Toy Story 5 Review

Director: Andrew Stanton

Starring: Tom Hanks, Tim Allen, Joan Cusack, Conan O’Brien, Scarlett Spears, Greta Lee, Shelby Rabara, Mykal-Michelle Harris, and Craig Robinson

Rating: ****

I am almost the same age as the Toy Story franchise. The first film was released a few months after I was born, and so, the series has been a part of my life for almost all of it. I had the first two films on VHS (ask your parents, kids) when I was young, and I’m surprised I didn’t wear them out. I watched them that often. I believe I may have even seen Toy Story 2 in the cinema when I would have been four years old. So, you could say that I have a deep attachment to this story and its characters, even now as a fairly cynical thirty-something.

Each time a new one is announced, I am filled with dread, however. The more time passes, the more I worry about each passing film being one step too far. Toy Story 3, of course, came out ten years after the original, so all those, like me, who had grown up with the first two were worried about this new one ‘ruining our childhoods’, and when that turned out to be not only good, but arguably as good as the original two, we all breathed a sigh of relief. Then the same thing happened again, nine years later, another sequel comes along, Toy Story 4, and we all worried that it would ruin the ‘perfect’ ending that Toy Story 3 had, with Andy passing his toys on to Bonnie (spoiler alert). Although the fourth instalment didn’t get as much love as the first three, I still loved it, and especially loved its ending, which dealt with the theme of moving on, and thought, once again, that the series had reached an ideal crescendo.

You’d think, then, that I would know better than to doubt Pixar, but I found myself, once again, entering a new Toy Story film with no shortage of trepidation. Yet again, I have been proved wrong to doubt this venerable animation studio.

This time out, the story revolves around the toys’ struggle with the encroachment of technology into Bonnie’s life. In a change of formula, this is a film fronted by Jessie (Joan Cusack), whom Woody (Tom Hanks) appointed as the leader of the toys in Toy Story 4. Struggling to make friends in a world where her fellow kids have moved on from toys to playing with tech, Bonnie (Scarlett Spears) is gifted a ‘LilyPad’ (Greta Lee) device by her well-meaning parents. This leads to a power struggle between the past and the future, and leads to Jessie calling for Woody’s assistance in winning back Bonnie’s affection. Meanwhile, a shipment of new high-tech Buzz Lightyears are making their way from being shipwrecked on a desert island in a quest to find their ‘Star Command’.

I’ve tried my best to leave the plot summary as opaque as possible so I don’t give too much away, but you will find, once watching it, that the above description doesn’t really do the narrative justice. A big worry for me going in, especially after watching the trailers, would be that the film would devolve into a lazy storyline stereotype of “kids today, always on their devices”, and while there is an element of that, like its predecessors, the film is actually a lot more complex than it initially seems.

It is a refreshing change of pace to see Jessie utilised as the leader of the toys here too, relegating Woody to a supporting role, only called upon through misunderstanding, and making her seem just as capable as her fellow cowpoke. The film also makes use of the mental scars she carries from her first kid, Emily, which will hit especially hard to those, like me, who were emotionally traumatised as children by the hauntingly beautiful ‘When She Loved Me’ sequence from Toy Story 2. This film includes a lovely payoff to that sequence nearly thirty years later, and it is used as Jessie’s motivation throughout the plot in a surprising fashion.

Further to this fact, it helps that the voice acting in this film is absolutely top-notch. Joan Cusack and Jessie have been relegated to the also-rans of the toy gang in previous films, but brought front and centre here, the character and the actress shine. There is one scene towards the end of the film that particularly struck a chord with me and seriously almost made me tear up (this is actually the first Toy Story film that I haven’t cried at, look at me, the big tough man that I am), and that was down predominantly to Cusack’s incredible performance.

I had a hunch going in that the LilyPad character wouldn’t turn out to be the villain of the piece. It is somewhat of a Toy Story tradition at this point to have the villain not to be what you expect them to be by the end. I won’t say whether or not I was proved right, but I will say that the ‘toys-vs-tech’ issue was handled even-handedly and sensibly by the creative team, and made for a satisfying conclusion that honours the character arcs of everyone involved.

The high-tech Buzz Lightyears side-plot also ends up being tied into the main narrative in a pleasing enough way; as much as they seem superfluous in the film’s first two acts, you come to understand their importance in the final act. They act as the bridge that ties toys to tech, and offer some nice moments of comic relief leading up to that, as we see a Buzz Lightyear once again fail to realise that it is, in fact, a toy. Except now there’s roughly fifty of them.

Pixar films are deservedly renowned for their ability to tell complex stories through simple concepts. The films in this series are no different, and it continues here. Toy Story 5 is a commentary on the effects of abandonment trauma, the rapid maturity of children in the digital age, and cyber-bullying, and it manages to do this while also telling a charming story about funny toys with distinct personalities. It is a wonderful gift to be able to make something for children that can equally be enjoyed by adults, and work on several levels, depending on how you read the film. For me, as an adult with my own problems, Jessie’s experiences resonated with me, but a child will be just as entertained by all the silly jokes. It’s a tightrope to walk, and the guys and girls at Pixar are masterful Cirque du Soleil performers on their high wire.

It seems somewhat inevitable now that a Toy Story 6 will be produced in the coming years. The film’s director, Andrew Stanton, said as much at this film’s premiere, as Andy had his trilogy, Bonnie should get hers (hot take alert: I prefer Bonnie to Andy. #sorrynotsorry). If a sixth film is produced, I am determined to go into that one with optimism, knowing that I have been proven wrong about doubting Pixar at every turn so far. This film is a wonderful nostalgia trip for people of my age, and I’m sure it will be enjoyed just as much by children now, just as much as I loved Toy Story 2 in 1999.

Nathan’s Toy Story ranking:

1. Toy Story 2
2. Toy Story 3
3. Toy Story
4. Toy Story 5
5. Toy Story 4

The Christophers Review

Director: Steven Soderbergh

Starring: Ian McKellen, Michaela Coel, Jessica Gunning, and James Corden

Rating: ****

I love Sir Ian McKellen. He remains the only person to make me truly understand Shakespeare. When I saw his one-man show in 2017, he magnificently reeled off several monologues that left me in raptures. Fast-forward to 2026, and here he is, reciting characterful soliloquies and still having the same effect. His magnetic ability to hold an audience remains as sharp as ever, even well into his eighties.

In this film, Sir Ian plays Julian Sklar, an aged, reclusive, and eccentric artist who is famous for a series of portraits known as ‘The Christophers’ painted of his muse in the 1990s. His estranged children, Barnaby (James Corden) & Sallie (Jessica Gunning), hire art restorer (and Sallie’s art school friend) Lori Butler (Michaela Coel) to pose as his assistant while covertly finishing the final series of “Christophers”, so that they will profit from them after Julian’s death.

This film is ostensibly a two-hander. The bulk of its narrative is taken up by McKellen and Coel’s complex characters and the ever-evolving nature of their relationship. It’s a very dialogue-heavy film, which can be a turn-off for some, but work when the material is good, and it is delivered by skilled actors. Luckily, this film had both. The two leads share an interesting chemistry which develops nicely over the 100-minute runtime. Julian is aloof and dismissive of Lori, whilst Lori is wary and hostile of Julian because of past misdeeds by the older artist, and their road to mutual respect is a rocky, but highly watchable, one.

