. 

As of right now, Black Widow is still scheduled for May 1st, and while I do think the virus will be under slightly more control by then, I wouldn't be surprised if it was pushed back to a later date, or even worse, released straight to Disney+, which would be depressing. 

Obviously, I respect that it is important to not put people's health at risk, especially in an environment where they should be enjoying themselves, but it is a huge pain for someone like me who loves going to see new films in the cinema on a regular basis and was ready to see all these new films shortly. I just hope that this virus outbreak doesn't act as a catalyst for the death of cinema and convinces studios to just release all their new films straight to streaming platforms. 

On the bright side, I can spend the coming weeks working my way through my extensive watchlist of already released movies I haven't seen, and I will still try to visit the cinema to show there is still a market for it during a pandemic like this. Additionally, let's all be grateful that this didn't happen a year earlier and thus forced Endgame to be delayed, as that would've just been the absolute worst thing in human history.     

The Lighthouse - Movie Review - Here's what the awards overlooked

This film is a 15, was released on January 31st 2020, and this review will contain NO SPOILERS 

Introduction 

The Oscars have just passed, and congratulations to Parasite and it's well-deserved wins. However, with every awards season, there's always that one film that everyone sings the praises of but is ignored by the Academy for the most part, with maybe only one nomination. This year, that film was of course... Knives Out! Well, to me it was, but there's also this other film that has landed the No. 1 spot on many people's lists of last year, The Lighthouse.

Thoughts Going In 

I didn't go to see this because of the trailers or because I like Robert Eggers, as I haven't seen his debut film The Witch. I went to see this because of curiosity. As I said, many critics praised this film enormously, and that was what convinced me to see this. So, instead of Dolittle or Sonic the Hedgehog this half-term, I chose The Lighthouse. 

The Story 

In the 1890s, two lighthouse keepers arrive on an island to run the lighthouse, until they begin to lose their sanity the longer they stay there.

What I Liked 

The best aspect of this film is the performances, of which there are few. Willem Dafoe and Robert Pattinson give career-best turns as deranged, creepy and generally unsettling people. After some time you begin to forget that they are actors and just accept them to be the people that they portray. I was completely wrapped up in these characters and they carried the film in masterful fashion. 

The presentation of the film adds to the eerie atmosphere it demands. The choice to colour the film in black and white helps the audience to understand the characters as they lose track of time and place, as you struggle to follow what night and day look like and how each location is visually distinguishable from each other. Also, black and white, in general, can make something a bit creepier. The limited aspect ratio made the viewing experience feel more claustrophobic and as if you are stuck within the confines of this island. This was just fascinating to watch. Very few films are presented in this way anymore, so to see a film incorporate them is striking and effective. 

Other technical elements were excellently executed as well. The sound design was impeccable, the recurring motif of the generator (or horn? I'm not entirely sure) emphasised the irritants of having to live in this place and added to the unsettling nature of this location. The score, or lack thereof, was also very unnerving, the cinematography was wonderfully energetic and fluid (too bad it was competing with 1917), and the editing in certain places between various horrific images just heightened the tension and made this an alarming watch. In places, I couldn't believe what I was watching. It looked and sounded completely and utterly disturbing. 

However, one of the things that I feel I took away from the film most was the ambiguity. I love a nice concrete story where everything comes together and makes sense at the end, but more often than not, I prefer an ending where the opposite is so. I like it when a film doesn't entirely answer every question one may have or doesn't occupy itself with making sense of everything that has happened. I left the cinema completely puzzled as to what exactly I had just watched. Is the film trying to be symbolic of something? If so, what? Why? What is the significance of these certain aspects? How does it all tie together? What on earth does that ending mean? Hang on, what was that? Leaving a film off on a note that is up to interpretation is what makes film discussion fun and worthwhile. I doubt I'll be forgetting about this film anytime soon, and I am even more doubtful that discussion about such will ever stop. 

