Mitchell King

Movie Lover

I go to a ton of movies. I like rating them, or critiquing them, or even comparing them. My family and friends told me to share these thoughts. I figured that I would listen.

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Special thanks to Mom, Jacob and Drew who watch most of these things with me, let me bounce ideas off of them and edit for me.

Top 10 Actresses

Much the same as my previous actor list, this one outlines my top 10 actresses. To avoid further confusion, the list is based off of my preference. Criteria range from role choice to frequency, to simply who I would rather watch onscreen. This is not a list of the 10 best actresses in the world, but one of my 10 favourite - though merit does play a substantial part. Again, any and all comments or critiques are welcome. Enjoy.

10. Saoirse Ronan

Best Film: Ladybird

Best Film: LadyBird

A great, young actress, Ronan has amassed a resume at 25 that most actresses would be ecstatic to have at the end of their careers. She spent most of her life raised in Ireland, but puts on an American accent like nothing else. This was on full display in her best performance, a riveting portrayal of a bratty teenager navigating her senior year of high school in Greta Gerwig's Ladybird. One of the most sought after actresses working, Ronan has a lengthy career ahead of her.

9. Jennifer Lawrence

Best Film: Silver Linings Playbook

Best Performance: Silver Linings Playbook

Another young actress, Lawrence has made a career already from playing the no-bull-strong-willed-female presence that have the ability to steal movies. This is clear from Winter's Bone, her first Oscar nomination that put her firmly on the scene, and as the heroic Katniss Everdeen in the Hunger Games films - the series that shot her to superstardom. Even in the films she misses, Lawrence has a quality about her that captivates (Serena, Passengers). But her masterful work in Silver Linings, alongside the great Bradley Cooper is really what holds Lawrence a cut above the rest. She's great.

8. Maggie Gyllenhaal

Best Film: The Dark Knight

Best Performance: Kindergarten Teacher

Gyllenhaal, sister to the wondrous Jake, is on here primarily for her role choices. Looking through her filmography, she does not have many misses. On the contrary, she appears in a number of fantastic films, be it bigger or smaller parts. Recognized by Oscar for her work in Crazy Heart, she was shamefully passed on this year for her mesmerizing work as teacher Lisa Spinelli, a wannabe poet so hell-bent on making it that her behaviour delves into a moral grey area. Gyllenhaal also has an impressive television resume, having won a Golden Globe for The Honourable Woman, and receiving a nomination for HBO's The Deuce. She does not disappoint.

7. Nicole Kidman

Best Film: The Killing of a Sacred Deer

Best Performance: Rabbit Hole

One of the vets on this list, Kidman has a resume longer than most ever will. Nominated by the Academy on 4 occasions, Kidman captured her Oscar for her portrayal of author Virginia Woolf in The Hours. But her work in Rabbit Hole as a depressed mother trying to grapple with the death of her son is jaw dropping. Kidman does more with a sultry glance and a whimper than most can do with monologues.

6. Kate Winslet

Best Film: Steve Jobs

Best Performance: Eternal Sunshine of the Spotless Mind

Another one of the veterans to make the list, Winslet is the type of actress that carries a certain gravitas with her. She radiates emotion whenever she acts. Whether it is the irrational housewife (Revolutionary Road), or the eccentric Clementine (Eternal Sunshine), Winslet lights the screen on fire. She captured her Academy for a war criminal in The Reader, and honestly should probably have more in her trophy case.

5. Margot Robbie

Best Film: The Wolf of Wall Street

Best Performance: I, Tonya

She burst on the scene with a smashing performance in Wolf of Wall Street, alongside the best in the game (DiCaprio), and her career skyrocketed from there. Only recently did she get her rightful Oscar attention for portraying figure skater Tonya Harding, the woman famously accused of putting a hit on the kneecaps of Nancy Kerrigan. She's got an uncanny scene stealing capability that makes her one of the most sought after today, and you'll catch her in another feature alongside Leonardo DiCaprio later this summer.

4. Natalie Portman

Best Film: I'm Still Here

Best Performance: Black Swan

Portman has an odd resume. An eclectic mix of a number of different genres - yet, she has an appeal that is unforgiving. Granted, she is on this list for a number of different reasons, but her performance that won her an Academy in Black Swan is staggering. She reaches psychological depths that are unnerving (see also Annihilation), but her character work is also very nuanced (Jackie, Vox Lux).

3. Rachel McAdams

Best Film: Spotlight

Best Performance: Spotlight

Another strong willed heroine type, McAdams often flies under the radar of many. Her filmography is flattering, really. Since she broke onto the scene in with a infamous, cult-favourite turn as Regina George in Mean Girls, McAdams has made a career off of solid role choices. Though her early on career was watered down a little in fluff romance pictures (Notebood, About Time, The Vow), McAdams has sprinkled in some impressive character work (Red Eye, Disobedience). She's an actress that demands your attention when onscreen.

2. Anne Hathaway

Best Film: Interstellar

Best Performance: Rachel Getting Married

Although she captured her Oscar for her work in Les Mis, Hathaway shone as an addict recently out of rehab who returns home for her sister's wedding in Rachel Getting Married. Hathaway does all types of emotion onscreen to perfection - see her scene stealing work in Dark Knight Rises, but also possesses the nuance to weave in and out witty interactions with counterparts onscreen. She's an actress that I could watch forever. She's done extremes (her take on celebrity in Oceans Eight is priceless), but also does the understated sublimely (watch her silently persuasive work in The Intern in awe). There is no doubt in my mind that she has established herself as one of the best actresses working today.

1. Emily Blunt

Best Film: A Quiet Place

Best Performance: A Quiet Place

Oddly enough, Blunt has never been recognized by the Academy, not even a nomination. Shame - she is in a league of her own, far often more than not. Dubbed a sociopath by her husband John Krasinski, who directed her to a revolutionarily performance in Quiet Place (for anyone else at least. She takes a near silent role and delivers a tour de force), Blunt is the best actress working in Hollywood today. Let alone her role choices, Blunt is not afraid to delve into unconventional movies and make hits of them (see The Adjustment Bureau, Looper, Edge of Tomorrow). She also has her fair share of strong willed performances in which the entire film works from her beautifully nuanced work (Sicario, Girl on the Train). And as I mentioned earlier, A Quiet Place catapulted her into a league of her own. She's a wonderfully talented actress that beats the rest for me.