Fans of Steven Soderbergh’s work might be a bit puzzled by this film, given his previous work. Yes, this is the same man who made the Oceans trilogy, as well as the Magic Mike films, so one might be surprised by his sudden turn into introspective character pieces. I count myself among those who were surprised to discover that this was Soderbergh’s work, as it is completely shorn of all the bombast, bells, and whistles his capers are normally known for. On reflection, though, this is a character drama with aspects of a heist movie that Soderbergh is more synonymous with. There’s the duplicitous nature of Julian’s children, the “will-she-won’t-she” aspect of Lori’s involvement, all hallmarks you would associate with the director’s bigger spy thrillers, but with a more grounded tone that ends up being a marvellously successful high-wire act, straddling both worlds.

I can wax lyrical about Ian McKellen until the cows come home, but I must now turn my attention to the rest of the cast. Michaela Coel holds her own wonderfully opposite a titan such as McKellen, not being afraid to take control of the audience’s attention, as well as give Julian a much-deserved dressing-down. This is my first time seeing her in a film. I am aware of her TV work on series such as Chewing Gum, but I have never seen any of it. Her performance in this makes me want to check out more of her work, though, and that is a sign of a job well done if nothing else.

This film also manages the impossible by making James Corden appear in a good film, and even be watchable in it! I jest (almost), but his appearance alongside Jessica Gunning isn’t egregious in any way; he doesn’t unduly take attention away from the main performances and plays the role he was cast in perfectly satisfactorily, which I think is about his skill ceiling. Jessica Gunning is also fine for her part; their two characters never really feel like a threat to anyone, just scheming to get what they feel is owed to them from a distant and dismissive father. They never threaten to take the spotlight from the two main turns, but their existence drives the plot, so no major complaints here.

While the dialogue-heavy and character-driven nature of this film does appeal to me, I can see why it wouldn’t capture the imagination of a wider audience. It’s a very niche film, made by a director whose career has been built on audience-pleasers, which is a pleasant surprise in an industry driven by the bottom line as much as Hollywood. It was a risk for Steven Soderbergh to try something new, and it’s a risk that came off well, thanks to a well-written script that sculpts two complex lead characters, acted by two magnificent performers, and anchored by earthy, downbeat photography that points out the differences between both main characters’ surroundings without feeling the need to beat us over the head with it. A very good film, albeit one which might struggle to find an audience. Despite this, it is still very much worth your time.

The Devil Wears Prada 2 Review

Director: David Frankel

Starring: Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci

Rating: **1/2

I’m well aware that I am probably the very last person that this film was made for. My idea of fashion is jeans and whatever t-shirt happens to have worked its way back to the top of my drawer. On special occasions, I might dig out a suit, bought from a supermarket, and I also unironically have a kilt. I say all of this to put into context just how far away from this film’s world I am, and after spending another two hours with Miranda Priestly (Meryl Streep) et al, there is a comprehensive list of things I would rather do than work in fashion. This list includes, but is not limited to: sticking red-hot pins in my eyes (they don’t work anyway), hammering my testicles into a pancake, and engaging in conversation with Piers Morgan.

I’ll freely admit that this film wasn’t my first choice of viewing material. It was this or The Sheep Detectives, and this showing was at a better time for me, so in I went. I watched the first film many years ago, but I must admit that I don’t remember much of it. I’m assuming Miranda was an awful person, her subordinates blankly accepted their place, and Andy (Anne Hathaway) won her begrudging acceptance in the end. Despite my not remembering much of it, the film has a fairly decent legacy and fanbase, so the fact that a sequel has taken this long is shocking.

Twenty years after whatever happened in the first film, Andy is now an award-winning journalist. Unfortunately, after accepting her latest award, she and all of her friends are laid off by the newspaper they all work for. Meanwhile, Runway magazine is embroiled in a scandal, not helped by Miranda Priestly and her big mouth, so Andy is brought back to the magazine as Features editor, in order to smooth over the crisis. Old faces are reacquainted, with the likes of Nigel (the brilliant Stanley Tucci) still at Miranda’s elbow, and Emily (the equally brilliant Emily Blunt) now an executive at Dior. Their paths all cross, and twists and turns ensue.

Almost everyone in this movie is an unbearable person. Chief amongst whom is Miranda herself, a vacuous and shallow representative of a vacuous and shallow industry. In a sane world, she would have been thrown out of the nearest window many years ago, but she does not live in a sane world; she lives in the fashion bubble, where tyrants are accepted, as long as they are wearing this season’s gown. The only two people I liked in this film were Nigel (it helps when a character is played by Stanley Tucci) and Andy, and even she has her moments of excessive knobheadery.

As I understand it, people like Miranda because she is sassy, quotable and ‘iconic’, and yes, she does raise chuckles, I won’t deny it. I especially liked the moments where her newest assistant, Amari (Simone Ashley), reminds her when she says things that aren’t acceptable. Where was she twenty years ago? She was sorely missed. Despite the fact that she is entertaining, she is still cruel and self-obsessed, and I don’t understand why the film wants us to feel sympathetic towards her in some moments. Is she a changed woman? No, but somehow Andy continues to see the good in her, and Nigel puts up with her, despite him being competent and intelligent, and would probably find more respect away from Miranda’s bosom.

That said, there is fun to be had. There are laughs, and the characters, for all their faults, are still entertaining to watch and raise laughs in the right moments. The story isn’t spectacular, but then again, no one was expecting it to be. It is a fairly involved little yarn that has a few surprises up its sleeve. For instance, there’s one scene at a birthday party where I was sure Miranda was about to get her just desserts and be passed up for a promotion, but then… that doesn’t happen. I won’t spoil what does, but it suddenly changes the dynamic of the third act, and adds more intrigue to a plot which had been waning.

In the showing I was in, the audio description function wasn’t working, so I missed a lot of visual aspects of the film, and when a film is as heavy on looks as this one is. That is sure to have an effect, hence why I am bringing it up here, before a small legion of artists and designers put out a hit on me for not praising their work. I do apologise, but I couldn’t see it.

It does suffer from being a little bit overlong. I think it’s a general rule of thumb that most films could do to lose about ten minutes of run-time in general, so it’s not just this film that I have that particular problem with. Some of the characters were superfluous and underwritten. I’m thinking mainly of Lily (Tracie Thoms) and Stuart (Kenneth Branagh) here, who seem to predominantly exist so that the more important characters can recite expository dialogue to someone different. This is especially galling in the case of Sir Ken, considering his talents, to reduce him to a character who is there mainly to open Miranda’s front door and drive her about¹. Was he in the first movie? I can’t remember. That’s a damning indictment of your films if you wasted Kenneth Branagh twice.

I also thought more could have been made about the changing media landscape and the slow, painful death of physical media. There are allusions to this in the film, but never enough to establish the changes that have been made between the two films. The past twenty years have not been kind to magazines as the whole world migrated online, and outside of a few scenes, this angle isn’t explored much.

In conclusion, if you liked the first one, I’m sure you’ll enjoy this, as it’s a revisit of what made the first film so popular in the first place. It’s a light, sometimes funny, indulgent film, which I’m sure will tick all the boxes for those who can tell their Gucci from their Dolce & Gabbana. You may be pleased to know that Miranda continues to be a monster, people continue to accept that, and she continues to get away with it with no consequences whatsoever. The fashion world gets the kind of people it deserves, I suppose.

1. According to the film’s Wikipedia, he’s supposed to be her husband?! There was little suggestion in the film about a romantic relationship between them, and I find it hard to believe that Miranda is capable of love. ↩︎

Wonka Review

Prequels are a funny business. There are scant few that live up to their predecessors, say “prequel” to any movie fan, and what’s the first thing that springs to mind? The Star Wars prequels? That’s probably the biggest example of prequel expectation falling far, FAR short of expectations. When those films are the best-known example of your particular section of movie lore, you know you’re in trouble.

