Vertigo (1958) // dir. Alfred Hitchcock

A timeless and influential classic from the Master of Suspense.

Vertigo was recently heralded 'The Greatest Film of All Time' in Sight and Sound magazine's 10 yearly poll, unexpectedly toppling Citizen Kane off the top spot following its 5 decade long reign. But is it a film worthy of such a renowned accolade? Vertigo is an exploration of love, obsession, deception, and of course what would a Hitchcock film be without a murder? James Stewart is John "Scottie" Ferguson, a newly retired police officer following an accident relating to his acute acrophobia. An old college friend convinces John to reprise his detective role and investigate his wife Madeleine's (Kim Novak) unusual behaviour. After an incident at San Francisco Bay, the pair fall in love until her untimely death rips them apart. Following her demise, Scottie becomes obsessed with a Madeleine look-alike he meets outside a flower shop. But is she all that she seems? In their 4th collaboration, Stewart proves why he was continually selected to play the relatable, and humble everyman in Hitchcock's murder-mystery thrillers. Relatively unknown at the time, Novak seemed an unusual choice to join the famous list of  "Hitchcock blondes", but her anonymity added to the intrigue necessary for her already desperate and vulnerable role. Aside from the performances, Hitchcock's use of clever camera trickery, and the almost hallucinogenic nature of some scenes cements his status as an innovative visionary, way ahead of his time. But, Vertigo would not be complete without its memorable musical score, composed by Hitchcock favourite Bernard Herrmann. It is as atmospheric as it is haunting, and fits Vertigo's mysterious tone perfectly. Famously ignored upon its original 1958 release, critical acclaim for Vertigo has snowballed during the intervening years, solidifying its status as one of the true classics. The Hitchcock's of the modern era are indebted to Vertigo, with reputable directors, such as Martin Scorsese, citing it as one of his biggest inspirations.

So, is it really the greatest film ever? Maybe, maybe not. But one thing is certain, without its lasting legacy and influence, it's questionable whether some of the films we know and love today would have ever been made. So for that, we should be eternally grateful. Master Hitchcock, we salute you!

The Dark Knight Rises (2012) // dir. Christopher Nolan

The final chapter in Nolan's Bat-trilogy, but can it live up to the hype?

It's been 8 years since the now reclusive Bruce Wayne (Christian Bale) has donned the famous Batsuit. 8 years since The Joker's reign of terror, and 8 years since Harvey Dent's untimely death. Have Commissioner Gordon (Gary Oldman) and his men achieved the impossible and eradicated Gotham's crime, or is it just the calm before the epic, and ultimate storm? Unsurprisingly, its the latter. Comparable more to a hurricane than a storm, enter excommunicated League of Shadows member, Bane (terrifying yet brilliantly portrayed by Tom Hardy); the masked and brutal ringleader of a terrorist army, on a mission to propel Gotham into a pit of anarchy. So obviously, the time has come for Wayne to suit up and face his new arch-nemesis in an attempt to save Gotham and its citizens in a final showdown. Littered with acting heavyweights, the cast is the perfect balance of old Batman favourites (Michael Caine, Morgan Freeman, and Gary Oldman) and franchise newcomers taking on essential roles. Joseph Gordon-Levitt delivers a potentially career changing performance as maverick police officer Detective John Blake. Marion Cotillard is Wayne's not-all-that-she-seems business partner Miranda Tate, and Anne Hathaway is accomplished cat burglar and one of Bane's associates, Selina Kyle. Although brilliantly acted, the films strength comes from Christopher Nolan and his unrivalled ability to meet audience expectations in every single aspect. From his rejection of CGI making the grand set-pieces all the more impressive, to the intelligent screenplay which simultaneously adheres to Batman's comic book roots, whilst maintaining a high level of credibility and integrity that was somewhat overlooked by Nolan's predecessors. Not only is The Dark Knight Rises a solid standalone film, it is the final chapter that neatly ties up this trilogy of memorable and consistent films. Nolan has given the franchise a well needed kick up the backside, following the previous farcical attempts (Joel Schumacher, I'm looking at you), and in turn given a masterclass to those hoping to follow in its footsteps. Nevertheless, The Dark Knight Rises is not without its faults. But when the final cut is this good and this exciting, the minor flaws and plot holes somehow become insignificant.

