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.