Honourable Mentions: Emma Stone, Charlize Theron, Amy Adams, Brie Larson, Reese Witherspoon

Booksmart

Kaitlyn Dever, Beanie Feldstein, Jason Sudeikis

Directed by: Olivia Wilde

Booksmart

Director Olivia Wilde's stingingly smart and comic debut is one for the ages. Wilde recently tweeted: "Anyone out there saving @booksmart for another day, consider making that day TODAY. We are getting creamed by the big dogs out there and need your support. Don't give studios an excuse not to green-light movies made by and about women." Dubbed by many as the female version of Superbad, this soulful and fun ride hits true for many portions of the film.

Beanie Feldstein is Molly, the student council President who's been accepted to Yale, and Kaitlyn Dever is Amy, a lesbian whose parents (Will Forte and Lisa Kudrow) think she's been sleeping with Molly. She plans on travelling to Botswana, Africa, to help young women make tampons - but Molly doesn't know yet. The two girls willingly gave up partying for four years in order to ensure their post-secondaries were guaranteed. When they realize that their counterparts, who partied the entire time, are also accepted to such institutions, and have such ambitions as themselves, they make it their pledge to cram four years of fun into the night before their graduation. Game on.

Feldstein and Dever are absolute dynamos of actresses. Both young up-and-comers, they show incredible comic chemistry that does not fade into the final third of the film. They also have dramatic gravitas in their locker, navigating the final night like a landmine, ready to blow at any time.

And the rest of the supporting cast are aces. Jason Sudeikis is Principal Brown, who doubles as Jordan, the dude driving the Lyft, and Mason Gooding is sublime at portraying the popular Vice President of the Student Council who Molly has her eye on. But especially keep an eye out for Skyler Gisondo as Jared, the guy trying to buy his peers affection, and Billie Lourd as Gigi, the girl who seems to pop up everywhere, and also Noah Galvin as George, the leader of the drama club who throws a murder mystery party on the same night as the big bash.

Cheers as well to screenwriters Susanna Fogel, Emily Halpern, Sarah Haskins and Katie Silberman who keep the jokes coming and relate to high school kids with a bruising reality. And to Dan the Automator for a soundtrack that is hilariously appropriate for all of the crude moments in the film.

But this is Dever and Feldstein's show. They move from scene to scene, interacting about sex, drugs and their futures with an irresistible chemistry that is undeniable. And at Nick's Aunt's house later that night, they get into a fight that culminates in the dramatic peak of the film. It's a shattering scene that allows both young actresses to excel and flex their chops. Wilde, who has always had an enviable edge to her, knocks it out of the park in her feature debut. To reiterate what Wilde tweeted above, anybody thinking about leaving the wildly funny and accurate Booksmart to another day - don't.

Rating: 4.25/5

Top 10 Sports Movies

At the request of a loyal reader, I have compiled what I believe to be the best 10 sports movies, or my favourites at least. The criteria range from great acting, to the type of sport, to my emotional reaction to the events onscreen. I tried not to lump a lot of the same sports in the list, but it's hard to avoid some of them. You'll notice that not many comedic-sports movies made the list/honourable mentions. I simply don't enjoy watching them as much as I would the more serious takes on sporting films that keep me more emotionally invested. I was chewed out before - so to clarify, this list is purely subjective. Any and all feedback is welcome. Enjoy.

10. D2: The Mighty Ducks (1994)

Emilio Estevez, Joshua Jackson, Kathryn Erbe

Directed by: Sam Weisman

The amazingly fun premise established in 1992's original goes international this time around as the Mighty Ducks participate in the Junior Goodwill Games in California. It's a kick to see the fresh faces reprise their roles in the superior sequel. To this day, Emilio Estevez and Joshua Jackson have never been better. This one takes me back to the childhood days of sports movie watching.

9. Rush (2013)

Chris Hemsworth, Daniel Bruhl, Olivia Wilde

Directed by: Ron Howard

The only racing movie to make the cut, this low-budget gem was a surprise hit back in 2013. Perhaps the biggest rivalry to emanate from Formula One, the film chronicles the fierce campaign of racers Niki Lauda (Daniel Bruhl) and James Hunt (Chris Hemsworth). Bruhl hit a career peak with the snarling, intense growl of his performance that rightly earned him a Golden Globe nomination, and wrongly snubbed him from the Oscar ballot. Chris Hemsworth also displayed considerable dramatic gravitas that pushed him past simple heartthrob status. Working with what he had at his disposal, Howard kept the tension at an all-time high.

8. Friday Night Lights (2004)

Billy Bob Thornton, Lucas Black, Garrett Hedlund

Directed by: Peter Berg

What may be a career peak for director Peter Berg (Lone Survivor, Patriots Day), Friday Night Lights re-vamped the great television series that won audiences the world over. Billy Bob Thornton is tremendous as Coach Gary Gaines, the helm of the Permian High Panthers in the town of Odessa, Texas. Players face mounting pressure from the town, their parents and families to win a State Championship that means so much to Odessa. It's got significant dramatic heft and terrific supporting turns from the majority of the cast including Lucas Black as quarterback Mike Winchell, Garrett Hedlund as Don Billingsley and especially Derek Luke as star running back Boobie Miles.

7. Southpaw (2015)

Jake Gyllenhaal, Forest Whitaker, Rachel McAdams

Directed by: Antoine Fuqua

Perhaps the best performance he has ever put onscreen, Gyllenhaal is a fireball of emotion and ferocity as defamed boxer Billy Hope navigating the ups and downs of his career. Critically, not as well received as other boxing hits, this one got me good. The way that Gyllenhaal interacts with his wife (McAdams) and young daughter (a feisty Oona Laurence) is heartbreaking. Perhaps too cookie cutter of a plotline and ending for most, it's a tremendous ride from start to finish.

6. Jerry Maguire (1996)

Tom Cruise, Renee Zellwegger, Cuba Gooding Jr.

Directed by: Cameron Crowe

One of the more unconventional sport films, this one focuses on a sporting agent who decides to voice a moral epiphany he has, only to be fired for it. Once fired, he tries to make it as an independent agent with the only athlete that sticks with him, and the one employee from his former company that chooses to support him. It's a wonderfully acted film, with career peaks for Cruise and an especially zany performance from Gooding Jr. It depicts an interesting side of the sporting world not often accounted for in these types of films.