What I Didn't Like 

Despite having tons to take away, I don't know if I'll be leaping at the chance to revisit this too soon. I'd love to watch it again just to unpack all that is on offer, but as a piece of entertainment, it doesn't entirely suffice. It's not really a horror film, but it is definitely disturbing enough to put my fingers in front of my eyes. Looking at the other praised films of 2019, many that I've seen are a bit more catered to me in terms of how enjoyable they are. Parasite, which had big wins at the Oscars, is a film that I enjoyed hugely, and would love to go back and rewatch not just to unpack everything, but also because I know I'll enjoy it too. With this, I admire it enormously as a work of art but didn't completely enjoy myself while watching. This doesn't lower the value of the film in terms of being what it is, as this is coming from someone who doesn't get enjoyment from films of this calibre, but for me, it just lacked the entertainment that I particularly seek from films I see. 

Conclusion 

The Lighthouse is a disturbing, eerie, creepy, and largely effective piece of filmmaking. The central performances, the sounds, the presentation, and the lack of much clarity make it innovative and unique. Despite not entirely appealing to what I want to see, this is still completely successful in terms of fulfilling what it sets out to do, and I will not be forgetting it any time in the foreseeable future. Go and see it while you still can, and don't worry if you don't understand it, because maybe you're not really supposed to. 

I'm going to give The Lighthouse an 8.5/10       

Oscar Best Picture Nominations 2020 Ranked

I always enjoy awards season. Not because I want to see my favourite films of the year get awarded, but just because I'm interested to see what's getting the praise. This year, for the first time ever, I have seen every single best picture nominee. So, let's rank them all from worst to best! Remember, this is my opinion, and not all these films are for me, so don't get annoyed if your favourite is at the bottom. 

Also, I haven't reviewed all of these movies, and for those that I haven't, I'll explain everything I like and dislike as briefly as possible, and thus won't write a review in the future - everything that I feel the need to mention will be covered so you won't be missing out on any important aspect of my opinion. For those I have reviewed, I will reiterate what I liked/disliked, but will also go into detail about my thoughts on them connected to awards and such. Here we go!

9. Once Upon a Time in Hollywood (Quentin Tarantino)

Actually, I haven't seen every nominee this year, but my mum watched this and didn't like it. I'm only just about getting old enough to watch and appreciate the work of Quentin Tarantino, so I haven't seen any of his work, including this. But, I'm guessing it'll rank near the bottom.

Rating: Don't know/10

8. The Irishman (Martin Scorsese)

I'm sorry, Scorsese. Out of the two 3+ hour movies I saw in 2019, I preferred the one that was a comic book movie over yours. The Irishman is incredibly watchable, anything with Robert De Niro, Al Pacino, and all this excellent cinematography is. However, the story didn't really have me engaged. It started off great, but after passing the one hour mark, it lost my interest. It did get back on track for me towards the end, which I began to really enjoy, and it left me keen to revisit it. However, the overly-long runtime and long chunk of boredom in the middle keeps me from doing so. I don't think it'll win this unless the Academy embraces the traditionalist nature that I believe they have.   

Rating: 7.0/10

7. Marriage Story (Noah Baumbach)

Once again, another film that just isn't for me. However, I enjoyed this movie quite a bit. The two lead performances from Adam Driver and Scarlett Johansson were terrific and powerful, the screenplay was well constructed and conveyed all the necessary emotion, especially in the infamous argument scene, and it was overall a well-made film. One of my issues was that despite the great performances, I did feel like I was watching performances than actual people. Additionally, it is also a bit too long, and the score was far too whimsical and felt tonally wrong. That said, I enjoyed the movie just fine and wouldn't mind another watch. It could win, and I'd be fine if it did, although I think others higher up deserve it more.

Rating: 7.0/10

6. Joker (Todd Phillips)

Months after watching, this film is still lingering in my mind. Joaquin Phoenix is truly unbelievable and his performance is off the charts. The film does an excellent job of building suspense and making the audience feel uneasy. Certain scenes are just haunting, the bathroom dance in particular. Any problems? Well, as good as the score is, I didn't think it was particularly memorable, unlike two films higher up on the list that is more deserving than this. On top of that, the efficiency of the haunts do prevent me from wanting to revisit, so that does devalue it. That said, the film has left a large impression on me, and I can vividly remember many moments, so maybe that's not a problem at all. Overall, I think it's a really impressive and interesting piece of work. I'd love if it won as that'd just be the most controversial thing in human history. 