Perhaps I’m getting off on the wrong foot though, I wouldn’t like the first paragraph to make people think there’s any comparison to be made between the SW prequels and this film, because they are light years (I haven’t decided if this is a pun yet) apart from each other. The biggest difference is that Wonka is actually enjoyable in ways other than just meme appeal, but we get ahead of ourselves.

Wonka is the story of (who else?) Willy Wonka, he of Willy Wonka and the Chocolate Factory fame, and Charlie and the Chocolate Factory infamy. Although, it’s probably best to put the image of Johnny Depp’s malingering creep interpretation out of your mind (if you’re able to) for this film, as the character portrayed here is closer to the Gene Wilder whimsy and wonder than the alternative, and he is all the better for it.

The film is brought to us by the team behind the wonderful Paddington films. Director Paul King and co-writer Simon Farnaby bring to life a magical world that goes beyond the source material and builds an intoxicating universe of imagination and fun. It brings with it the heart and pathos that made the Paddington films resonate so thoroughly with audiences, populating itself with weird and wonderful characters that make you care for their goals and struggles, using their individual quirks to drive the narrative and make them all the more likeable and sympathetic, instead of just using them for one-off gags. It manages to strike that wonderful balance of being enjoyable for the whole family through its inventive script, funny characters, and memorable songs, without ever feeling the need to talk down to its audience.

Writing an interesting (and zany, in this case) character is all very well and good, but it is all for nought without a cast able to rise to the material, however, this isn’t something that proves to be a worry for Wonka, as its cast is tremendous. Drawing on a cast of returning faces from Paddington and some more from the wider world of British (and further afield) comedy, the supporting cast take their opportunities with aplomb and make a great maypole for the central performance to dance around, and dance he does, rather well, actually.

I’ve made no secret of my admiration for Timothee Chalamet in the past. I believe he is a generational talent, and his performance in this film shows that he can turn his hand to just about any genre. I would say that his Wonka is most definitely inspired by Gene Wilder’s take on the character, albeit with the harder edges of that version sanded down somewhat. He has more of a twinkle in his eye and a real sense of mischief about him, and his burgeoning friendships throughout the film are a joy to watch develop. All of this is brought across with a magnetic charisma that only very few actors possess. His performance here is reminiscent of a classic Hollywood actor, showing that they can sing and dance as well as act, leaving their audiences spellbound, and not a little jealous.

There are a few other notable performances in the film too. Even though it is Chalamet’s show, he is supported by a tremendous cast. Newcomer Calah Lane impresses as Noodle, Wonka’s younger partner-in-crime, and the villainous trio of Slugworth, Prodnose, and Fickelgruber (Paterson Joseph, Matt Lucas, and Matthew Baynton, respectively) provide fiendish, yet entertaining antagonists. A real surprise package of the piece is Hugh Grant as Lofty, the Oompa-Loompa, who you will wish had more screen time, as he provides laughs in a previously rather shallow role, casting controversy notwithstanding, I don’t feel qualified to comment on that, but as it stands, he is immensely enjoyable to watch.

There are a few nit-picks when it comes to the characters, however. I thought Olivia Colman’s secondary antagonist Mrs Scrubitt wasn’t as well-thought-out and creative as some of the others, but her involvement ultimately leads to Wonka’s discovery of his team of friends who help him take down the chocolate cartel, so ultimately, I can let it pass. She also has a few funny scenes with Bleacher (Tom Davis), her bodyguard/lover, which softens the blow of her more one-dimensional character.

In conclusion, then, Wonka is another astounding success for Paul King which is likely to live on as a festive favourite for many years to come. With fun characters, all performed tremendously by an extremely talented cast, and inventive, and frequently hilarious, screenplay, as well as songs (by The Divine Comedy’s Neil Hannon) which will be stuck in your head for days after, you really can’t ask for much more from a movie. A slice of movie magic filled with pure imagination.

Napoleon Review

There are few historical figures more widely written about than Napoleon. His exploits and conquests have been thoroughly detailed in almost every imaginable medium. Many books and documentaries have been made about him, and Abba even famously won Eurovision with a song about his most famous defeat. Indeed, legendary filmmaker Stanley Kubrick spent years planning an epic based on the life and times of history’s most famous general (a project that I believe still lives on in miniseries form, produced by Spielberg) but never realised his vision. However, a few decades after Kubrick’s passing, we are finally graced with a large-scale Hollywood production based on the former Emporer’s life, brought to us by another notable name: Ridley Scott.

Ridley Scott should need no introduction to most cinephiles. The director of such classics as Alien, Blade Runner, and Gladiator has enjoyed a long and extremely storied career, and now into his eighties, he shows no signs of slowing down if anything, the past few years have seen him become even more prolific. According to several interviews on the press tour for Napoleon, he went straight from this shoot into production on his long-awaited Gladiator sequel, which is due out next year. He came into doing this off the back of The Last Duel and House of Gucci, both released in 2021. Following Gladiator 2, he plans on moving straight on to another production (according to a piece in The New Yorker, which can be found here: https://www.newyorker.com/magazine/2023/11/13/ridley-scott-director-profile). It seems age has not wearied or slowed this titan of Hollywood one bit.

As a fan of Mr Scott’s previous work, I was very much looking forward to seeing his take on the life of Napoleon. Of course, it didn’t hurt that the film would be led by the supremely talented Joaquin Phoenix, reuniting him with the director under whom he earned his first Oscar nomination back at the turn of the millennium. It seemed like a perfect combination on paper. Sadly, however, films do not happen on paper.

Let’s get the main bone of contention for many people out of the way first, that being the historical inaccuracies. Now, this is an instance where I will defend the movie and its creators, as I don’t much care about historical accuracy, this film is not a documentary, it is a piece of entertainment. If I were wanting an accurate account of Naploeon’s life and battles, I would read one of the several hundred books written by historians and experts, but as it happens, I went to watch a movie made by creatives, so I don’t give a damn if the film gets the details right as long as I am entertained, and that is sadly where the movie does fall short of my expectations.

Not that the film is completely without merit; the battle scenes and cinematography are excellent, for one, to the surprise of no one who has seen Scott’s previous works. It’s the moments where cannonballs aren’t flying which drags the experience down. The film wastes excellent performers on teaspoon shallow characters, first and foremost, with Vanessa Kirby’s character of Josephine being the most egregious example of this. People come and go throughout the story, showing very few signs of life, and giving the audience even fewer reasons to care about them.

The inconsistent tone of the film is another thing which drags it down, in my opinion. It flails wildly between incredibly well-realised and engaging battle re-enactments to scenes of Napoleon being a horny weirdo in scenes in which I can’t quite tell if they’re supposed to be played for laughs or to show his ever-increasing sense of self-importance. Either way, they fail in both tasks as they just came across as faintly ridiculous. I’m all for a film not taking itself too seriously, but it made for a very jarring juxtaposition between the genuinely effective scenes of devastating historical battles, and the ones where the lead character is suddenly pretending to be a horse to instigate sex.

I didn’t leave Napoleon feeling like I had watched a bad movie, it is undeniably an incredible technical achievement with some truly excellent moments, but I did leave feeling disappointed. It was a movie and a combination (Ridley Scott and Joaquin Phoenix) that seemed so perfect that it simply being a decent movie fell well short of my expectations. A good movie that had the potential to be great is often ten times worse than a bad movie nobody expects to be good, and I doubt adding another hour-and-a-half to its already bloated runtime for the Apple TV director’s cut will help matters. When it comes to artistic endeavours related to Napoleon, I think I’ll stick with Abba in the future.