The most anticipated movie of the year more than meets expectations. The bar for future summer blockbusters has been raised unattainably high.

Moonrise Kingdom (2012) // dir. Wes Anderson

A unique exploration of young love. With scouts. 

Set on the fictional American isle of New Penzance; boy scout Sam absconds from Camp Ivanhoe with his pen-pal love interest, binocular-wielding, classical music loving Suzy. Following a Shawshank-style discovery of Sam's escape, an island wide search begins...The story, when stripped of Anderson's quirks, is essentially one of forbidden love, which could easily meander down the road of predictability and mediocrity. But in the hands of abstract thinker Anderson, it becomes a wonderfully whimsical and kooky tale of love and friendship, but ultimately, it illustrates the highs and lows of growing up. Like his previous films, Moonrise Kingdom is bursting with Anderson's trademark off-beat, droll humour, delivered in a perfectly deadpan fashion by the ensemble cast. Anderson débutants, Bruce Willis (chief of police) and Edward Norton (scout camp leader), fit in comfortably alongside old favourites, Bill Murray (Suzy's father) and Jason Schwartzmann (a rival camp leader). Frances McDormand as Suzy's megaphone wielding mother, and Tilda Swinton as the terrifically terrifying Social Services feel somewhat underused in the grand scheme of things. However, it is the children which are truly stand out, bringing a sense of endearing naivety and optimism to the film. Visually, Anderson sticks to his quintessential filming style, using wide lens shots to incorporate the meticulous arrangement of the hand-crafted aesthetics which neatly adorn the backdrop. Wes Anderson films typically divide opinion, and Moonrise Kingdom is no exception. Some may find it overly precocious, and a little too twee to be taken seriously. Whilst the rest will revel in the abstract, whimsical ingenuity of it all - finding solace and excitement in his world of vintage unconventionality. For me, I belong to the latter, utterly consumed in the weird yet wonderful world of Wes Anderson. And I'm loving every minute.

In the past, Anderson has been criticised for favouring style over substance, but when the end product is this self assured and charming, who cares?

Drive (2011) // dir. Nicolas Winding Refn

The perfect blend of effortless style and ultra-violence. Driving never looked so cool.

A mysterious enigma - mechanic and movie stuntman by day, getaway driver by night - known only as The Driver (Ryan Gosling), helps the husband of neighbour and love-interest Irene (Carey Mulligan) to pay his debts owed to Jewish crime lord, Nino (Ron Perlman), and his associate (Albert Brooks). Predictable and familiar this ain't. Drive is a refreshing, restoration of faith in an age full of remakes and sequels. From the tension filled opening, Drive immediately separates itself from other driving films - favouring intelligence and strategy over an adrenaline fuelled, high-speed chase. But it is the passionate, yet forbidden, love between Gosling and Mulligan that ultimately gives the film its heart, and the deliberate lack of dialogue (Gosling and Mulligan opted out of saying most of their scripted lines) makes it all the more poignant. Although it definitely ups the shock factor in the brutality department, the unexpected and extreme violence never undermines Gosling and Mulligan's ill-fated love story. The iconic lift scene begins with such beauty and tenderness, before culminating into a scene of absolute ferocity and aggression; perfectly epitomising the fundamentals and paradoxes of Drive. Despite the fairly simple storyline, and the minimal character development; the amount of human emotion being manipulated guarantees that Drive is a complex, multidimensional affair. For all Winding Refn's achingly stylish direction, and the thumping 80's sounding electro score; this is ultimately Gosling's film. He is truly incredible as the tenebrous, yet passionate and calm Driver - a far cry from The Notebook's pretty boy persona.

Probably the best, yet most overlooked film of 2011, Gosling shows why he is fast becoming Hollywood's leading man.

 

The Hunger Games (2012) // dir. Gary Ross

Lawrence and Hutcherson prove that the odds are ever in their favour.

