Film reviews are in their nature subjective and reviewers in turn opinionated and in some people’s minds arrogant, as if to assume their opinion about anything is valid or required reading. ‘Top five’ lists proudly continue this tradition and multiply it by ten. However, regardless of your personal taste in movies the following five films should be on everyone’s must see list for this year. Each is unique, compelling and most importantly highly enjoyable in their own ways and represent my personal favourite films of 2011.
Midnight In Paris, Super 8, Take Shelter, Project Nim
We Need to Talk About Kevin
Lynne Ramsay’s adaptation of Lionel Shriver’s best selling novel is a haunting look into parenting and motherhood. Particularly the emotions some parents feel that are not discussed openly or presented as apart of having a child. Resentment, disconnection, isolation and anxiety to name a few are all expressed by a gripping performance from Tilda Swintonwho seamlessly tows the line between cold and authoritarian, vulnerable and helpless and outright horror. Ramsay tackles the films unpleasant subject matter with a brutal and unsettling honesty that is both gripping and gut wrenching. The film openly questions nature versus nurture and what makes people bad and will make some question parenthood as the credits roll. Read our full review.
Tree of Life
It’s been an interesting year for Terrance Malick’s Tree of Life. One filled with both critical praise and condemnation of the film’s vision. A vision that as I described in my original review ‘almost dares its audience to leave the cinema. There is no conventional story and there are long stretches without any dialogue or any characters for that matter’. Not to mention Sean Penn, who is billed as the film’s second biggest star, is hardly in the movie. The ambitious film’s scope is extraordinary but at its heart is a story exploring how our families shape our lives, as children and as adults. To try to describe it further is an intimidating task but would not do the film justice. There is no doubt Tree of Life is challenging and asks a lot of modern audiences and their short attention spans. Some people may fall asleep while others will connect to this film in a profound way. I wasn’t as deeply affected as some but this film continues to haunt me in a way not unlike We Need to Talk About Kevin. Read our full review.
In a year that included the ambitious Tree of Life, Hanna remains the most refreshing and unique film of the year. With distinctly breathtaking and original direction from director Joe Wright, Hanna is a stylistic thrill ride we haven’t really seen before, at least not in the multiplexes. Set to a perfectly fitting Chemical Brothers soundtrack Wright’s film is an exhilarating and tense experience anchored by a mesmerising Saorise Ronan as the titular character. Ronan plays the perfect amount of innocence and menace which compliments Wright’s blend of breathtaking art-house with enough Bourne, Bond and Nikita to please the masses. Read our full review.
Richard Ayoade’s debut coming of age film has met its fair share of criticisms and comparisons to other well-known quirky coming of age movies of years gone by. However while similarities exist and a love for those film makers is evident throughout the film, Submarine is an intelligent, sweet and very funny introduction to Ayoade as an up and coming director, not to mention its two compelling and charismatic leads in Craig Roberts and Yasmin Paige. There is so much to like about Submarine and Robert’s character Oliver Tate, who like the film is a perfect mix of awkward and endearing. A lot of the laughs from the film come from its uncomfortable awkwardness but its enjoyment comes from its dark yet charming story and its great engaging cast.
Although one of the most over hyped and trendy films in recent memory, Drive is still my favourite movie of 2011 and it is also the coolest. Nicolas Winding Refn’s stylish neo noir fllm is certainly not the masterpiece of modern cinema Facebook and Twitter would have you believe, it includes a barely there and underdeveloped Carey Mulligan, an incredibly overhyped wooden performance by Ryan Gosling (pretty, though he is) and a plot that struggles to balance realism and outright fairytale. However, even with its noticeable flaws Drive remains a compelling, beautifully shot and well cast film. From its opening minutes, Gosling’s star making vehicle is a gripping and tense ride which threatens to burst at any moment. When the film hits its second act, Gosling’s no name hero and Winding Refn’s stylistic direction become an unstoppable force that captures the audience’s imagination and challenges even the most critical viewer to dislike it.
Drive may not deserve the amount of hype it has received but in a year of great movies this ultra stylised, 80’s saturated not so subtle mix of retro action and art-house visuals is for me the most enjoyable film of 2011. Read our full review.
Film Review: It Chapter Two
The sweet spot between Stephen King fans, horror fans and (believe it or not) comedy fans
The final installment in the It saga is a clever, scary, probably-too-long allegory about the power of friendship — complete with a 20-foot clown spider. Sure, it’s probably a half-hour longer than it really needs to be — but It Chapter Two is still a fantastic film that hits the sweet spot between Stephen King fans, horror fans and (believe it or not) comedy fans.
It’s a story about friendship, and just like the first film, it’s those relationships that make this story so compelling and keep it woven together in a way that you really care about what’s happening to all the folks Pennywise has been menacing across these two films. Sure, Bill Skarsgård’s absolutely terrifying performance as Pennywise is what puts butts in the seats, but at its heart, this is a story about the power of friendship to win out over pretty much anything. If we work together, we can overcome fear, loneliness, doubt, depression — and yeah — even a supernaturally godlike killer clown. Thankfully, all the blood keeps that message from getting too sappy along the way.