Rating: 8.5/10

5. Le Mans '66 (James Mangold)

Or as Americans call it, Ford v Ferrari. This is a really fun and engaging take on a story that could easily have not been so. The race scenes are well edited with some brilliant use of sound, and the two lead performances are likeable and believable. It is a tad too long and certain scenes could be cut with little difference, but that doesn't stop it from being a great time. This is the best picture nominee with no chance of winning, but not to say I don't think it deserves it. This makes me hope that this film will live in my life like The Martian, which was another film I enjoyed at first, was nominated for best picture with little chance of winning, but has slowly become one of my favourite films of all time. I can't say for sure if Le Mans '66 will do just that, but there's a chance. 

Rating: 8.5/10

4. Parasite (Bong-Joon Ho)

If there's one film that is completely unique compared to anything else I've seen, it's Parasite. This film begins as a really fun and quirky comedy that I was really on board with and enjoyed. But then it takes a sharp turn into very different territory. It becomes something a lot more gripping and shocking - and that's all I'll say. I really enjoyed this film. The characters are all well-executed and the story was also really inventive. My biggest issue is that, even though I enjoyed the second half, I wish it remained as what it was, to begin with. That said, I found this an utterly fascinating experience and would happily watch it again, even if I'm not leaping at the chance to do so. I'd also love if this won, as foreign representation is a step in the right direction for the Oscars. 

Rating: 8.5/10

3. Little Women (Greta Gerwig)

This is the definition of a complete and utter surprise - I loved Little Women. I'm not a fan of dramas, period pieces, or the original novel, so I didn't think I'd get much out of this, but I'm so glad to say that I did! Greta Gerwig is becoming a formidable directing force, and I'd say this is even better than her previous film, Lady Bird. The four central characters are all endearing and beautifully executed. Saoirse Ronan is magnetic as Jo, and I adored her portrayal of this character enormously. She is now one of my favourite actresses and I will try to seek out more of her work. Additionally, Florence Pugh is also fabulous, and 2019 has very much been her year with three completely different but equally successful films. I also usually find Emma Watson quite irritating, but she was actually good in this movie, she may have just redeemed herself after her robotic performance as Belle a few years ago. On top of the characters that glue the film together, the production and costume design is top-notch, the cinematography is exciting, and Alexandre Desplat's score is just a delight - I left with countless scenes that I could remember the music from. But, one of the best aspects of the film is that it just made me smile. A film like this that's cheerful and universal is exactly what we all need. I only have a few problems with the out of sequence storytelling being a bit flippant at points, but I can overlook that easily. Of course, I'd love this to win, as Gerwig has been unforgivably snubbed for her directing work, and a bit more love would be much appreciated. 

Rating: 9.0/10

2. Jojo Rabbit (Taika Waititi)

If you saw my favourite films of the decade, the most prominently featured director on the list was Taika Waititi, and rightfully so. Jojo Rabbit is another example of his amazing work as a director, writer and actor. The story is really sweet, and cleverly constructed from an impressionable child, enabling many hilarious jokes. The relationship between Jojo and Elsa grows so naturally, and the chemistry between them is wonderful to watch. Scarlett Johansson is also lovely as the caring mother and Waititi as imaginary Hitler was just terrific, the performance I never knew I needed. On top of all this, the film delivers an important message about questioning authority and not accepting all you're told is true, and there are plenty of heartfelt moments peppered throughout. It's a little sad that Waititi is only now getting recognised with awards for his work. Hunt for the Wilderpeople is a much better film in my opinion and should've been met with equal, if not more, amounts of recognition from awards. But, I can't complain, because at least he has finally been acknowledged and should go on to do more great stuff in the future.