Based on Suzanne Collins' best-selling novel; The Hunger Games is set in a post-apocalyptic world. North America (now called Panem), has been separated into 12 dystopian districts and the Capitol, the tyrannical hub of Panem. In an effort to maintain oppressive governmental control following an unsuccessful uprising, a teenage boy and girl from each district is unwillingly chosen to partake in the Capitol's annual Hunger Games; a live televised event in which each of the 12 districts fight to the death. All of the focus is on the impoverished district 12, where Katniss (Jennifer Lawrence) makes Hunger Games history by volunteering to take her sisters place as "tribute" in the 74th annual games. Joined by male tribute Peeta (Josh Hutcherson), the pair head to the Capitol for survival and fighting training in preparation for the imminent games. When they finally head into the arena, The Hunger Games really hits its stride, becoming a tour-de-force of slow-build excitement. Ross' use of handheld, shaky camera shots enabled the viewer to empathise with Katniss' struggle, whilst simultaneously adding a 'fight-or-flight' style of urgency to her situation. In order to retain its 12A certificate, The Hunger Games tends to leave the grisly violence to the imagination, opting to focus on the impact of the violence and the tension between the tributes, as opposed to a Battle Royale style bloodbath. The Games' opening ceremony aside, the film keeps its integrity intact with its distinct lack of cheesy moments. Although evidently aimed at a particular age-group, it is surprisingly mature without patronising its audience, presenting itself as a cut above other "teenage" films. Even Katniss and Peeta's inevitable love story does not undermine the film; acting as a catalyst which has the potential to be (and is) manipulated by the Hunger Games dictators, or even the pair themselves. Lawrence, as the films heroine, is entrusted with the task of carrying the weight of the film upon her shoulders, and she does so with an almost gladiatorial quality, acting as the glue holding it all together. She is flanked by fellow newcomer Josh Hutcherson, whose performance is a little wooden at times, but is very likeable as Peeta. Also, look out for veteran's Donald Sutherland, and Stanley Tucci, who is on brilliantly evil form.

It has successfully paved the way for the forthcoming sequels (Catching Fire and Mockingjay), but independently, The Hunger Games stands out as a highly entertaining, grown-up film.

Badlands (1973) // dir. Terrence Malick

Sheen and Spacek attempt to outrun the law in Malick's debut feature.

Inspired by the Starkweather-Fugate killings of the 50's, Badlands follows young lovers; Kit (Martin Sheen), a desensitised and reckless James Dean wannabe, and Holly (Sissy Spacek), an impressionable girl absorbed in the literary fantasies she constantly reads. After Kit's fatal shooting of Holly's disapproving father (Warren Oates), the couple flee into the surrounding South Dakotan badlands. With an increasing body count, the couple detach themselves from society and live a life of solitude until the inevitable final showdown. Badlands, on the surface, resembles a less savvy version of 1967's Bonnie and Clyde. But beneath the lovers on the lam exterior, it is a wholly different affair. In terms of plot and characters, Badlands is a very minimalist and simplistic film. The story, told almost exclusively by Spacek's voiceover, tends to float along at an even pace and seemingly keeps in tune with the deserted South Dakotan backdrop. The character development is similarly uncomplicated. Badlands boasts a cast of very few characters who (bar Kit and Holly) are elaborated upon very little, beyond inadvertently acting as accessories to Kit's nonsensical crimes. The performances are relatively emotionless; from their naive and often childlike relationship, to the added pathos of Spacek's fanzine-style commentary that glosses over the brutality of their crimes - it all adds to the theme of disconnectedness. But where Badlands truly outshines its 1967 counterpart, is through Malick's poetically visual style of filmmaking. The use of endless, panoramic horizon shots gives it a relaxed and dreamlike feel, whilst subsequently acting as a metaphor for Kit and Holly's isolation. However, for some, this may be seen as a weakness. Instead of the couple's crimes being dealt with so casually, sometimes you feel it might benefit from a bit more action, and a little less focus on the mise-en-scene - after all, it is based on a real life killing spree.

Badlands isn't just a pretentious Bonnie and Clyde rehash; it is artistic and evocative, and has definitely earned its understated, yet iconic status.

War Horse (2011) // dir. Steven Spielberg

Spielberg tugs at the heartstrings with this equine centric World War I epic.