John Wick: Chapter 4 Review

Way back in the mists of time, I used to review movies, does anyone remember? Since I stopped, literally ones of people (okay, one person) has asked me to come back and review again. Well, here I am. Will I be back regularly? Probably not. I’m a busy man with many uneaten chocolate bars in the fridge, so I probably won’t have the time (or the energy, to be honest).

So, why am I back now? Well, for completion’s sake really. You see, back when I compiled my first book, I included a review of the first John Wick. During the first COVID lockdown, I uploaded that review, along with one for John Wick: Chapter 2 (from my second book), making the series one of the few franchises I had reviewed in its entirety. So I have a fondness for the series, not only because of that, but because they’re a genuinely thrilling series of action films, which ramp up the action and world-building with each subsequent instalment.

So, where were we? At the end of John Wick: Chapter 3 – Parabellum, the titular assassin found himself, to use a technical term, “in a pickle”. Shot, and thrown off a roof by one of his few allies, and out of favour with the all-powerful “High Table”. Cast out and left for dead, John must find a way to fight through the Table and their inexhaustible supply of goons to gain revenge and freedom.

There are very few franchises that get better with each instalment. The list of such series’ pretty much consists of the Lord of the Rings series, and maybe Mission: Impossible, and the latter has a few below-par entries to its name, so it can thank its lucky stars it’s getting a mention. Anyway, the point I’m grasping for here like a light switch in a spooky basement is that John Wick: Chapter 4 kicks so much arse that its boots smell permanently of farts.

I don’t know how Keanu Reeves manages it, but the fact he manages to be so good in these films considering how little acting range he has is almost inspiring. He carries the character through sheer magnetism and devotion. The amount of variety there is to his on-screen action scenes is quite frankly amazing. The gym hours alone he must have put in would put Arnie to shame. He looks equally at home with a gun, blade, or even hand-to-hand, he makes this ridiculously overpowered assassin seem believable, so maybe he’s a better actor than I give him credit for.

Seeing as this series prides itself on stylish action set pieces, the pressure was on to once again raise the bar in this fourth instalment, and the filmmakers rose to the task with much gusto. There are enough stand-out scenes in this movie to satisfy an entire franchise, let alone one movie, and there are great swathes of the film which will have you on the edge of your seat for so long that it will leave a dent in your arse. Not only are the action scenes memorable, but, they’re also incredibly varied, ranging from Kurosawa-inspired sword fights to spaghetti western Mexican stand-offs, even throwing in an incredibly tense game of poker just for good measure. The film never stays in one place for long enough to lose your attention, and even at nearly three hours long, it keeps a relentless pace throughout, hardly stopping for a breather from one spectacular set-piece to the next.

Alongside the series’ outstanding action, another fascinating aspect of the John Wick universe is its world and characters. What started as the story of a guy wanting revenge for the death of his dog (there’s a nice call-back to this aspect in this film) ended up as a globe-trotting adventure encapsulating a vast network of mysterious hotels and assassins, each with their own lore and motifs. The hidden world of the High Table has expanded to mythic proportions by the series’ fourth instalment, introducing quasi-religious rituals into its shadowy world of assassins.

The variety of action is more than matched by the variety of distinct personalities populating its world, from old favourites like Winston (Ian McShane) & Charon (Lance Reddick) to new faces such as Caine (played by the ageless Donnie Yen) and new “big boss” the Marquis Vincent de Gramont (Bill Skarsgard) each personality has their intertwining agendas and allegiances that leave you guessing with each twist and turn. Add in memorable supporting turns from Laurence Fishburne and Clancy goddamn Brown (I think that’s his full name) and you have the recipe for a really good time.

The story and its characters gain more complexity and layers as the franchise expands, and that’s not an easy thing to achieve in a film so stuffed with action. It manages a fine balancing act of producing an engaging narrative wrapped within a thrilling action-adventure which could have quite easily gone for quantity over quality but manages to find an almost perfect middle ground.

If this is the final chapter in the book of John Wick, then it can hold its head high as a franchise that went out with a bang. So many action series drag on to execrable lengths, taking themselves further and further away from what made them special (*cough* Fast & Furious *cough*) but the John Wick series just kept raising the bar with each instalment and even managed the impossible in modern Hollywood by reaching a satisfying and poignant conclusion.

When all is said and done, I think we will look back one day on the John Wick series as one of the best action movie franchises of all time. In many ways, it succeeded where The Matrix failed in combining an ever-complex narrative and lore with a martial arts/gunfight crossover action style that endured and improved with sequels, rather than regressing and ruining its mystique as Matrix sequels did. As a series, it showed ambition and potential and surpassed even our wildest expectations, and this fourth instalment is everything you could ever want in a concluding chapter.

All Quiet on the Western Front review

In recent years we have seen a rash of World War 1 films hit the big screen with people like Steven Spielberg and Sam Mendes harking back beyond the usual World War 2 stuff we are now very used to and bringing its predecessor more into the public eye with films like War Horse, Journey’s End and 1917 among others.

Now, streaming giant Netflix have stuck their awe in with their version of All Quiet on the Western Front, as home entertainment networks look to build on their post-pandemic successes.

All Quiet on the Western Front tells the story of four German friends who sign up for Armageddon as it had never been seen before, in 1917, before whizzing forward to the last few days of this tragic, futile conflict for the vast majority of its 148 minutes.

It does show the public fervour, experienced in all the combatant nations for the Great War and gets off to a fairly promising start, which does a half-decent job of sucking you in and is successful with the intensity required for such a production in certain scenes.

However, there is one big problem with this attempt at telling a World War 1 story from the German side, with their main enemy being the French, that is their very British accent and attitude.

In some ways, I suppose it could be classed as a neat idea not to stick with the traditional, absolutely regimented, stifled film version of German soldiers, but here it clearly doesn’t work. When I watch a war film being told from the side of the Germans, I want them speaking German, as in the German masterpiece Downfall which told the story of Adolf Hitler in his last few days in his Berlin bunker.

The problems don’t stop with the very British accent, they go far beyond it. The film seems to sort of try to centre round one of the four friends mostly, but fails to generate any connection with the character, despite his best efforts for instance to try and save a Frenchman he has stabbed multiple times in a muddy battlefield, or to carry one of his comrades to get help after he has been shot by a boy.

Some of the camerawork is a very good standard and the sound effects especially early on do build the narrative quite nicely, but it certainly, as a whole doesn’t have the effect you would expect of what is supposed to be a blockbuster story from a big budget movie.

While the battlefield scenes are very watchable and the separation between the men at the front-line and the powers-that-be who are far removed from the horrors that they face is very well pitched and it does certainly give you the much needed hate figure, particularly with the climax, the ending does seem to still be rather lame and in the end, leaves you not caring whether the main character is alive or dead.

On the whole, the film does include a lot of unnecessary, very stale sub-plots and would frankly benefit from being about an hour shorter, rather than pushing meaningless gibberish.

It’s good points include the comradeship that is shown between masses of troops in the trenches and showing the genuine relief that the end of the war brought, with one shocking, desperately upsetting part at the end which you certainly don’t see coming until it’s too late as it were.

The writing is a bit, forgive the pun, over the top and the direction is fairly well handled, but this is certainly not a film that I will go back to many times for a bit of World War 1 action.