The first It in 2017 was a surprise, monster hit — but for good reason. The Stephen King adaptation by director Andy Muschietti is pretty much a horror masterpiece wrapped in a compelling coming of age story. Think Goonies meets a face-eating monster flick with jump scares galore to keep the blood pumping. But, despite a decently-closed ending to the first chapter, the story was always conceived as a two-part film run, which is pretty much the only way one could hope to possibly wrap up King’s massive tome (the studio actually briefly considered splitting Chapter Two into two films, because there’s just so much material).
It Chapter Two makes a wise decision to keep the stellar younger cast from the first film involved via ample flashbacks, while still providing space for the adult Losers to live and breathe (and, ahem, die) while bridging the gap between who they were and who they all grew up to be. It also embraces the inherent silliness and insanity of its premise to laugh, now seen through the lens of middle-aged adults as opposed to middle school minds. It’s a hard tone to hit, and it arguably might come off with more laughs than scares, but it’s true to the inherent madness of Pennywise.
The adult cast is also a home run by and large. James McAvoy makes for a capable adult Bill; Jessica Chastain is the embodiment of adult Bev; James Ransome nails grown-up Eddie; and Isaiah Mustafa does a capable job providing the necessary info-dumps as adult Mike. But the real breakout is Saturday Night Live alum Bill Hader as grown-up Richie. There’s scattered buzz that Hader could be worthy of an Oscar nomination for his performance, and he deserves every bit of it. We knew Hader had comedy chops, and he uses them plenty to keep this dark tale from getting too dark, but he really taps into the emotion of what it’d be like to go through something so traumatizing. And the moments that break Richie will almost certainly break you, too.
As for the changes to King’s original novel, sure, they’ll certainly be noticeable for fans. That said, the book itself — especially the ending — is absolutely wild and arguably impossible to adapt in a way that could work on the screen. The ending on-screen largely stays true to King’s themes built into the novel, and for the story that’s been told across these two films, it really does work. Hell, even King himself shows up in a cameo to make a joke about just how hard it can be to get an ending right.
Thankfully, despite a few bumps, It Chapter Two pretty much nails the landing. In a world filled more and more with King adaptations, this two-film run will stand as one of the best.
It Chapter Two is in cinemas now
IT CHAPTER TWO
Directed by: Andy Muschietti
Written by: Gary Dauberman
Cast: James McAvoy, Jessica Chastain, Bill Hader, Isaiah Mustafa, Bill Skarsgård
Distributed by: Warner Bros. Pictures
Run time: 169 minutes
Once Upon a Time in Hollywood, Fight Club, and the Quest For Authenticity
An exploration of the struggles in constructing an authentic self
As with any of Quentin Tarantino’s films, his ninth is a fountain of hot-takes. Once Upon a Time in Hollywood has something for everybody with an opinion about just about anything. The film has touched off conversations about #MeToo, nostalgia, Christianity, and foot fetishism. In short, I fully understand that the last thing anybody needs is yet another angle on this movie.
Nonetheless, I would like to propose that Tarantino’s latest is not only the sweetest, most optimistic film of his career, it’s also a rather profound exploration of the struggles in constructing an authentic self. By looking at this film’s use of doubling, and by contrasting it with how doubling functions in David Fincher’s Fight Club, I want to argue that Once Upon a Time in Hollywood offers unexpected wisdom about the possibility of finding authenticity in a world of artifice, even as it creates an artificial past.
The film is utterly unique in Tarantino’s catalog, lacking (until the ending) the gruesome violence that characterizes so many of his films. The specter of that violence still hangs over this film and adds a lot of juicy tension to scenes like Cliff’s visit to Spahn Ranch. One has come to expect carnage in scenes like this in the past, and Tarantino masterfully uses that expectation to create a scene that is a masterclass in suspense.
Once Upon a Time‘s directorial craftsmanship is joined by absolutely stellar performances across the board. Leonardo DiCaprio’s lead performance as Rick Dalton is a complex web of rage, vulnerability, and desperation and should earn the actor an Oscar nomination if there is any justice. Likewise, Margot Robbie is simply dazzling as Sharon Tate and, like the film itself, she makes the viewer long for a world in which Tate survived Charles Manson’s impotent rage.
It is Brad Pitt as Rick’s stunt-double, Cliff Booth, that I want to focus this analysis on, however. Pitt’s performance pairs nicely with DiCaprio’s and his characterization of Cliff is a kind of negative to DiCaprio’s Rick Dalton. For all Dalton’s frantic, nervous desperation, Pitt’s Cliff is a rock of bemused stoicism, and the two performances feed seamlessly off one another. So seamlessly that they function as two parts of a single whole, which is of primary concern to the film, I argue.