Based on Michael Morpurgo's 1982 novel, War Horse centres around Joey; a seemingly untameable horse bought at auction by the Narracott family for an extortionate price. From this point on, the Narracott's son, Albert (Jeremy Irvine), devotes all his time to training Joey thus forming a strong, unbreakable bond with him in the process. In order to pay off his debts to landowner Lyons (David Thewlis); Albert's father, Ted (Peter Mullan) sells Joey to Captain Nicholls (Tom Hiddleston) on the promise that he will be returned to the family following the end of the war. War Horse is full to the brim of typical Spielberg cheese, who adorns every emotional scene with an incessant and over-the-top musical score - which in turn, tends to devalue the story. It is also in parts, predictable, particularly the unsurprising 'happy ending', which feels a little unrealistic and contrived. The cast is packed with well known faces of British cinema (e.g. Tom Hiddleston, Benedict Cumberbatch, David Thewlis), but due to their small, low key roles, they don't really add another dimension to the film, and are generally overshadowed by the horses and the realistic CGI. The major strong point of the film, and is indicative of Spielberg, is the incredible camerawork, really capturing the beauty of the picturesque Devonshire setting with endless landscape shots. The scenes of war, although not up to the gritty realism of Saving Private Ryan, are Spielberg's strong suit and really create an atmosphere of a real World War I battle. Another strength is War Horse's accessibility; it is an inoffensive family film with a feel-good atmosphere, that can be enjoyed (and cried at) by all generations - even if it doesn't quite match up to the standards of E.T and Jurassic Park.

Less of the war and more of the horse, Spielberg offers up a crowd pleasing war tale packed with cheesy, yet endearing (and sometimes emotional) moments.

Milk (2008) // dir. Gus van Sant

Penn flexes his acting muscles in this political biopic.

Milk follows the real life story of California's first openly gay elected official, Harvey Milk (Sean Penn). From his and boyfriend Scott's (James Franco) arrival in San Francisco from New York in the early 70's, to his assassination in 1978, Milk's short but fulfilling political career changed America forever. Milk's political life is narrated to us by Penn via an audio recording to be played in the likely event of his assassination. Starting out as a camera shop owner, Milk quickly becomes an influential character within The Castro area of San Francisco. After giving himself the title "the mayor of The Castro", and surrounding himself with an entourage of supporters and lifelong friends, Milk decides to repeatedly run for office in order to campaign for equality rights - much to the displeasure of colleague and rival, Dan White (Josh Brolin). Milk is a prime example of a finely executed biopic; one that is rightly concerned with very accurate storytelling and honest performances, which ultimately makes the audience empathise with Milk, and root for him to succeed. There is also an accompaniment of authentic 1970's news footage which simultaneously breaks up the storyline, and helps to explain each major political development. The casting is terrific, featuring an abundance of familiar faces (Emilie Hirsch, James Franco, Alison Pill) who are given the opportunity to flaunt their acting talents. Also, Brolin tactfully builds the tension to a climactic boiling point as Milk's supervisor and arch-nemesis. However, it is Penn that is truly outstanding in this empowering and heartfelt role - which he deservedly won his second Oscar for. He fully embodies the titular character, and accurately channels Milk's warmth and likeability, whilst also displaying his fragility and inability to find the appropriate balance between his relationships and politics (something both of Milk's boyfriends struggle to cope with throughout the film). The only minor weakness was, due to it being a story spanning over a number of years, in parts it did feel overlong and you may find your interest waning slightly.

Nonetheless, this is a fantastic, well-written and well-acted biopic of a man who you'll wish you knew about sooner.

The Tree of Life (2011) // dir. Terrence Malick

Pitt and Malick take a transcendental look at family values and the emergence of the cosmos.