The climax does show the tragic side of the end of the war and communicates it really quite well, but the overriding feeling from this Netflix attempt has to be, disappointing, must do better if there is a next time!

Good Luck to You, Leo Grande Review

I remember about a month ago while scrolling through my Twitter feed, I came across an article about this movie. Specifically, it was about how Emma Thomson came to make some of the decisions she made on screen in this film. I know I’m usually averse to spoilers in my reviews, but I feel like talking about this film would be impossible without discussing some of the integral plot points, so here goes; this article specifically dealt with Thomson’s decision to appear nude in this film.

At the age of 63, the beloved actress does indeed bare all in this film, but it was not this aspect of the film that drew me in, but rather its heartfelt tone that added surprising depth to a narrative that could have easily seemed seedy.

I’d be lying if I said that this fact didn’t intrigue me after reading it. Why did she choose this time? Was it merely a stunt to get people talking about the film? Or was she perhaps wanting to prove something to herself? Who knows, maybe it’s all of the above, a combination of them, or none at all. In the end, it isn’t even the most interesting thing about the film.

The story focuses on Thomson’s character, a fifty-something widow who has never had an orgasm, who hires a younger sex worker to explore sexuality more thoroughly than in her supposedly boring life thus far, all the while trying to find out more about the man she has hired.

I had no expectations of Good Luck to You, Leo Grande before going into the screening. Besides the aforementioned article and a brief trailer, I knew very little about it besides the fact that it featured a national treasure sans clothes. I feel like I must commend Thomson on her courage in agreeing to this potentially disastrous move for her career, it shows a great deal of bravery for someone, especially a woman in modern society, to show as much skin as she did at her age. It does wonders for the long-conceived Hollywood notions of older women, who are often marginalised after their fortieth birthday (or perhaps even earlier) and shows that it is possible to be sexy in your sixties.

I don’t want you to go away from this review thinking that this film is just a skin flick, however. It might just be the most surprising film I’ve seen in quite some time. So surprising that it has pulled me out of my critical hibernation through sheer will of wanting to talk about just how great it is. It may well even be my favourite film of the year so far.

I have a soft spot for a story that takes place in one place between very few characters. I think it’s a true test of a writer to show they can make something interesting out of very little resources. You can consider that test well and truly passed here. Even though the story isn’t quite confined to just one room, the majority of it is, with very fleeting glimpses of the world outside the character’s hotel room. The characters are what really carry the movie too, from the off, it is obvious that there is more to them than meets the eye, and details about them are revealed throughout the runtime, in a perfectly paced show of character-based screenwriting. Nothing is given away too soon, or too easily, it is perfectly judged and timed to keep you wanting to know more about these characters. Even when the final credits roll around, you still feel like there is more to know, but you don’t feel short-changed, it all adds to the mystique of the character, and their aura as well-rounded and well-realised characters.

It also helps that the core of the movie is so recognisable and relatable. We have all felt underwhelmed and unfulfilled by life at some point, even if that feeling isn’t in the bedroom. We recognise those feelings of disappointment and longing; they are universal human traits which don’t have to be viewed exclusively through a sexual lens. All of Nancy’s (Thomson) problems don’t just stem from her bedroom problems, but her life in general, which seems so grey when contrasted against her notions of Leo’s (Daryl McCormack) life which seems so exotic to her, yet beyond that surface level of excitement lies a great amount of sadness and regret of his own. Which, once again, is judged perfectly, and revealed piecemeal as and when the plot demands it, and we leave him knowing just enough to identify with him, but not enough to betray the character’s much-needed sense of anonymity.

The two lead performances are worthy of mention too as, without performers of this calibre, the characters and their struggles may well have fallen flat. We all know how great Emma Thomson can be, but that doesn’t stop her from reminding us at every opportunity. She’s simply incredible in this film, delivering an electric performance that oozes charisma, whilst simultaneously showing vulnerability and flaws which makes her character so well-rounded. She is perfectly cast alongside relative newcomer Daryl McCormack. They share a simply irresistible chemistry which fizzes and pops more than a marriage between Coke and Mentos. They play off each other like they have been starring together for years, so much so that they make you forget about the potentially controversial age gap between them. It simply becomes inconsequential the moment they share the screen.

While the film might not get pulses racing with heart-stopping action like other current cinema offerings; it does offer a lovely character-driven narrative that will surprise you with its tender and heartfelt core, and wonderful character development. Alongside a marvellous pair of leading performances, positively dripping in chemistry and charisma, it all comes together as one of this year’s most pleasant surprise packages. I went in with no expectations, and I left with a special place in my heart for these well-rounded and highly sympathetic characters, and really, what else can you ask for?

Don’t Look Up review

The Story:

A downtrodden professor and a gutsy PhD student find a comet the size of Mount Everest on a collision course with Earth and attempt to warn the world, only to meet stubborn resistance from the powerful and the media.

The Film:

This is one of those Marmite films, you’ll either love it or you’ll hate it, there is no real in-between ground for it to occupy and it’s very fair to say that it has absolutely polarised opinion in a very big way, so on that score, I suppose it has to be a winner because it attracts conversation and attention.

This movie has all the hallmarks of squashing a few different movies together and making them into one film, for better or worse, it really depends on your own viewpoint. It’s clearly trying to be a funny version of Deep Impact, with a bit of Whoops Apocalypse thrown in for good measure, before adding some new technical stuff, like when Kate Dibiasky, portrayed by Jennifer Lawrence, actually finds the comet in question on its worrying trajectory.

The beginning is very much like that of Deep Impact, the student finding the comet, except that she is actually in the observatory, studying for her PhD and nobody gets killed trying to dash to warn the world, it’s a good solid start, which seems quite well engineered and gives us a good look at the main characters, those being Kate and Dr Randall Mendy, played by Leonardo Di Caprio.

There is also some decent content when our two heroes are taken into a plane, which gave it an air of mystery, but was also a bit of a pre-cursor of what was to come, as the movie then unfortunately goes into ridiculous overload.

America cannot, never has and will never do great comedy like we do on this side of the Atlantic, it is a well known fact. This film tried to go from quite a serious opening, into comedy mode and it simply does not work.

Waiting hours to see the lady US President played by Meryl Streep, one cheap shot by a 3 star General keeps rearing its head, because seemingly they have to hammer it home and they push it way beyond its boundaries.

Some of the film, it must be said is quite well constructed and shows some of what can make things go wrong, due to the ignorance of authority and there’s some quite believable personal challenges as well, which will keep you watching, I also have to say that the moment of doom is quite well drilled and a fairly quaint touch.

However, the construction of it is all wrong due to the start and the end, going from a very impressive technological beginning, into an attempt at comedy, then trying to almost redress the balance near the end is not a good idea.

It is listed as a comedy film, for that to work it would have needed to start off on a comedy footing, nothing particularly outlandish, but something for a good belly laugh, which just does not happen and by the time it does, it’s too late because you have been dragged into what looks like a serious story.

It does have to be said that the special effects are of a decent standard and Lawrence, Di Caprio and Streep do seem to sort of enjoy hamming it up and there is the occasional giggle, but it’s certainly not what you would call a classic comedy.

With impending doom for our planet, high level catastrophic ignorance and some personal tragedy, it is probably not the sort of film to try and make into a comedy, although some of it does work and people are clearly invested in trying to make a difficult subject as funny as they can.

I wouldn’t say to avoid it at all costs, but you certainly need a ridiculously open mind to enjoy it, it fails on so many different levels, better luck next time Netflix.