5. Foxcatcher (2014)

Steve Carrell, Channing Tatum, Mark Ruffalo

Directed by: Bennett Miller

Although the wrestling is on the forefront of this one, it's the psychologically demented elements exploited by director Bennett Miller that puts this one on the list. Brothers Mark and Dave Schultz are brought to the famous Du Pont farm to train for the upcoming Olympics, while relationships between the three take on weirdly eccentric dimensions. Carrell earned his Oscar nod in this one and it proved that Tatum was much more than a teenage heartthrob.

4. The Fighter (2010)

Mark Wahlberg, Christian Bale, Melissa Leo

Directed by: David O. Russell

The script for The Fighter was originally brought to Mark Wahlberg by his mother, who was handed it in their restaurant Wahlburgers. The pace and acidic wit that the film carries, thanks to unorthodox director Russell, makes this one special. Propelled by an all-in, do whatever it takes performance from Bale that earned him an Oscar, this one takes us through the trials and tribulations of Micky Ward as he tries to make his way up the boxing ranks and escape the shadow of his older brother Dicky, and the constraints that his family has on him. Deeply comical and equal parts heartbreaking, it is impossible to not appreciate this one.

3. Moneyball (2011)

Brad Pitt, Jonah Hill, Phillip Seymour Hoffman

Directed by: Bennett Miller

Director Bennett Miller manages to get his name on the list twice despite having only three films to his filmography. This one, much like #6 on this list, is here because of the depiction of the behind the scenes portrait of the sporting world. General Manager of the Oakland Athletics, Billy Beane, tries to navigate his way through the year following the loss of his three best players despite being tied to a shoestring budget from management. Once again, a career peak for Pitt and this one put Hill on the map as a dramatic actor.

2. Warrior (2011)

Tom Hardy, Joel Edgerton, Nick Nolte

Directed by: Gavin O'Connor

The last 2 films on this list are directed by Mr. O'Connor. The excitement in this film comes from the raw animal nature that Tom Hardy unleashes in this film. He plays Tommy Conlon, ex-Marine who enters a mixed martial arts tournament, trained by his ex-alcoholic father (earning Nick Nolte an Oscar nomination), where he is on a crash course to collide with his estranged brother Brendan (Joel Edgerton). It's a hype-fest more than anything, and literally got me out of my seat watching it.

1. Miracle (2004)

Kurt Russell, Patricia Clarkson, Noah Emmerich

Directed by: Gavin O'Connor

The true story of Coach Herb Brooks, the man who famously refused to take the best players in exchange for the right players, and coached Team USA to an Olympic hockey gold medal in 1980 over the seemingly invincible Soviet Squad. This was the Olympics prior to allowing professional NHL players play for their home countries. Anchored by a stellar performance from Kurt Russell, who nails every single thing possible about the frustratingly brilliant Brooks, O'Connor boldly chose to cast real athletes and hockey players for the USA team instead of real actors. The decision pays off in a major way - the intensity is palpable. And O'Connor stays true to the action of the games, practically recreating the exact goals that were scored. It'll make you jump up and scream. And don't get me started on Brooks' famous pre-game speech.

Honourable Mentions: Coach Carter, Glory Road, Caddyshack, Raging Bull, Rocky, Mighty Ducks, I, Tonya, Any Given Sunday , The Longest Yard

Extremely Wicked, Shockingly Evil and Vile

Zac Efron, Lily Collins, John Malkovich

Directed by: Joe Berlinger

Extremely Wicked, Shockingly Evil, and Vile

Joe Berlinger, the man who brought Netflix The Ted Bundy Tapes, is back with a dramatized take on the deranged serial killer, now confirmed to have murdered over 30 women, with many suspecting more. Luckily, Berlinger brings in the charismatic Zac Efron to be the vehicle driving this film. And he knocks it out of the park.

The film opens with a beautifully paced scene in which Liz Kendall (Lily Collins), Bundy's wife who eventually got suspicious of her husband and called the cops on him, and Bundy meet in jail after Bundy's conviction. It operates in flashbacks to the night in which they first met. Berlinger amps the scene up by holding Bundy's charisma on full display - one of the primary reasons as to why he was able to gain the trust of so many victims. He then proceeds to roll through the narrative of Bundy's life as his first charges are brought against him, and his early days as a law student, all through the perspective of Kendall.

Berlinger fails to depict any of the real killings onscreen. Rather, we are treated to a series of newspaper clippings and news telecasts to convey the horrors of Bundy. Hints of Bundy's sinister nature are dropped, but frustratingly left alone. There are so many psychological narratives to have been exploited - but Berlinger fails to do so. One thing that is focused on is the hysteria that Bundy caused women. In a series of recreated interviews, the women that obsessively craved over him are depicted. In one interview, a young woman comments that there is no way Bundy could have committed the heinous things that he is accused of, because "he's just so dreamy."

And Efron is sensational. He nails every nuance demanded of him, especially the flashing smiles that Bundy wore like a second skin. The grin he gives the camera (his trial was the first nationally televised trial in history at the time) will give you chills. His filmography is primarily comprised of comedic roles, but lately Efron has seriously proven that his dramatic chops are not to be overlooked. Collins, a good, newish actress, is a little out of her league, though. She is not quite as believable as Efron is - even when she is at home pounding booze, being cared for by her co-worker Jerry (hello again, Haley Joel Osment). One scene in which she does pull her weight is the final showdown between her and Bundy in jail, picking up the opening scene of the film. Her reaction when pressing Bundy about the murders is bone chilling.

Kudos as well to John Malkovich who portrays judge Edward D. Cowart with the snide lackadaisical aura that he is meant to have. He even refers to Bundy as "pardner" during the trial.

But Berlinger, who has amassed an impressive filmography of true crime documentaries doesn't totally strike out in his debut. There are avenues left frustratingly unexplored and the film gets uneven and choppy in parts. But Berlinger wisely lets Efron do a lot of the heavy lifting this time out, and rides his star like he should. There are many critiques that dictate the film glorifies Bundy through Efron and the emphasis on his beauty. It's all part of what made Bundy so successful at what he did - so watch with glee and suspicion. I'm excited to see what comes next.

Rating: 3/5

Us

Lupita Nyong'o, Winston Duke, Elizabeth Moss

Directed by: Jordan Peele

Writer-director-producer Jordan Peele shocked the world with his refreshingly brazen first feature, Get Out, a witty, satirical take on horror in which a black man is lured to the residence of his white girlfriend's parents where all of his worst nightmares come true. The debut earned Peele an Oscar for Best Original Screenplay and cemented him as a mammoth filmmaker. And Peele experiences no sophomore slump in this intriguing tale of a family being terrorized by their dopplegangers. But he's missing the surprise element that Get Out had in its' pocket.