Rating: 9.0/10

1. 1917 (Sam Mendes)

Yeah, of course, it's this. But, why? Well, not just because of Roger Deakins' amazing cinematography, the strong lead performances that make you feel for these characters and want to see them succeed on this perilous journey, the memorable score that intensifies the impact of many scenes, the gripping action scenes that put me on the edge of my seat, and the fact that the film phenomenally depicts the horrors of war and makes a surface level plot feel powerful and emotional. One of the key reasons why 1917 tops the list is because it is the only film on this list, and maybe the only film of the entire year, that lends itself to the cinematic experience. In an age where now two best picture nominees have gone straight to a streaming service and thus not been shown on cinema screens, I feel a greater need to praise anything that is. But this is not just a regular film you catch in the cinema, there are tons of those on this list. This is a film that uses the cinema to its advantage. It is truly an experience when watching on a big screen. My breath was taken away while sitting through this, and even after a second viewing, I still sat in awe of what I was watching. This deserves to win most of all to me because, at a time when cinema could slowly be fading away, a film that uses it to its advantage is important. 

Rating: 9.5/10     

So that was my ranking of all the best picture nominees this year aside from one. I'm so glad that I have seen so many of these great movies, and I'm fine with the majority taking home the award, even though I have my personal preference. I look forward to Sunday night, and I hope the Academy make good choices with the wins, even if they haven't with the nominations in places. I'm still not over the snubs of Knives Out's everything, Rocketman's lead performance, Apollo 11 being a documentary, and Avengers: Endgame's score, OSCAR!    

The Best Films of the 2010 Decade Summarised with One Word Each

We've not only reached the end of a great year of film, but we've also reached the end of an astonishing decade of film, the first calendar decade I have lived through the entirety of - the 2010s. There has been a plethora of fantastic filmmaking over the last ten years and I thought I'd take this chance to look back on the best that I've seen in this time. As I'm sure you can imagine, a simple top ten is not nearly enough. So, here is my top FORTY films of the 2010 Decade.

Because we've got so many to make our way through, I thought I'd challenge myself and summarise what I like about each film with a single word. I have talked about many of these before, but there are some I haven't. Also, it was a pain to put this list together and I have never had it in a form that I am completely satisfied with, so it's more of just as a rundown of some of my personal favourite films of this decade in rough order of least best to the very best. Let's see what happens!

Tier 4: The Really Flippin' Good Movies 

40. Spider-Man: Homecoming (2017, Jon Watts) - Neat 
39. Attack the Block (2011, Joe Cornish) - Madcap
38. Apollo 11 (2019, Todd Douglas Miller) - Extraordinary 
37. The Social Network (2010, David Fincher) - Insightful
36. The King's Speech (2010, Tom Hooper) - Charming 
35. Yesterday (2019, Danny Boyle) - Joyful 
34. War Horse (2011, Steven Spielberg) - Touching
33. A Monster Calls (2016, J.A. Bayona) - Riveting
32. Dunkirk (2017, Christopher Nolan) - Thrilling
31. Doctor Strange (2016, Scott Derrickson) - Fascinating

Tier 3: The Excellent Movies 

30. Tangled (2010, Nathan Greno / Byron Howard) - Refreshing
29. Inside Out (2015, Pete Doctor) - Beautiful
28. The Lego Batman Movie (2017, Chris McKay) - Bonkers
27. The Lego Movie 2 (2019, Mike Mitchell) - Clever
26. Captain America: Civil War (2016, Joe and Anthony Russo) - Gripping
25. Scott Pilgrim vs The World (2010, Edgar Wright) - Exciting
24. Spider-Man: Far From Home (2019, Jon Watts) - Consistent
23. Jojo Rabbit (2019, Taika Waititi) - Sweet
22. Arthur Christmas (2011, Sarah Smith) - Cheerful
21. The Lego Movie (2014, Phil Lord / Chris Miller) - Magical

Tier 2: The Extremely Excellent Movies  

20. Inception (2010, Christopher Nolan) - Thought-Provoking
19. Guardians of the Galaxy (2014, James Gunn) - Unique
18. The World's End (2013, Edgar Wright) - Chaotic
17. A Quiet Place (2018, John Krasinski) - Tense
16. Toy Story 3 (2010, Lee Unkrich) - Satisfying
15. Knives Out (2019, Rian Johnson) - Prime
14. 1917 (2019, Sam Mendes) - Breathtaking
13. Spider-Man: Into the Spider-Verse (2018, Peter Ramsey / Bob Persichetti) - Dazzling
12. How to Train Your Dragon (2010, Chris Sanders / Dean DeBlois) - Wondrous
11. Zootropolis (2016, Rich Moore / Jared Bush / Byron Howard) - Thoughtful