Nathan’s Top 5 Films of 2021

Now then, it’s been a while. Nearly six months have gone by since I stopped reviewing films for this site for health reasons, and even though I haven’t been writing, I have been watching to the best of my ability, so I thought I’d pop back at the end of the year to give my thoughts on my favourite films of 2021. I’ve decided to keep it to five like last year, as although I did have more choice this year, I feel like padding the list to ten would just dilute things, and I’d rather focus on the films that stuck with me than labour to include films that I enjoyed but weren’t nearly as memorable. That doesn’t mean it was an easy list to compile, however, as, outside my top two, there was plenty of competition.

Because of me stepping back from reviewing this year, not many of my top five got a full review, but other than that, usual end-of-year rules apply: only films that had a UK release in 2021, up to and including the 17th December, are eligible, no re-releases, and I’m restricting myself to just one superhero/comic book movie in the list (I’m writing this just as Spider-Man: No Way Home is due to be released, I’m waiting to see what I make of that before finishing the list) just to keep the choices varied.

Ian will also be publishing an end-of-year piece that will vary from mine, so keep your eyes out for that. I don’t have plans to do an annual ‘awards’ post this year, sadly, as that would be a lot of strain for my eyes (which is the reason I had to stop in the first place) so my apologies for that, I will add a few award-related bits to the end of the top ten, just to compensate. Right, let’s get on with it then, shall we?

Honourable Mentions:

Promising Young Woman – Directed by Emerald Fennell

In a normal year, this would have taken the fifth spot with relative ease. Indeed, it would have been sixth if I’d decided to pad this list out to a top ten, so it can feel disappoint that it didn’t make the cut. All this shouldn’t take away how incredible and timely it is as a film, telling a story that will, unfortunately, resonate with a lot of people, and a final act that will stick with you long after the credits have rolled. I’ll certainly be keeping an eye out for Fennell’s next project.

The Suicide Squad – Directed by James Gunn

My self-imposed ‘one comic book movie per list’ rule keeps this from breaking the final five, but James Gunn’s The Suicide Squad was a refreshing change of pace for a stalling DCEU, breathing new life into the team after 2016’s torrid first attempt. Gunn managed to transplant his trademark anarchy successfully from his wildly popular Guardians of the Galaxy films effortlessly, all the while renewing interest in The Suicide Squad as a property. While it wasn’t one of 2021’s deepest experiences, it certainly was one of its most fun.

While I’m on the topic of DC Zack Snyder’s Justice League also made my shortlist, and trust me, no one is more shocked about that than me, and I thought it warranted a mention with TSS.

The Top 5

Five: In the Heights – Directed by Jon M. Chu

I have a great love and admiration for Lin-Manuel Miranda I may have a bit of a crush on him (who doesn’t, am I right?), and this big-screen adaptation of his Pulitzer Prize-winning stage musical was just the tonic 2021 needed, that is, a giant shot of utter joy.

The driving force behind this joyousness was its vibrant nature, relying on an extremely colourful palate and the beats and rhythms of Latino culture, which underscores a universal underdog story, several underdog stories, in fact, as the residents of Washington Heights all fight for the better life they’ve all been dreaming of. It’s hard not to fall in love with a film so obviously made with love and passion. Even its more downbeat and emotional scenes eventually lead to an outpouring of positivity that this year really needed.

I think that’s what ultimately put it above Promising Young Woman in my eyes. PYW is almost definitely the better film in terms of importance, but In the Heights left with a feeling of utter elation, and I think we can all agree that has been hard to come by for these last few years. Watching In the Heights made me feel the same way I felt when I first saw La La Land a few years ago, and any film that can replicate that is doing something right.

The film also boasts a wonderfully diverse Latinx cast, led by the wonderfully charismatic Anthony Ramos (also seen in Lin-Manuel’s Hamilton on Disney+), and accomplished and lively direction from the director of Crazy Rich Asians Jon M. Chu. This turned out to be a winning formula, and talk is that Chu is working on another musical, an adaptation of the incredibly popular stage show Wicked, and if this film is anything to go by, that could be something special.

Four: No Time to Die – Directed by Cary Joji Fukunaga

Daniel Craig has had a very commercially successful run as the world’s favourite spy, James Bond. Critically, though, his luck has been a lot more mixed. His last outing, 2015’s Spectre was a disappointment following the runaway success of Skyfall, which itself followed a major critical misstep in Quantum of Solace. It seemed like every other film he did was a winner, with disappointments in between. Lucky then that this streak continued, and he went out with a bang rather than a whimper with No Time to Die.

A lot was riding on this film, it was probably the biggest test of the box office during the pandemic, or at least the biggest since Tenet the previous summer, and luckily, we were treated to one of Mr Bond’s better outings to welcome the audience’s back in their masses. The film was thankfully a massive success money-wise, and the suits in Hollywood breathed a massive sigh of relief.

It was also just what the franchise needed after the let-down of Spectre. Coupled with the knowledge that this was to be Daniel Craig’s last ride as the famous spy, expectations were high, and it managed to surpass even those expectations. The action was suitably epic, as was the story, which managed to be grand in scale and yet still managed to be one of the more personal Bond narratives. It also boasts, in my opinion, Craig’s best performance as Bond. I must admit that I was not the biggest fan of his interpretation a few years ago, but with this film and Skyfall, he wore me down. He’s brilliant here, making Bond more grounded and emotive than ever, but never losing that icy edge the character has carried with him for nearly sixty years.

A wonderful slice of cinematic action that helped jumpstart the worldwide box office again, No Time to Die showed exactly what can be done with a big Hollywood budget. It is everything a big-budget action film should aspire to be, containing not only great action set pieces, but memorable characters and an emotional core. While it doesn’t quite reach the heights of Skyfall, it comes damn close.

Three: Dune: Part One – Directed by Denis Villeneuve

Speaking of what every big-budget film should aspire to be, this film not only proves what can be achieved with a big vision and even bigger bank balance, it also proves that high-concept ideas can work in the right hands, and if the last few years have taught us anything, it’s that Denis Villeneuve owns the right hands.

Sprawling, epic, and awe-inspiring are all words that can perfectly describe Dune. It may have taken three attempts, but this film shows that sometimes perfection is worth the wait. This supposedly ‘unfilmable’ sci-fi story was definitively brought to life by Villeneuve and his incredible crew, specifically his Cinematographer, Greig Fraser, who deserves special mention for just how beautiful this film looks. Obviously, I am no authority on visuals these days (the jokes write themselves there) but even I could see how stunningly realised this film was.

Many column inches have been dedicated to singing the praises of Dune in the last few months, and I feel anything I say will just be repeating what others have said elsewhere, but the success of Dune, to me is of a larger significance, as it proves that more complicated, fringe ideas can make a lot of money if given the right promotional push, and the right visionary in the driver’s seat. There may have been films I enjoyed more this year, but Dune might just be the most important success story of 2021, and I can’t wait for Part Two to hit screens.

Two: Spider-Man: No Way Home – Directed by Jon Watts

It feels somewhat regressive to put an MCU film above a boundary-pushing film like, Dune, but God damn it, I can’t help it, this film is great, and I’m not too jaded to admit it when I love a film as much as I enjoyed No Way Home. Although it isn’t as complex, it does have its own sense of epic-ness (is that a word? Microsoft Word tells me it isn’t, but never mind), and is quite ground-breaking within its franchise, it is probably the biggest MCU film that isn’t an Avengers project.