Opening with a tense sequence in which a young girl wanders from her parents at an amusement park and ends up stumbling through a mirrored trap, Peele only ramps up the action from there. The first third is somewhat awkward as a build-up - some comedy doesn't land and there are parts that are uneven, but when Peele puts his foot on the gas pedal, it. Does. Not. Stop. Lupita Nyong'o is bloody brilliant as both Adelaide Wilson/Red, the wife-heroine and the accompanying doppleganger. All actors have been on record saying that trying to portray their doppleganger has been extremely taxing. Peele made Nyong'o watch 10 famous horror films to prepare for her role. It shows. If the race for Best Actress started tomorrow, she'd be the frontrunner.

The rest of the family is rounded out by Gabe Wilson/Abraham (Winston Duke, great), Zora Wilson/ Umbrae (Shahadi Wright Wilson, warrior) and Jason Wilson/Pluto (Evan Alex, more perceptive than the rest). The scene, featured in the trailer, in which the doppleganger family intrudes the Wilson's cabin, is phenomenal. Shout out to cinematographer Mike Gioulakis, who films it in one continuous shot as the intruders wreak havoc - it is terrifying. And the score, conducted by Michael Abels, is all sorts of wacky and creepy, building suspense like a magician. As soon as they're in, the entire sequence fries your nerves.

The tension is amplified when they depart to the neighbouring house of their white-uppity-snobbish-hilariously-hateable friends. Led by a devilishly delicious Elizabeth Moss and a humorous Tim Heidecker, the Wilson's realize the problem is bigger than just them. To say any more about the plot would be to delve into spoiler territory. But those who appreciated the simplicity of the narrative in Get Out are not going to find comfort in the mind-bending trajectory of Us. Subsequent viewings are likely to unpack some of the mysteries and symbols of the action. This won't be the last time I take it in.

Peele insists this is purely a fright-fest and that the humour that contributed to him winning a Best Original Screenplay Oscar is ditched. Not the case. It's impossible for him to get away from. But I wouldn't want it any other way. The screenplay is amazing - the same goes for Peele as it did for Nyong'o. If the Oscars were next month, he'd be the frontrunner once again. If you're looking for scares, this is the place. If you want to turn your brain off, look to some other box-office grabs in the dimness of March. But you won't enjoy it as much. Peele is on the up and up and has emerged as one of the best filmmakers working today.

Rating: 4.25/5

Triple Frontier

Ben Affleck, Oscar Isaac, Garrett Hedlund

Directed by: JC Chandor

Triple Frontier

J.C. Chandor, who is selective in his projects, has a potent filmography (Margin Call, A Most Violent Year, All is Lost). His new heist movie, a Netflix original, has assembled an all-star cast for his 4th feature. The film centers on 5 former Special Operations soldiers assembling for a heist on a Colombian drug lord named Lorea at his home in the Brazilian jungle, with over $250 million at the estate. The intel is gathered by Santiago "Pope" Garcia (Oscar Isaac) while working as a private military advisor in Colombia, through his informant Yovanna (a tender Adria Arjona).

The rest of the crew is made up of Captain Tom "Redfly" Davis (Ben Affleck), a now realtor, William "Ironhead" Miller ( a vulnerable Charlie Hunnam), a motivational speaker, his brother Ben Miller (Garrett Hedlund, wiry and hotheaded), a mixed martial arts fighter, and Francisco "Catfish" Morales (Pedro Pascal), a former pilot whose licence has been suspended pending an investigation for drug charges. Santiago bargains and charms his way into getting his former Delta Force to help him with the job in Colombia - game on.

The film starts with Santiago flying high over the Colombian jungle to a Metallica soundtrack, on his way to a mission. All the credit in the world to cinematographer Roman Vasyanov, who composes the film of beautiful and overarching shots of the Colombia landscape. He paints a gorgeous picture of Colombia and its' jungle in the middle of a film interested in the dirtier parts.

There is something missing, however, in the script, penned by Mark Boal, based on his own story. Boal, a frequent collaborator with Kathryn Bigelow, was left on his own, after Bigelow dropped out of directing the project. The film went through production hell further to the directing scrambles as well. Tom Hanks, Will Smith, Johnny Depp, Channing Tatum and Tom Hardy were all actors that had signed on to the project at one point in time. Finally, we were left with Isaac, Affleck, Hunnam, Hedlund and Pascal.

Isaac is tremendous, as usual. He has a vibrant energy that lifts the rest of the cast and the film itself. And Affleck, looking more weathered than usual (unsure if this was specific to the role or not), is the most hesitant member of the gang to agree to the job early on in the film. But he plays his character with a gravity that the rest of the cast do not have. His portrayal of a man on the brink of a breakdown and willing to do whatever it takes to get the job done is superb.

There are also a number of fantastic sequences in the film. The heist and the quarry shootout are all shot with precision. And the best of all is the helicopter scene, in which the men need to try and navigate tricky terrain with a weight problem. But some of them are burdened with an awkward score that is both ill-timed and misplaced. In tremendous camera work, the score undercuts scenes that could otherwise be considered all-timers.

Even though there is spectacular cinematography, some tense sequences and solid acting, the payoff is underwhelming. The foundation of the film sets up something extremely promising. But you can't help but feel unsatisfied at the end. No mater - it's worth the watch.

Rating: 3.75/5

Beach Bum

Matthew McConaughey, Isla Fisher, Zac Efron

Directed by: Harmony Korine

Beach Bum

Writer-director Harmony Korine's follow up to his 2012 surprise hit Spring Breakers is absolutely bonkers. If you know anything about that hit, you'll laugh at the fact that it contained more of a plot than Korine's new wacky and wild showcase for his actors to do whatever they want. Moondog (Matthew McConaughey) is a poet, living his best life on the Florida Keys, interrupting concerts, going wild and basically being a drunk for 23 hours of the day. He is summoned back to his estate in Miami by his rich wife (Isla Fisher, her juiciest role in a while) for the wedding of his daughter Heather (Stefania LaVie Owen). What follows is a series of strange interactions with even stranger characters

First up is Moondog's agent Lewis (Jonah Hill) and their times on the golf course and in strip clubs. Hill is sporting some kind of weird panhandle accent, doing his best to not care. Next is Lingerie (Snoop Dogg) at Moondog's Miami residence. Snoop Dogg is Snoop Dogg, the lovable stoner we've come to adore in his numerous cameo's over the years. When a tragic event befalls Moondog's family, he is forced to try and publish the book of poetry that he has neglected to finish all of these years.