The Tree of Life attempts to chronicle the origin and meaning of life through a middle-aged man's (Sean Penn) childhood memories. Visionary Malick, presents us with his interpretation of the Big Bang - from the creation of the planets, the forming of the oceans, and the tale of evolution (even including dinosaurs). Eventually, we arrive at Penn's suburban childhood home in 1950's America, where we meet his amiable, nurturing mother (Jessica Chastain), and his overbearing, austere father (Brad Pitt). With an excellent film-making reputation preceding the reclusive Malick (Badlands, The Thin Red Line), coupled with endless 5 star reviews and awards buzz, I went into this film with extremely high expectations. Malick's notoriety for precision during the editing process (it spent almost 3 years in the cutting room until The Tree of Life made it to the big screen) only added to the anticipation. Unfortunately, I was extremely disappointed. There was a distinct lack of dialogue throughout, meaning that character development and interaction was minimal. Additionally, there was an absence of a structured storyline, making the film very ambiguous and subjective, partly as a result of the aforementioned lack of dialogue. The Tree of Life is inundated with biblical undertones and references, which are somewhat rendered obsolete by Malick's highly contradictory, excessively long interpretation of the creationist theory. It all seemed a little bit bizarre and inconsequential thus far. The films pace is painfully slow, and when we finally arrive at Penn's childhood memories, we encounter a large number of scenes illustrating different aspects of the same family dynamic - it soon becomes a little tedious. By the time we reach the incongruous final scene, the levels of pretentiousness are unbearable.

Having said that, The Tree of Life is a brave and innovative film, it just didn't personally resonate with me, but give it a watch and draw your own conclusions.

The Descendants (2011) // dir. Alexander Payne 

Clooney struggles to become a family man following his wife's tragic accident.

Matt King (George Clooney), is called upon to reconnect with both his daughters following his wifes involvement in a near fatal boating accident. Whilst struggling to deal with the doctors foreboding prognosis, and the decision of whether to sell the millions of dollars worth of unspoiled, inherited real estate; King is hit with another shocking revelation...This films success lies in its ability to accurately portray conflicting and complex human emotions. In relation to the upset, it is more impactful for the audience due to the understated and subtle delivery. It is marginally unlike its other mainstream counterparts, opting to go for a consistent approach as opposed to a climactic build-up to a 'grand finale'. The Descendants trusts the viewer to be more intelligent and understanding, thus making the whole experience more realistic. The Hawaiian backdrop, upon which The Descendants is set, is beautiful and idyllic, a complete contradiction to the family's chaotic life (as Clooney says, "Paradise can go fuck itself"). The inevitability of the ending doesn't make it any easier, or any less upsetting to watch, but neither does it detract from the films uplifting and optimistic feel. Newcomer, Shailene Woodley is fantastic as eldest daughter Alex; who, from being an angsty, rebellious teen, matures into a young woman, adopting the role of her mother - and even occasionally plays parent to her father. Even Clooney proves he undoubtedly has the acting capabilities to make the film work; and develops strong, believable relationships with his daughters. He underplays his role terrifically, and finds the appropriate balance between humour and emotion. The only minor drawback is the subplot, regarding conflicting interests upon whether to sell the family's inherited land, kind of gets lost in the crush.

Winner of the Best Picture, and Best Actor Golden Globe's, The Descendants is an emotional, yet uplifting watch.

Extremely Loud and Incredibly Close (2012) // dir. Stephen Daldry

A young boy attempts to deal with his fathers death in the 9/11 attacks.

Based on the novel by Jonathan Safran Foer, the film follows Oskar (Thomas Horn), a meticulous young boy on a quest to find the owner of a mysterious key seemingly left to him by his father (Tom Hanks) after his tragic death in the 9/11 attacks. Using a good premise and a sensitive subject matter as a baseline, the start of the film is promising; flashback footage illustrating the strength of the father-son relationship, phone messages from Hanks at the time of the attacks, and Oskar's resentful attitude towards mother (Sandra Bullock). Subsequently, we arrive at the hunt for the key. With the word 'Black' being the only clue, and an enigmatic, mute lodger as his only accomplice (Max von Sydow), it seems like an impossible task. Here, the film dips slightly as Oskar's quest becomes overlong and a little lacklustre - you'd be forgiven for becoming a tad uninterested by the time it reaches it's anti-climatic conclusion. Extremely Loud and Incredibly Close feels very formulaic in parts, unnecessarily trying to encompass all the ingredients of an archtypal Hollywood blockbuster. When we meet von Sydow, the "unexpected" lodger, it all feels very predictable and an altogether unsurprising revelation. The turnaround in the mother-son relationship also seems very clichéd, as if it was included solely for a moral ending. One of the film's major downfalls was the lack of a likeable protagonist. As a viewer, it was difficult to feel sympathetic towards a character so insolent and annoying.