Beyond that though, the film is incredibly enjoyable fun. The sort of fun that Marvel has made their name on, but it still feels special. One thing I admire about these big MCU projects is their ability to pull together many elements and make them work so smoothly. Whereas a lot of projects struggle to balance things and end up with everything feeling paper-thin, the MCU makes everything look so seamless. Think back to Infinity War and Endgame, with the sheer number of characters and plot points to juggle, it just shouldn’t have worked, but it did. It didn’t seem under-developed or unbalanced, everything fit together like a perfect jigsaw puzzle, and they achieve the same thing here. Albeit on a slightly smaller scale, but not by much. This may not have the number of people sharing screen-time, but it does have to encompass characters from three different universes, and manages to make their interactions not seem forced.

This film is a complete comic book movie package. It’s everything any Spider-Man fan could dream of on the big screen, and it’s amongst the MCU’s best offerings, it can stand shoulder-to-shoulder with the last two Avengers films, and that’s a height I didn’t think an MCU film would ever reach again. It’s the definitive Spider-Man experience.

One: Bo Burnham: Inside – Directed by Bo Burnham

Some may say that I’m stretching a bit by including this as a film, to that I would say: I don’t care. I don’t see how you can watch this and not see it as cinematic. It baffles me that one person could be so talented, how dare he, quite frankly. I’m only saying this out of jealousy mainly, but how can you not be jealous of someone with the talents of Bo Burnham?

I’ve said it before, and I’ll say it again, Burnham is a once-in-a-generation artist, and this film just further proves my point. I’m not sure if this is a labour of love, or madness, or both. What I do know, however, is that it’s genius, and simply incredible given the circumstances, and how well crafted it is. We knew that Burnham had cinematic chops after watching Eighth Grade a few years ago (which also made my Top 10 for that year) but this shows the extent of his potential as a filmmaker, and his magnetism as a performer.

A running theme I have noticed amongst this top 5 is the weight of expectation. On one level or another, every film had a high bar to clear, and the same is true here. Burnham not only had to contend with the memory of Eighth Grade but also his last foray into comedy Make Happy, which in my opinion is one of the greatest comedy specials of all time. Inside transcends its label as a comedy special with its visionary approach and cinematic flair. It is the highlight of the pandemic and makes everything made during and about the pandemic seem insignificant in comparison. If this is the artistic peak of this dark period in history, then it is a peak of Everest proportions.

Awards:

Best Music – Lin-Manuel Miranda (In the Heights)

Best Director – Denis Villeneuve (Dune)

Best Cinematography – Greig Fraser (Dune)

Best Supporting Actress – Olga Merediz (In the Heights)

Best Supporting Actor – Willem Dafoe (Spider-Man: No Way Home)

Best Leading Actress – Carey Milligan (Promising Young Woman)

Best Leading Actor – Riz Ahmed (Sound of Metal)

Outstanding Achievement – Bo Burnham

Worst Films of 2021

Since I didn’t see as much, I’m clumping these in too. No big write-ups, just the title and one sentence describing my thoughts. I don’t want to linger on the negatives after these last few years.

The Prom – Directed by Ryan Murphy

Can’t remember if it was released this year, but I do remember that it was insultingly awful.

Space Jam: A New Legacy – Directed by Malcolm D. Lee

What if Ready Player One, but even worse?

Old – Directed by M. Night Shyamalan

After so much practice, you’d think Shyamalan would be better at coming up with plot twists.

Final Thoughts

Overall, this past year could have been better for us all, I’m sure you’ll agree, it feels like I’m having Déjà vu just saying that, but it’s true. For myself more than most, but I am grateful that I can still enjoy the cinema, as it’s one of life’s greatest releases. I can only hope 2022 brings us many greater big-screen experiences.

Merry Christmas and a Happy New Year to one and all, I hope it’s an enjoyable and peaceful one. Thanks for reading.

Now then, it’s been a while. Nearly six months have gone by since I stopped reviewing films for this site for health reasons, and even though I haven’t been writing, I have been watching to the best of my ability, so I thought I’d pop back at the end of the year to give my thoughts on my favourite films of 2021. I’ve decided to keep it to five like last year, as although I did have more choice this year, I feel like padding the list to ten would just dilute things, and I’d rather focus on the films that really stuck with me than labour to include films that I enjoyed but weren’t nearly as memorable. That doesn’t mean it was an easy list to compile, however, as outside my top two, there was plenty of competition.

Because of me stepping back from reviewing this year, not many of my top five actually got a full review, but other than that, usual end-of-year rules apply: only films that had a UK release in 2021, up to and including the 17^th December, are eligible, no re-releases, and I’m restricting myself to just one superhero/comic book movie in the list (I’m writing this just as Spider-Man: No Way Home is due to be released, I’m waiting to see what I make of that before finishing the list) just to keep the choices varied.

Ian will also be publishing an end-of-year piece that will vary from mine, so keep your eyes out for that. I don’t have plans to do an annual ‘awards’ post this year, sadly, as that would be a lot of strain for my eyes (which is the reason I had to stop in the first place) so my apologies for that, I will add a few award-related bits to the end of the top ten, just to compensate. Right, let’s get on with it then, shall we?

Honourable Mentions:

Promising Young Woman – Directed by Emerald Fennell

In a normal year, this would have taken fifth spot with relative ease. Indeed, it would have been sixth if I’d decided to pad this list out to a top ten, so it can feel disappoint that it didn’t make the cut. All this shouldn’t take away how incredible and timely it is as a film, telling a story that will unfortunately resonate with a lot of people, and a final act that will stick with you long after the credits have rolled. I’ll certainly be keeping an eye out for Fennell’s next project.

The Suicide Squad – Directed by James Gunn

My self-imposed ‘one comic book movie per list’ rule keeps this from breaking the final five, but James Gunn’s The Suicide Squad was a refreshing change of pace for a stalling DCEU, breathing new life into the team after 2016’s torrid first attempt. Gunn managed to transplant his trademark anarchy successfully from his wildly popular Guardians of the Galaxy films effortlessly, all the while renewing interest in The Suicide Squad as a property. While it wasn’t one of 2021’s deepest experiences, it certainly was one of its most fun.

While I’m on the topic of DC Zack Snyder’s Justice League also made my shortlist, and trust me, no one is more shocked about that than me, and I thought it warranted a mention with TSS.

The Top 5

Five: In the Heights – Directed by Jon M. Chu

I have a great love and admiration for Lin-Manuel Miranda, in fact, I may have a bit of a crush on him (who doesn’t, am I right?), and this big-screen adaptation of his Pulitzer Prize-winning stage musical was just the tonic 2021 needed, that is, a giant shot of utter joy.

The driving force behind this joyousness was its vibrant nature, relying on an extremely colourful palate and the beats and rhythms of Latino culture, which underscores a universal underdog story, several underdog stories, in fact, as the residents of Washington Heights all fight for the better life they’ve all been dreaming of. It’s hard not to fall in love with a film so obviously made with love and passion. Even its more downbeat and emotional scenes eventually lead to an outpouring of positivity that this year really needed.

I think that’s what ultimately put it above Promising Young Woman in my eyes. PYW is almost definitely the better film in terms of importance, but In the Heights left with a feeling of utter elation, and I think we can all agree that has been hard to come by for these last few years. Watching In the Heights made me feel the same way I felt when I first saw La La Land a few years ago, and any film that can replicate that is doing something right.