Moondog is united with addict Flicker (Zac Efron). Efron is great to watch, playing Flicker as the addict who has discovered all of the world's secrets. His divine inspiration convinces Moondog to radical action in order to capture what the world has to offer. Finally, Moondog becomes a partner to Captain Wack (Martin Lawrence) and his seal tours. Easily the best sequence of the entire film, the two actors are absolutely hilarious together. Lawrence, with that snarling lip that has become so familiar to us over the years, is fantastic. When Moondog comments on how much he enjoys his strut, Captain Wack responds, "I got nicked in 'Nam, now I walk like a fuckin' pimp." And the scene in which the two give their first tour to an unsuspecting family is so slapstick and comical you'll be crying laughing. Expect the unexpected.

Then there's the star. This is the most McConaughey we've seen him since he trademarked the "Alright, Alright, Alright." Think that character X1000. Allegedly having improvised a number of his scenes, McConaughey does literally whatever he wants on screen. From entering his daughter's funeral late with a woman in a wheelchair, to walking into his pool fully clothed to fornicating with random women mere feet away from where a cook fries burgers, McConaughey never appears onscreen without a can of PBR or a joint. And his laugh will have you rolling. He is an absolute marvel, and reason enough to see the film.

Korine has clearly carved out a niche for himself in these stoner-free-for-all-do-whatever-he-wants films. And landing a cast like he has certainly aids this one. Never mind that the plot is essentially non-existent, or that it's extraordinarily crude. Turn your brain off for a while and bask in the nothingness of Beach Bum.

Rating: 3.5/5

Top 10 Actors

Another list. This time, I outline my top 10 actors. The criteria for these selections are a combination of those who have made good role choices, some role diversity, filmography and more than all else - those I find the most watchable.

Once again, I would love to hear from people on my choices.

10. Bradley Cooper

I could watch Cooper in anything right now. He's come out with some real projects and made a name for himself as one of the best in the business at the moment. Cooper has also made the seamless transition from comedy throw-away to a real dramatic force. He can also put on his 'Murica when he wants. With this year's A Star is Born, he's also proven that he can direct. He's far from finished - and not hard on the eyes either.

Best Film: American Hustle

Best Performance: Silver Linings Playbook

9. Robin Williams

Best known for his comedic expressions and range of impressions, Williams has a hell of an (underappreciated) dramatic pedigree. He's got a face that represents a sea of emotion and knows how to navigate the depths of roles that call for big talent. His filmography is interesting to comb through - he would routinely switch from comedies (lots of misses in there) to dramas, sometimes in the same year. It's a shame we didn't get to see him more often. RIP.

Best Film: Insomnia

Best Performance: Good Will Hunting

8. Benicio Del Toro

Del Toro is the kind of actor that commands a scene and the camera as soon as he's on it. He has such gravitas and on-screen presence, it often strikes me that he does as much on camera with his glances and movements as he does when he has dialogue. Admittedly, I am not familiar with his foreign filmography. But the ones I have seen make it no trouble for me to have him on my list.

Best Film: Sicario

Best Performance: Sicario

7. Shia Labeouf

This one is probably off of everyone's radar. Labeouf has been an actor that I have always kept my eyes on. He has this certain charisma and energy that makes him so likeable and such a powerful figure while on camera. He got his big break with the Transformers films - and looked as if he could pick and choose his roles from that break. For a while he did. Too bad he got in his own way with his behaviour and the media. Oh well - I will wait by him.

Best Film: Lawless

Best Performance: Fury

6. Michael Fassbender

Another one whose filmography is fascinating. Fassbender is one of the rare actors who has indulged himself in horror, drama and everything in between. And he's excelled in it as well. Arguably made a star by the genius Steve McQueen, it helps that he has gotten the privilege of taking such juicy roles and being able to show off his dramatic chops straight from the get go. Fassbender is one that often falls between the cracks - don't let him.

Best Film: 12 Years a Slave

Best Performance: Shame

5. Ryan Gosling

Perhaps best known for being a sex symbol for the generation, Gosling has had a fascinating career. He goes out of his way to take odd and provocative roles that don't get recognized nearly enough as they should. More of an introspective actor, Gosling does more with his expression and body language than anyone. Gosling quit acting back in 2011 to figure out, "what he was doing it for." Since then, he's made some memorable films and got an Academy nomination. Thank God he figured it out.

Best Film: Drive

Best Performance: Lars and the Real Girl

4. Joaquin Phoenix

Phoenix is a guy who keeps to himself. He rarely ever interviews and is a hell of an actor. You'd believe him as a mobster, as a devoted husband, as a mama's boy and as Johnny Cash. He has an explosive quality about him and commands your attention. Something else that I like about Joaquin - he doesn't buy into the game. He does not care about awards, or publicity, or any of that.

Best Film: Walk the Line

Best Performance: The Master

3. Tom Hardy

There are about 4-5 actors packed into this number. Grunting Tom (Lawless, Mad Max), British Tom (Legend), Silent Tom (Dunkirk), etc. Hardy is fantastic. He does the passive aggressive better than anybody. But careful, do not cross him - he gives the meanest "you better watch it" look that'll make you shake in your boots. Another charismatic actor, Hardy can trade snaps with the best of 'em. The Academy finally caught on to this talent with Revenant, I would expect more in the future.

Best Film: Warrior

Best Performance: Bronson

2. Jake Gyllenhaal

Jake is one of the busiest actors in Hollywood at the moment. But he was making meaningful projects and doing fantastic work even before he blew up. He has perhaps the widest range of emotions in his arsenal - but at heart, he is a psychopath. Nobody does an on-screen blow-up or meltdown like Gyllenhaal (see Southpaw, Prisoners, Enemy). But he also does the tender just as well (Brokeback Mountain). He is pumping out projects and you will hear no complaints here.

Best Film: Zodiac

Best Performance: Nightcrawler

1. Leonardo DiCaprio

The mecca. The best actor in the world - nobody will convince me otherwise. Ferociously dedicated and as versatile as they come, you won't find many that will disagree with him being the best. To mental disabilities, drug addictions, South African mercenary, deprived husband, con-artist, deranged slave owner, millionaire stockbroker to being hunted by bears in the wilderness, DiCaprio can, and does do it all. He is notoriously one of the most sought after actors in the game - but is also notoriously picky with his roles. There's a reason he only does two movies (max). He's on record saying he will not take less than 6 months to prepare for a role, and his dedication shines. He's magnificent and my favourite actor.