Tier 1: The Masterful and Utterly Brilliant Movies
 
10. La La Land (2016, Damien Chazelle) - Fabulous 
9. Hunt for the Wilderpeople (2016, Taika Waititi) - Endearing
8. Kingsman: The Secret Service (2015, Matthew Vaughn) - Awesome
7. Avengers: Endgame (2019, Joe and Anthony Russo) - Spectacular
6. Thor Ragnarok (2017, Taika Waititi) - Wild 
5. Wreck-it Ralph (2012, Rich Moore) - Inventive
4. The Martian (2015, Ridley Scott) - Engrossing
3. Paddington (2014, Paul King) - Amiable
2. Avengers: Infinity War (2018, Joe and Anthony Russo) - Marvellous
1. Paddington 2 (2017, Paul King) - Pure 

The Personal History of David Copperfield - Movie Review - One of the best Dickens adaptations

This film is a PG, was released on January 24th, 2020, and this review will contain NO SPOILERS 

A Victorian man by the name of David Copperfield looks back on his life and all the things that happened as well as all the characters he encountered. I shamefully hadn't heard of David Copperfield until I saw the trailer for this film, considering it is the work of Charles Dickens. So, I wasn't going to see this because of any affection for the source material, but instead because it just looked funny. I laughed while watching the trailer and thought this would be a fun way to spend two hours, so I went in just hoping to have a good time. 

Thankfully, the film is very entertaining. This wasn't surprising considering that the film is helmed by Armando Iannucci who is a comedic genius, but what did surprise me was the cast being as funny as they were. Of course, I know people like Peter Capaldi and Benedict Wong can deliver a cracking joke, but I hadn't seen Dev Patel, Tilda Swinton or Hugh Laurie in comedic roles like this before. So, it was very pleasant to have them all induce many smiles and laughs upon me as I sat through this. Beyond the humour, the characters are excellently executed. Dev Patel beings so much to the central role, he has so much charm and wit about him and is also extremely likeable. Peter Capaldi and Hugh Laurie don't just play similar-looking characters, but they're also equally enjoyable to watch, with Capaldi's Mr Micawber being appropriately over-the-top and Laurie's Mr Dick being cheerful yet mysterious. Everyone else does a great job too, and it is wonderful to see such a diverse cast in a film set in Victorian England. The other thing that is so wonderful about the film is that it is also very inspiring. As someone who writes their own stories, it was really fascinating to see the central character's really clever methods of writing, such as always thinking about how things are and jotting any thoughts down in the moment. I also admired how the film was structured like a book, with chapter headings and occasional narration. So, I got so much out of watching this film beyond just entertainment. 

The only issue with the film is that it is a bit flippant in terms of tone. It goes back and forth between being dramatic and comedic quite often. It makes sense within the story and isn't a huge problem, but it is a little distracting, especially with certain moments that feel particularly out of place in the landscape of the rest of the film. 

I wanted a good time, and I had a delightful time. The Personal History of David Copperfield has some terrific performances of very well executed characters in a story that, while it does have minor tonal issues, is enormously endearing and even inspiring at times. I think it's impossible to watch this without having the slightest smile on your face as it's just enjoyable from start to finish. 

I'm going to give The Personal History of David Copperfield an 8.5/10 

Top 10 Films of 2019

It's the end of the year which means it is time to round up all the films I've seen and rank the best of them. Unlike last year, I'm going to do my Top 10 favourite because I've seen so many more great movies this year and my 10 favourite are all great at the very least. Also, I'm still not going to do a worst of the year list because I don't see the value in complaining about the films I didn't like and I've only seen 2 films this year that I feel I could label as bad in any way, even though neither of them are. So, let's get started!

Before we get into the Top 10, here are some honourable mentions:

- Joker - A very haunting and unnerving experience that I was thoroughly engaged in but didn't leave me with the urge to revisit.