A little mediocre in parts, and undeservedly nominated for the Best Picture Oscar, but watchable nonetheless.

The Artist (2011) // dir. Michael Hazanavicius

Silent movie superstar George Valentin fears the end of his career when his protégé, Peppy Miller, and "talkies" become the next big thing.

Didn't think a black and white silent film could work in an age of 3D and CGI? Think again. The winner of this years Best Picture Oscar, The Artist, is more refreshing and more exciting than any film ever directed by Michael Bay. It's Hollywood 1927, silent movie megastar, George Valentin (Jean Dujardin) meets adoring fan, and soon to become a star in her own right, Peppy Miller (Bérénice Bejo). Valentin's life takes a nosedive following his refusal to make the transition into "talkies", opting to continue making silent films - a dying art in Hollywood. When he finally hits rock bottom, Miller is there to pick up the pieces. Sticking to the tradition of silent films of yesteryear, there is musical accompaniment throughout, with the occasional interjection of subtitled dialogue. The storyline is simple and easy to follow, and there is never a dull moment, largely due to Hazanavicius' witty and intelligent script. The cast are near perfect; Dujardin is an absolute joy to watch, oozing charm and charisma, and completely owning the screen. Bejo is equally as charming, showcasing that there is obvious chemistry between the two leads. It is also a treat to see some familiar Hollywood faces (John Goodman and Malcolm McDowell) taking small, but enjoyable roles; James Cromwell as Valentin's endearing and loyal butler is a highlight. However, if anyone threatens to steal Dujardin's limelight, it's the adorable dog, Uggie, playfully mimicking Valentin's movements.

The Artist is classy, stylish and sophisticated, and is guaranteed to put a smile on your face. A worthy awards winner, and a definite must see.

Tyrannosaur (2011) // dir. Paddy Considine

Paddy Considine makes the transistion from actor to director with this bleak, yet powerful masterpiece.

Joseph (Peter Mullan), an aggressive alcoholic struggling to control his outbursts of rage, forms an unlikely friendship with humble charity shop worker, Hannah (Olivia Colman). On the surface, she appears to have the perfect life, living happily with her husband on an affluent, suburban estate. However, things aren't always as they seem; Hannah is trapped, suffering horrendous abuse at the hands of her unassumingly terrifying husband (Eddie Marsan). Eventually, following a particularly horrific attack, she plucks up the courage to leave. Hannah and Joseph find solace in each other, and embark upon an improbable yet endearing friendship. Mullan superbly portrays a man tormented by his own past, but shows a softer side when tamed by Colman's character. Where the film truly shines though, is Colman. Her delivery of an incredibly powerful, brutally honest and moving performance is the driving force of Tyrannosaur, and it is nothing short of an outrage that she was overlooked in the Best Actress categories of this year's awards ceremonies. Tyrannosaur, like its namesake, is a powerful beast; it is heart wrenching, bleak, and emotionally draining to watch. It really packs a punch, ensuring that you won't forget it in a hurry.

Blue Valentine (2010) // dir. Derek Cianfrance

Gosling and Williams depict the harsh reality of the making and breaking of a relationship.

Right from the off, it is evident that this is not your typical boy-meets-girl-and-they-live-happily-ever-after formula. It throws you straight into the deep end, Gosling (devoted family man, but with a distinct lack of ambition) and Williams (emotionally conflicted between her family and an idealistic life) are trapped in marital monotony, and show no signs of changing. Through the process of flashbacks, we see their relationship swiftly gain momentum;  from their first meeting in an old people’s home, to an unplanned pregnancy, to a low-key and hurried wedding - a scene so heartbreakingly beautiful for the audience, having witnessed the deterioration and misery of the marriage. The two leads deliver intensely powerful performances in deeply intimate and honest roles, with their improvisation only adding to the realistic nature of the film. It is endearing and disconcerting in equal measure, but is definitely worth the uncomfortable watch.