Best Film: The Departed

Best Performance: The Aviator

Nightcrawler

Jake Gyllenhaal, Rene Russo, Riz Ahmed

Directed by: Dan Gilroy

Nightcrawler

Director Dan Gilroy introduced himself as a top-tier actor with this trail-blazer of an indie back in 2014. He has since moved on to 2 follow-up features, including Roman J. Israel, Esq. that landed Denzel Washington an Oscar nomination, and Velvet Buzzsaw, a Netflix original that did not do as well as his talent would suggest. This renegade remains his career-peak. It chronicles Lou Bloom (Jake Gyllenhaal), a seedy career thief who pawns for a living.

The first scene introduces us to Bloom cutting wire fence and copper in order to sell to a nearby construction company. Following the transaction, Bloom tries to negotiate a job at the same construction company. His motto, he tells the foreman, is, "to win the lottery, you have to make the money to buy a ticket." When the foreman refuses to hire Bloom, he flashes a snarky grin and a point, and he's off. Leaving the site, Bloom drives by a fiery wreck where he watches Joe Loder (a sleazy Bill Paxton) exit his vehicle to tape footage of the carnage. Bloom asks Loder if this will be on the news and his response is, "if it bleeds, it leads." Bloom, looking towards the carnage, is in awe. You can see the fascination and obsession he gets from the wreckage. Gyllenhaal, who lost 20 pounds for the role, is tremendous. His sharkish take on the motor-mouthed, hyper-active Bloom is awe-inspiring. Oscar snubbed him from the nominations that year when many touted him to win his first statue. Shame. It's a master-class of acting.

Following the interaction, Bloom trades in his wire-cutters for a camcorder and a police scanner. He stumbles around the first couple of attempts to capture sellable footage. But he catches his big break when he presents footage of a dying shooting victim to KWLA 6 News executive Nina Romina (Rene Russo). Russo, Gilroy's offscreen wife, is a marvel. She blends mirth and malice to a tee all the while trying to juggle her growing need for ratings in a studio hell-bent on ethics.

When his business starts to grow, Bloom hires Rick (Riz Ahmed, in a role that catapulted his career to stardom). When Rick asks what the job is, Bloom responds, "a prime opportunity for some lucky someone." Ahmed plays Rick with a blissful ignorance, and offers a quaint performance. Rick is perhaps the only person who only really knows Bloom. He concernedly exclaims, "you gotta talk to people like they're human beings."

Once Rick starts to work for Bloom, he gets dirty. Bloom lives without any discernible ethical code. In one sequence, he sneaks into the house moments after a domestic violence incident to obtain footage of the bullet holes and wreckage in the house. When he shows the footage to the crew back at NWLA, Nina is ecstatic; the rest of them sick to their stomach.

To say much more would be to dive into spoiler territory. But Bloom's sinister depths know no limits. He sabotages a competitor, will do whatever it takes for a scoop, and is not as loyal to his partner as he would like his partner to be to him. Cheers to cinematographer Robert Elswit for capturing the grungy underbelly of Los Angeles and its' seediness in the nightcrawler business. Kudos as well to James Newton Howard for an appropriate, taut and tense score that elevates many of the fantastic scenes in the film. And Gilroy himself earned a Best Original Screenplay nomination for the witty and intelligent dialogue. The lines and monologues he offers Bloom are spectacular.

It's too bad Gilroy somewhat missed in his next two attempts. This was a fantastic spectacle of a film. Brilliantly blurring the lines between consumer demand and journalistic integrity while offering Gyllenhaal an acting showcase, it fired on all cylinders. It's filmmaking of the highest order.

Rating: 5/5

Captain Marvel

Brie Larson, Samuel L. Jackson, Jude Law

Directed by: Ryan Fleck, Anna Boden

Captain Marvel

And finally, the iconic Marvel Universe has released its' first female protagonist led superhero movie. And it is a tidy introduction-prequel to many of the household superhero movies we watch today. Co-directors Anna Boden and Ryan Fleck, who have a nice filmography to their names, including both television and film (episodes of Billions; Half Nelson, Mississippi Grind), lace the film with beautiful images and great battle scenes. Captain Marvel operates in the 1990's, before any of the Avengers were thought of. Carol Danvers (Brie Larson) is caught in a war between the Skrulls, headed by Talos (Ben Mendolsohn, in a great role combining feeling and laughs), and the Kree, headed by Yon-Rogg (Jude Law, slimy and brittle in his scenes).

When Vers (Carol's name after she was presumed dead and taken in by Starforce) escapes a ship of Skrulls and heads to earth, she attracts the attention of S.H.I.E.L.D. agent Nick Fury (an eye patchless Samuel L. Jackson). After learning that she was a former U.S. Air Force pilot that partnered with Dr. Wendy Lawson (Annette Bening), and that the Kree and her former mentor Yon-Rogg is actually the one who murdered Dr. Lawson, Carol is in a battle to save the earth from the two competing alien worlds. Who's bad? Who's good? The film offers no straight answer.

Larson, who has won an Oscar for Room, and has showcased some other remarkable work, is exactly the type of no-bull, strong and feisty female heroine the Marvel Universe needs. She combines fierce strength through her eyes as only Larson can do, with a dry brand of humour that makes you chuckle every time she delivers a punch line. And Jackson is having a ball as a younger Fury. You see his trademark snarl when he confronts a bad guy, but his deliveries of one-liners are pitch perfect. Plus, the scenes between Larson and Jackson are delivered to a tee with fantastic comic timing.

Back on earth, the film takes place in the 1990's. This is something that Fleck and Boden push too much. From the Nirvana and No Doubt tracks to the dial up internet on the computer to the Blockbuster Video chain, the era is pushed on the viewer far too much. A little nostalgia goes a long way.

The battle scenes are filmed with bracing speed and intensity. I could point to a number of different ones, but perhaps the one that stood out the most is towards the start of the film when Carol takes on a Skrull shape-shifting into an old lady on a subway train before escaping as a middle-aged man. It's a great sequence and shows the true nature of the enemy that she is up against. But every test that is thrown Carol's way, she is up to the task. Larson injects the franchise with a much needed female energy and prowess. Another great thing Fleck and Boden do - they do not preach that she is a female superhero. She is just a superhero, plain and simple. And after seeing her powers towards the end of the film, Captain Marvel has the goods to go up against any hero that we've seen so far.