- A Shaun the Sheep Movie: Farmageddon - A delightful return with more top-notch jokes and beautiful animation. 
- Fighting with My Family - A surprise I only just saw recently that really inspired and entertained me consistently from start to finish.

10. Rocketman

Upon rewatching, this film grew on me hugely. Rocketman is a fabulous film with an excellent lead performance from Taron Egerton, who is becoming one of my favourite actors, and was disgracefully snubbed at the Oscars this year. It also features some wonderful musical sequences that keep it exciting as well as some genuine heart from a lot of its great performances. I really enjoy this one and I can only see myself loving it more and more with time. 

9. Le Mans '66

I really like it when a film takes a fun and enjoyable approach to a story that could otherwise be really dramatic and dull. Thankfully, that's what happened here. Le Mans '66 has two great performances from Matt Damon and Christian Bale as well as some really exhilerating and thrilling race sequences. It frequently had me laughing as well as gripping the side of my seat. The drama is also not neglected as there is a suitable amount in the film but the it all feels very tonally balanced and it enhanced the tension as the film went on. This is definitely a film I'll be revisiting as it was just a ton of fun to sit through.

8. Apollo 11

The most overlooked film of the year, and perhaps the most tragic snub at the Oscars in the Documentary category. I have heard hardly any people discussing Apollo 11, and wrongly so. This masterfully crafted work of art uses amazingly captured footage of the iconic mission to the moon and has you thoroughly engaged and astonished the whole time. The footage can be a bit blurry at times and the dialogue can be difficult to decipher, but the film deserves massive praise for what it was able to do, so those are just tiny nitpicks. I have this on DVD and can't wait to revisit it. You should certainly watch it too as it needs all the attention it can get.

7. Yesterday

This is the most underrated film of the year. I can understand why people were somewhat Marmite-y on Yesterday as it may not utilise the genius concept in the best possible way for some people nor does it have too much originality, but I love it nonetheless. The film just has me laughing consistently, smiling frequently, and feeling the urge to stand up and sing and dance. The two leads are also very likeable and the comedy is great. As I said, I wish the film focused more on Jack, the main character, having the intention to show the world how significant The Beatles were instead of gaining his own popularity, but that doesn't scream huge missed potential as what the film does do is more than fine by me.  

6. The Lego Movie 2: The Second Part

Of course this had to sneak a spot onto the list! The Lego Movie 2 brings more of the same great humour, character, spectacle, and general madness that the previous installments have had, but it also thrives on elements that make it stand out from what has already been in this series with catchy and funny songs, as well as a more complex narrative that particularly struck a chord with me. The only issue is that the film is a bit illogical at times, but not enough to be distracting. So, I love this one and it's a shame that we probably won't see any more from this series, and its even more of a shame that none of the great work in this franchise was rewarded with an Oscar.

5. Spider-Man: Far From Home

It's difficult to make a terrific sequel, but it is even more difficult to make a sequel that follows on from the biggest film of all time, and that's why Spider-Man: Far From Home is as amazing as it is. The characters are more endearing, the action is much more inventive and fun to watch, the story has a lot more meaning and relatability to it, and overall it's just another great entry into the Marvel Universe. For a character as frequently seen as Spider-Man to still be the star of brilliant films like this is simply terrific, and I hope this only goes on and on. 

4. Jojo Rabbit

A very recent entry into the list, but a very deserving one. Taika Waititi, one of my favourite directors, helms this charming film that has a ton of clever jokes, really smart writing, brilliant performances, and a sweet story that does make light of some dark aspects of World War II, but in a way that is completely justified due to the great protagonist. Not much else to say other than it's absolutely wonderful! Can't wait to check it out again.

3. Knives Out 

The best writing of the year accompanied by some of the funniest and most engaging performances of the year in a film filled with some of the best cinematography, direction, music, set design, colour palette, editing, and basically everything else of the year. I find it very difficult to fault this film aside from a portion that drags compared to the pace of the rest of the film. But, honestly, that can so easily be overlooked that I might as well ignore it altogether. The fact that this is also an original work makes it even better. I love this film so much and I can only see myself loving it more and more once I rewatch it. 