The doubling of Cliff and Rick offers substantial food for thought about the nature of identity in this film, and I want to suggest that Once Upon a Time says something important about personal redemption. Some viewers have dismissed Tarantino’s latest as mere wish-fulfillment, but others, such as David Bentley Hart, see a sincere moral imagination in the film’s re-imagination of the Manson tragedy, and its attempt at crafting an alternative narrative that redeems the broken past through art. Hart’s reading of the film seems right to me and I think that central to the film’s power is Rick Dalton’s process of reconciliation with himself. He struggles with being two people at once, the biological Rick Dalton, and the Hollywood creation “Rick Dalton.”
DiCaprio’s Dalton is an amalgam of an old-Hollywood system actor. He is part Clint Eastwood, part James Arness, and part John Wayne. He is meant to be taken as an archetype of an actor who is a product of a star-driven system. Whatever role Dalton was playing, he was, for his audience, “Rick Dalton,” and his strength was in delivering on the expectations that system created. The problem with that for Dalton is that he became a fictional version of himself in the process. His individual identity, as an artist and as a man, was lost, replaced with the product “Rick Dalton” that was crafted and sold by the entertainment industry. And as Hollywood began transitioning away from the system in which this was successful, Dalton experienced a profound identity crisis.
The forging of that artificial identity required the pairing of Rick with Cliff, his confidant, and stunt double. “Rick Dalton” could not very well be an action hero if he could not fall off a horse. However, to do so would eventually bear a heavy toll upon Rick Dalton. Cliff, the rugged stunt man, could bear the physical burdens that made the on-screen persona possible.
The resulting partnership was a two-sided coin for Dalton. Sure it made the creation of “Rick Dalton” possible, but it stunted the human development of Rick Dalton, and in the midst of epochal changes in the industry threatened his very existence. Cliff made Rick look powerful on-screen, but off-screen, Dalton’s life became similarly dependent upon Cliff, who could not fix his own TV antenna or even drive his own car. To create the heroic, powerful “Rick Dalton,” Rick Dalton became nothing but a spider-web of powerlessness and anxiety.
“Rick Dalton’s” power resided fully in Cliff’s preternaturally capable hands. He may or may not have killed his wife, but he is a master stuntman nonetheless, an expert driver, a skilled handyman, and he even beat Bruce Lee in a fight. This is all before his near single-handed massacre of the Manson family at the film’s climax. In short, the power he brings to the creation of “Rick Dalton” is dangerous, with a mystical violence lying just below the grinning, calm surface he presents. He is the id to Dalton’s superego and together, they form a precarious ego.
Here a comparison to Fight Club is in order.
David Fincher’s 1999 adaptation of Chuck Palahniuk’s novel also dealt with a character split into two halves. The crafted persona of “The Narrator” (Edward Norton) comes to depend on the unbridled violence of his other half, Tyler Durden (performed by, coincidently or not, our own Brad Pitt). Durden is the id to The Narrator’s out-of-control superego, and he frees the depressed white-collar worker from the constraints put on him by consumer society, supposedly connecting him back to his state as a “natural man.”
Like Rick Dalton, The Narrator lives a life curated for success in the machinery of his industry. The demands of this effort eventually replaces any authenticity his life might contain with a manicured performance. His is a kind of simulacrum rather than a man.
Here is precisely where Once Upon a Time in Hollywood diverges from Fight Club, however, and the change helps make Tarantino’s film far more optimistic than Fincher’s.
For Fight Club’s Narrator, Pitt’s Tyler Durden is a hammer used to destroy the carefully curated image. Trapped in a consumer nightmare existence, Norton’s character invents a psychic projection of himself that frees him from the shackles of his inauthentic lifestyle. What many viewers of the film miss, however, is that, despite the apparent ethical move toward authenticity, what this actually results in is a kind of fascist movement (today we might call the Fight Club an Alt-Right group) based on a mythology of the past. In short, The Narrator and Durden replace one form of inauthenticity with another.
Once Upon a Time inverts the relationship between Pitt and his double. Here, the free and violent Cliff is not the solution to Rick’s problem of inauthenticity, he helps facilitate it in the first place. (One other major difference is, of course, that here Pitt’s character literally exists and is not a psychic manifestation of The Narrator’s subconscious). When, at the film’s end, Rick and Cliff amicably part, both are given the new opportunity to exist without dependency upon the other in this optimistic fantasy world in which Old Hollywood and New Hollywood come together without the violent fracture of the Manson murders.
The difference is significant. Because Cliff is not leading Rick from one artificial life to another, Rick is free from his codependency upon his stunt man and free to create a whole version of himself.
And as it turns out, Rick is a good actor. In the film’s third act, while separated from Cliff, he blossoms in his craft. Hired by a director who breaks with practices of the system that created “Rick Dalton,” Rick is forced to act, not merely perform “Rick Dalton.” DiCaprio’s performance in these scenes are the moral centerpiece of the film and we see a transformation in Dalton. Freed of the constructed identity that created “Rick Dalton,” including his id, Cliff, he sheds the confines of the old system and metamorphoses into an actor that may one day star in Roman Polanski films of an imagined New Hollywood.