Fleck and Boden play with the prequel game to perfection. We find out why Fury's eye is now in a patch, how the Avengers initiative started and we get flashes of characters already seen like Korath (Djimon Hounsou) and Ronan the Accuser. The end-credit scenes also set us up sublimely. It's a well overdue superhero film, introducing us to a devilishly powerful new character.

Rating: 3.75/5

Top 10 Comedy Movies

This list will chronicle my favourite 10 comedy movies. Comedies are a little different. I don't necessarily judge on the merits of the film, or the acting, etc. These are rated based on how much I laughed, and how quotable the films are. Once again, I would love to hear people's thoughts on my selections.

10. Pineapple Express (2008)

Seth Rogen, James Franco, Danny McBride

Directed by: David Gordon Green

A process server (Rogen) and a weed dealer (Franco) wind up on the run from a police officer when they witness him murder a competitor. It was an amazing, stoner performance from Franco, and his back and forth with Rogen is golden. Nothing better than when they are in the woods and Rogen has to explain to Franco what it means that the battery to their car is dead.

9. 40 Year Old Virgin (2005)

Steve Carell, Seth Rogen, Paul Rudd

Directed by: Judd Apatow

Carell, perhaps mostly known for his role on The Office, actually finished filming this Judd Apatow powerhouse before filming the pilot to the popular NBC hit. It follows a 40 year old man working at a technology store and his journey to get laid once his co-workers find out that he is a virgin. The 'Kelly Clarkson' improve scene in which Carell legitimately waxes his chest hair is notorious now, but the scene in which they sit around the poker table and find out that he is a virgin belongs in the all-star vault. It's hilarious, but the film also offers the feel-good ending, making it universally likable.

8. The Hangover (2009)

Bradley Cooper, Ed Helms, Zac Galifiniakis

Directed by: Todd Phillips

It's too bad that they ruined this series with the two sequels, because this 2009 sleeper hit was fantastic. One-liners aplenty, it followed a series of men awaking after a night out for their bachelor party not remembering anything. What's more than that is they can't find the groom, on the day of his wedding. The humour comes from the experience most people have when waking up and remembering what had happened the previous night. Seeing the reactions that they have when learning of a new memory is unbeatable. Watch this one. Forget the next 2.

7. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)

Sacha Baren Cohen, Ken Davitian, Luenell

Directed by: Larry Charles

Sacha Baren Cohen is a genius of comedy. The title to the film should already hint at the dialect of the titlular character throughout. The head of a Kazakh TV station, Borat is sent to the US with a documentary crew in order to report on the States. While there, he becomes infatuated with finding and marrying Pamela Anderson. Some of the skits are flat-out timeless, like "The Running of the Jew." And Baren Cohen is in his element, the type of comedy that you likely would have watched in this past year's "Who is America?" It's phenomenal.

6. Mean Girls (2004)

Lindsay Lohan, Rachel McAdams, Amanda Seyfried

Directed by: Mark Waters

Both the beginning and end of Lohan's career, this cult favourite follows Cady Heron (Lohan) and her move to the States from Africa, where she was home-schooled. While there, she is taken in by a group of social outcasts to take down the popular Regina George (McAdams) and finds out how High School really works. It's hilariously over the top in the depiction of high school, but offers one-liners aplenty - "Boo, you whore." It's slapstick in how it depicts high school girls and their cattiness, but you just can't get enough.

5. Tropic Thunder (2008)

Ben Stiller, Robert Downey Jr., Jack Black

Directed by: Ben Stiller

This hilariously meta-genre comedy follows a group of actors trying to shoot a big budget war movie. Halfway into the film, they are forced to become the soldiers that they're supposed to be portraying. This one is made special by the characters. The top 3 billed that I have listed are brilliant, even garnering Downey Jr. an Oscar nomination, but notably absent are Matthew McConaughey and Tom Cruise who both turn over amazing supporting turns. It's fantastic. But remember, "Never go full retard."

4. I Love You, Man (2009)

Paul Rudd, Jason Segel, Jon Favreau

Directed by: John Hamburg

The premise is simple enough - Peter Klaven (Rudd) is proposed to be married to fiancé Zooey (Rashida Jones), but doesn't have anyone to be his best man. And so, he meets Sidney (Segel) and an epic friendship is born. You haven't seen someone do self-deprecating, cringe humour like Rudd in this film. Quotes aplenty, Rudd knows how to make every scene incredibly awkward with some phrases like, "latress on the mengee." It's impossible not to laugh.

3. Wedding Crashers (2005)

Vince Vaughan, Owen Wilson, Rachel McAdams

Directed by: David Dobkin

Back in the days when there were 2 unofficial teams of comedy, Vaughan and Wilson were teaming up more frequently. This is undoubtedly one of their most successful ventures. 2 best friends crash weddings to get laid - until they finally come to a wedding where John (Wilson) falls in love with Claire (McAdams). It also low-key spawned many people's love for Bradley Cooper, who shows up as Claire's fiancé. Once again, quotable is an understatement - and Vaughan's fast-quipped, shaky head nonsense has never been more on display than in this one.

2. Superbad (2007)

Jonah Hill, Michael Cera, Christopher Mintz-Plasse

Directed by: Greg Mottola

A couple of lads on a Friday night plan to buy some booze for the girls that they are trying to impress. What could go wrong? Everything. Aside from Borat, this is the selection on the list with the crudest form of humour - dick jokes and sexuality are thrown around in every scene. It should be no surprise that Seth Rogen wrote the film when he was 12 years old. It was a star-making turn for Mintz-Plasse and Cera has never been awkwardly better. Don't get me started on Hill.

1. Step Brothers (2009)

Will Ferrell, John C. O'Reilly, Richard Jenkins

Directed by: Adam McKay

2 single people (Jenkins and Mary Steenburgen) wed and their 2 adult children Brennan (Ferrell) and Dale (O'Reilly) are forced to co-habit. Easy as that. Though they've teamed up numerous times, Ferrell and O'Reilly have never had as much fun as in this one. Supporting turns from the likes of Jenkins, Steenburgen, Adam Scott and Kathryn Hahn class up the joint a tad - but it's incredibly hilarious. The 2 play off of each other with zest - and there are too many quotes to list here. It's my favourite comedy film, and one of the best theatre experiences that I have ever had.