2. 1917 

If there's one film that took my breath away in terms of being a stunning and gripping piece of cinema, it has to be this. 1917 is a masterful work of art. Roger Deakins' impeccable cinematography, Sam Mendes' excellent direction and writing, the remarkable score, sound, acting, aesthetic and, once again, essentially everything else just impressed me to a very high degree. It has truly used every filmmaking component to its advantage, and it has resulted in a fairly surface-level plot being turned into one of the most engaging, enjoyable, emotional, and generally phenomenal films of not just the year, but the entire decade. I think you can see why I waited until I'd seen this film before I made this list. 

1. Avengers: Endgame 

Yeah, you knew this from the start, one may say it was inevitable. Truth be told, I could easily put Knives Out or 1917 at the top spot, but there's only one film that came out this year that truly reached me on an emotional level. One film that has me grinning and cheering like an idiot at certain points. One film that gives me a rush of excitement that I doubt I could get from anywhere else. And one film that is unbelievably satisfying for the entirety of its three-hour runtime. And that film, is of course Endgame. The mere thought of this film makes me smile, I have such fond memories attached to this film, and it serves as a strong reason why I'm glad I was born when I was. Too late to experience the original Star Wars trilogy, too late to witness the Live Aid concert and the prime time for some of my favourite artists, too late to live through the Disney Renaissance, and too late and too soon to around at the turn of a milennium, but I was born just in time to experience the climax of the infinity saga at a crucial moment in my life... and that makes me feel extremely lucky indeed. Also, in case you haven't had enough of me having a go at the Academy this year, HOW ON EARTH DID STAR WARS: THE RISE OF SKYWALKER, WHICH HAS PERHAPS THE MOST UNORIGINAL SCORE EVER, GET OSCAR NOMINATED FOR BEST ORIGINAL SCORE WHEN AVENGERS: ENDGAME, WHICH IS SUPERIOR IN EVERY SENSE, DIDN'T?!?!? This may be the year when I just lose all respect for the Oscars.

So, those were my Top 10 films of the year, and what a year it was. Unfortunately, 2020 doesn't have a great deal of things to look forward too. I won't bother doing a post dedicated to what films I'm excited for, but I will highlight some here:

- A Quiet Place Part 2 - Loved the first and this looks even better

- The King's Man - Massive fan of the first two and this looks just as good

- No Time to Die - Really enjoy these newer Bond movies and look forward to this finale

- Tenet - Love a bit of Nolan and this looks very intriguing and equally mind-bending

- Black Widow - Long overdue, but glad to see it finally happening

Also, I'm going to do a massive ranking of my favourite films of the decade soon, and there will be a lot of films on there, around 30-40! Don't expect it too soon as it has been very difficult to piece together.  

1917 - Movie Review - One wonderful shot

This film is a 15, was released on January 10th, 2020, and this review will contain NO SPOILERS 

Introduction 

What I have always liked about film are the stories that are told and all the wonder and magic they hold. However, one other aspect of film that has my intrigue is the technical side - it's always amazing to see a film that pushes the boundaries of how a film can be made and how this can make it even better. This was one of the things that drove me to see 1917.

Thoughts Going In 

I wasn't interested in 1917 at first, but then I saw a trailer that explained the film was made to look as if it was all one continuous tracking shot, in the same style as the terrific opening to Sam Mendes' last film, Spectre. This took my interest as I felt this could result in a fascinating experience, especially in a cinema. After hearing the excellent reviews and seeing all of the awards/nominations, I thought it'd certainly be worth a look. 

The Story 

Two young British soldiers, Blake and Schofield, are instructed to leave their battalion and travel to another across various dangerous landscapes in order to call off an attack that, if carried out, will result in tons of major losses, including Blake's brother. 

What I Liked 

It goes without saying that the star of the show in this film is the cinematography. The choice to edit the film as if it is one continuous shot makes it feel like more of a genuinely engaging experience as everything happens in real-time, and it makes you feel as if you are right at the moment. The way the shots move also makes it more exciting, it never feels like there is a lack of life, even if it is slowly panning over a landscape or following slower movements. One-shot involves one of the two protagonists running along the rim of a trench as all the other soldiers run into the battlefield and various explosions occur, and it was extremely well choreographed and felt so epic and heroic. The way shots are lit adds an extra layer of wonder, one-shot following the same soldier as he runs through a town with the only casting light going on and off and the sun coming up in the distance really stuck in my head and just had me mesmerised. Basically, Roger Deakins is a genius and if he doesn't get an Oscar for his contributions here, the Academy is really overlooking masterful work.