The film also boasts a wonderfully diverse Latinx cast, lead by the wonderfully charismatic Anthony Ramos (also seen in Lin-Manuel’s Hamilton on Disney+), and accomplished and lively direction from the director of Crazy Rich Asians Jon M. Chu. This turned out to be a winning formula, and talk is that Chu is working on another musical, an adaptation of the incredibly popular stage show Wicked, and if this film is anything to go by, that could really be something special.

Four: No Time to Die – Directed by Cary Joji Fukunaga

Daniel Craig has had a very commercially successful run as the world’s favourite spy, James Bond. Critically, though, his luck has been a lot more mixed. His last outing, 2015’s Spectre was a disappointment following the runaway success of Skyfall, which itself followed a major critical misstep in Quantum of Solace. It seemed like every other film he did was a winner, with disappointments in between. Lucky then that this streak continued, and he went out with a bang rather than a whimper with No Time to Die.

A lot was riding on this film, it was probably the biggest test of the box office during the pandemic, or at least the biggest since Tenet the previous summer, and luckily, we were treated to one of Mr Bond’s better outings to welcome the audience’s back in their masses. The film was thankfully a massive success money-wise, and the suits in Hollywood breathed a massive sigh of relief.

It was also just what the franchise needed after the let-down of Spectre. Coupled with the knowledge that this was to be Daniel Craig’s last ride as the famous spy, expectations were high, and it managed to surpass even those expectations. The action was suitably epic, as was the story, which managed to be grand in scale and yet still managed to be one of the more personal Bond narratives. It also boasts, in my opinion, Craig’s best performance as Bond. I must admit that I was not the biggest fan of his interpretation a few years ago, but with this film and Skyfall, he wore me down. He’s brilliant here, making Bond more grounded and emotive than ever, but never losing that icy edge the character has carried with him for nearly sixty years.

A wonderful slice of cinematic action that helped jumpstart the worldwide box office again, No Time to Die showed exactly what can be done with a big Hollywood budget. It is everything a big-budget action film should aspire to be, containing not only great action set pieces, but memorable characters and an emotional core. While it doesn’t quite reach the heights of Skyfall, it comes damn close.

Three: Dune: Part One – Directed by Denis Villeneuve

Speaking of what every big-budget film should aspire to be, this film not only proves what can be achieved with a big vision and even bigger bank balance, it also proves that high-concept ideas can absolutely work in the right hands, and if the last few years have taught us anything, it’s that Denis Villeneuve owns the right hands.

Sprawling, epic, and awe-inspiring are all words that can perfectly describe Dune. It may have taken three attempts, but this film shows that sometimes perfection is worth the wait. This supposedly ‘unfilmable’ sci-fi story was definitively brought to life by Villeneuve and his incredible crew, specifically his Cinematographer, Greig Fraser, who deserves special mention for just how beautiful this film looks. Obviously, I am no authority on visuals these days (the jokes write themselves there) but even I could see how stunningly realised this film was.

Many column inches have been dedicated to singing the praises of Dune in the last few months, and I feel anything I say will just be repeating what others have said elsewhere, but the success of Dune, to me is of a larger significance, as it proves that more complicated, fringe ideas can make a lot of money if given the right promotional push, and the right visionary in the driver’s seat. There may have been films I enjoyed more this year, but Dune might just be the most important success story of 2021, and I can’t wait for Part Two to hit screens.

Two: Spider-Man: No Way Home – Directed by Jon Watts

It feels somewhat regressive to put an MCU film above a boundary-pushing film like, Dune, but God-damnit, I can’t help it, this film is great, and I’m not too jaded to admit it when I love a film as much as I enjoyed No Way Home. Although it isn’t as complex, it does have its own sense of epic-ness (is that a word? Microsoft Word tells me it isn’t, but never mind), and is quite ground-breaking within its franchise, it is probably the biggest MCU film that isn’t an Avengers project.

Beyond that though, the film is incredibly enjoyable fun. The sort of fun that Marvel have made their name on, but it still feels special. One thing I really admire about these big MCU projects is their ability to pull together many elements, and make them work so smoothly. Whereas a lot of projects struggle to balance things and end up with everything feeling paper-thin, the MCU makes everything look so seamless. Think back to Infinity War and Endgame, with the sheer number of characters and plot points to juggle, it just shouldn’t have worked, but it did. It didn’t seem under-developed or unbalanced, everything fit together like a perfect jigsaw puzzle, and they achieve the same thing here. Albeit on a slightly-smaller scale, but not by much. This may not have the number of people sharing screen-time, but it does have to encompass characters from three different universes, and manages to make their interactions not seem forced.

This film is a complete comic book movie package. It’s everything any Spider-Man fan could dream of on the big screen, and it’s amongst the MCU’s best offerings, it can stand shoulder-to-shoulder with the last two Avengers films, and that’s a height I didn’t think an MCU film would ever reach again. It’s the definitive Spider-Man experience.

One: Bo Burnham: Inside – Directed by Bo Burnham

Some may say that I’m stretching a bit by including this as a film, to that I would say: I don’t care. I don’t see how you can watch this and not see it as cinematic. It baffles me that one person could be so talented, how dare he, quite frankly. I’m only saying this out of jealousy mainly, but how can you not be jealous of someone with the talents of Bo Burnham?

I’ve said it before, and I’ll say it again, Burnham is a once-in-a-generation artist, and this film just further proves my point. I’m not sure if this is a labour of love, or madness, or both. What I do know, however, is that it’s genius, and simply incredible given the circumstances, and how well crafted it is. We knew that Burnham had cinematic chops after watching Eighth Grade a few years ago (which also made my Top 10 for that year) but this shows the extent of his potential as a filmmaker, and his magnetism as a performer.

A running theme I have noticed amongst this top 5 is the weight of expectation. On one level or another, every film had a high bar to clear, and the same is true here. Burnham not only had to contend with the memory of Eighth Grade, but also his last foray into comedy Make Happy, which in my opinion is one of the greatest comedy specials of all time. Inside transcends its label as a comedy special with its visionary approach and cinematic flair. It is the highlight of the pandemic, and makes everything made during and about the pandemic seem insignificant in comparison. If this is the artistic peak of this dark period in history, then it is a peak of Everest proportions.

Awards:

Best Music – Lin-Manuel Miranda (In the Heights)

Best Director – Denis Villeneuve (Dune)

Best Cinematography – Greig Fraser (Dune)

Best Supporting Actress – Olga Merediz (In the Heights)

Best Supporting Actor – Willem Dafoe (Spider-Man: No Way Home)

Best Leading Actress – Carey Milligan (Promising Young Woman)

Best Leading Actor – Riz Ahmed (Sound of Metal)

Outstanding Achievement – Bo Burnham

Worst Films of 2021

Since I didn’t see as much, I’m clumping these in too. No big write-ups, just the title and one sentence describing my thoughts. I don’t want to linger on the negatives after these last few years.

The Prom – Directed by Ryan Murphy

Can’t remember if it was released this year, but I do remember that it was insultingly awful.

Space Jam: A New Legacy – Directed by Malcolm D. Lee

What if Ready Player One, but even worse?

Old – Directed by M. Night Shyamalan

After so much practice, you’d think Shyamalan would be better at coming up with plot twists.

Final Thoughts

Overall, this past year could have been better for us all, I’m sure you’ll agree, it feels like I’m having Déjà vu just saying that, but it’s true. For myself more than most, but I am grateful that I can still enjoy the cinema, as it’s one of life’s greatest releases. I can only hope 2022 brings us many greater big-screen experiences.

Merry Christmas and a Happy New Year to one and all, I hope it’s an enjoyable and peaceful one. Thanks for reading.