The cinematography manages to make many other aspects in the film better than they probably would've been in a regularly edited movie. The story is nothing special, it's very much just a here to there story, and the characters are, on the surface, quite generic; just two young guys, one of which has a brother to save as a basic motivation, so overall, it's not too exciting. But, firstly, it doesn't matter because the emphasis is on the how not the why, and we've already established that the how is very well executed. Secondly, the real-time aspect as a result of the singular continuous shot heightens the tension. You feel every ounce of struggle that these characters go through, and you feel all the fear that they do. As a result, you naturally want to see them succeed in their goal after seeing all the hell they've endured to do so that you have essentially experienced alongside them, resulting in a satisfying story you're engaged in. Also, the film isn't just a thrilling journey from beginning to end, it balances a lot of different emotions when necessary. There's a really heartfelt scene where one of the soldiers finds a young woman hiding while caring for an abandoned baby, and it contrasts so greatly to the action from before that it feels a lot more tender in the landscape of the film. A similar scene involves a song being sung to an entire fleet of soldiers about to enter a fight, which was a real emotional punch considering the context of where it was occurring. There was also a healthy dose of comedy in the film - not to a distracting extent, but enough to make the characters feel more believable and the film a tad more entertaining. On top of this, the performances are tip-top. The two leads were fantastic and had a great dynamic, and the others such as Colin Firth, Andrew Scott, Mark Strong, Benedict Cumberbatch, and Richard Madden all used their somewhat limited time wonderfully. All of this is further proof of why this film is so thoroughly engaging.

Aside from the magical camerawork, other filmmaking aspects were just brilliant. The sound design and mixing were very well done and furthered the stress of the situation, with explosions and gunfire being made all the more alarming. The set design and aesthetic also captured the feeling of World War 1 and No Man's Land so expertly, adding to believability. Best of all, the score by Thomas Newman was on another level. The only works of his I'd known before this film were Finding Nemo and Wall-E, but this score was completely different - it was pulse-pounding, emotionally powerful, and just pleasure for my ears. It hit all the right notes at all the right moments, once again, adding to the tension in the film. This is an example of a motion picture that has examined every aspect of the filmmaking process and found ways to use them to its advantage, and it is commendable to a staggering degree.

The last thing I'd like to mention is the director, Sam Mendes. I was lucky enough to see this film at the Odeon in Leicester Square before it was released and with a Q&A with Mendes and the two leads. Hearing a filmmaker talk so passionately about their work in the way that he did just put it into a whole new perspective. He didn't talk down to the audience so we knew what he was on about, he spoke with such sophistication about all the technicalities of making this film. This alone had me convinced that he is someone who both knows what he's doing and enjoys what he's doing - hence why the films we get from him, such as this, are as good as they are. I tip my hat the Mendes, and I have further respect after finding out that this film was inspired by stories his grandfather told him. He was knighted for a very clear reason. 

What I Didn't Like 

My only issue is that the singular shot does create some distractions that may not seem obvious at first. Once you clock on to the fact that there won't be any cuts (which I knew about before seeing the film) you do find yourself trying to pay attention to where it may have been cut, and when you've noticed something, it can be a bit of an irritant. But, that is so ridiculously minor because I've already praised the cinematography endlessly and I don't think that tiny problems should distract from the excellence that has been achieved.

Conclusion 

1917 is modern filmmaking at its finest. Sam Mendes had an idea and has executed it in winning fashion. It takes a slightly straightforward narrative and makes it the most tense and most spectacular it can be with its off the charts cinematography, strong emotions, convincing performances, and generally remarkable filmmaking. There is so little to fault about this film and even after rewatching it once, I just want to go back and see it over and over again because I was engaged in every sense. 

I'm going to give 1917 a 9.5/10