Honourable Mention: The Other Guys, Talladega Nights, Dodgeball, Napoleon Dynamite, 21 Jump Street, Get Him to the Greek, Old School, Dinner for Schmucks

Tyrel

Jason Mitchell, Christopher Abbott, Michael Cera

Directed by: Sebastian Silva

Tyrel

Potentially a film most readers have never heard of, the blazing path of social commentary that is Tyrel has an uncanny ability to make you uncomfortable. Director Sebastian Silva, who has a number of foreign projects to his name, and a lone indie, shamelessly puts race and religion on blast in this intriguing renegade of a film. The plot is easy enough - a lone African-American spends the weekend with a crew of otherwise white males, engaging in drunken debauchery.

Starting with a shot of Tyler (Jason Mitchell) and Johnny (Christopher Abbott) as they push their out-of-gas Corolla towards Johnny's friend's house, the film gains momentum immediately. They pull over and wait for Johnny's friends to come get them. It is then that we are introduced to the crew, led by Argentinian Nico (Nicolas Arze), Pete (Caleb Landry Jones) and Trust (Trust Arancio). This first interaction lends the film its' title, when Trust greets Tyler with, "Sup Tyrel," to which Tyler must immediately correct him.

We get back to Nico's cabin and so begins a hyper-masculine, booze-fueled weekend. The first scene at the cabin features the guys playing a game in which they pass around a hat, within are various accents that they must imitate as they pull the paper out. The second piece of paper to be pulled reads, "black accent." It's this kind of oblivious racism that we are dealing with. As the tension rises because of Tyler's increased discomfort, the foot remains firmly on the gas for the others. In another scene, Tyler scrolls through Instagram and likes a video of a man dodging in and out of traffic, narrowly missing oncoming traffic, not unlike his current predicament at the cabin. He is forced to fake being asleep to relieve himself from the situation.

Waking up the next morning, Tyler hits the booze with a purpose. Johnny does his best to look out for him, but Tyler has his sights set. Abbott, best known for his work on the debut season of The Sinner, does great work digging deep into a role requiring him to work both sides of the equation.

Shortly after, new recruit Alan (a charismatic and more crude than usual Michael Cera) shows up with a doll of a certain American President that he tells Tyler he will love, because he's, "a racist bastard." No candy in that piñata, just a doll for them to terrorize. Tyler immediately clicks with Alan - and just as the tension raises on the second night, so does the masculinity. Whiskey slap and wrestling matches are prominent, but when Tyler gets too drunk, the movie reaches an uncomfortable peak.

Working with no score, the film relies heavily on dialogue from most of the cast. What Silva does best, though, is leave the camera on Tyler's face amongst these concerning interactions. Best known for Straight Outta Compton, Jason Mitchell isn't a household name (yet). But in the midst of this tension, with the camera on his face, Mitchell does more with a glance and a hand gesture than the rest of the cast does with their lines. It's a moving performance.

What's also telling is that amongst the crew in the house is an Argentinian with a notable accent, a man now living in Cuba, and a gay man, yet Silva focuses on the jokes and tension made around the sole African American on the trip, symbolizing just how entrenched it is in society today, and how blissfully unaware we are to it. It is blatant social commentary, but unsettling to say the least. That's what made this tight 86 minute run-time very watchable for me - and a piece of bold filmmaking.

Rating: 3/5

Velvet Buzzsaw

Jake Gyllenhaal, Rene Russo, John Malkovich

Directed by: Dan Gilroy

Velvet Buzzsaw

Writer/director Dan Gilroy has a knack for delving deep into morally corrupt issues. With his first (and best), Nightcrawler, it was the dirty side of journalism. In his follow-up, Roman J. Israel, Esq., it was over the morality of a lawyer trying to make a living. Now, in his third feature, which is currently streaming on Netflix, Velvet Buzzsaw deals with the art industry. Reuniting with his two favourite stars, Jake Gyllenhaal and Rene Russo, sadly, Gilroy's provocation of art satire turns into something it never should have.

The film opens with a fantastic sequence, in which we're introduced to Morf Vandewalt (Gyllenhaal; not the last fantastic name), an art critic who can ruin your career with one bad review, as he finds his way through an exhibition at a gallery run by Gretchen (Toni Collette, superb). Surfing his way through the installations and the crowd, he examines a number of different pieces of art, preparing his review for each, while interacting with the manager of the Haze Gallery, Rhodora Haze (Russo). We also catch glimpses of Piers (John Malkovich, at his non-chalant best), a washed-up artist whose talents and good art dried up 15 years ago when he became sober, as his attention is vied for by Jon Dondon (Tom Sturridge, doing his sleazy best). Rhodora recruits the new artist on the block, Darnrish (Daveed Diggs), while her assistant, Josephina (Zawe Ashton), flies around having just learnt that her boyfriend has cheated on her. It seems confusing, but the opening sequence is elegantly shot, seamlessly transitioning from each interaction. It may be the best scene of the entire film.

Shortly after, Josephina stumbles upon a body in her apartment building. Learning that the deceased (Vetril Dease) was an artist, Josephina steals all of his paintings for herself. Paintings that Morf describes as, "visionary; mesmeric." She partners with Rhodora to sell the paintings for an enormous profit, in the meantime Vandewalt gets the book rights and full access to two pieces for his review.

What's the catch? The paintings, complete with Dease's blood as trimmings, are haunted and have some fatal consequences. They hold all onlookers mesmerized, unable to look away. First to go is Bryson (Billy Magnussen), the greedy repair-man at Haze Gallery who tries to take some of them for himself. As the bodies start to pile up, the film loses traction, but not because of the performances. Gyllenhaal, offering a zany, wacky, energetic performance, is terrific. He's been on a career high in the past couple of years, and grabs this juicy role offered him, solidifying him as an actor as dynamic as they come. And Russo, Gilroy's off-screen wife, is snarky and sharkish as the manipulative head of the gallery, who will do anything to get what she wants. The title, Velvet Buzzsaw, refers to Rhodora's old punk-rock band before she got into the art business.

What starts as a satire and critique on the art scene, and a seriously intriguing premise, loses all of its' promise when it turns into a campy, art-house horror show. You can smell the snobbishness and the uppitiness at the start of the film, which strikes as piercingly accurate. The bigger picture - is art meaningful, or rotten? Is it the greed from profit that makes people turn dark? There are some truly elegant shots - and one sequence towards the end of the film in which we're with Rhodora, Josephina and Morf, albeit in different scenarios, is a doozy. I can't help but feel that if Gilroy would have stayed with his original concept, and avoided the turn in tone towards the second half of the picture, he would have had a real gem here.

If you can suspend disbelief, which I normally can, you will thoroughly enjoy this. But some stuff is so over the top, it ruins it. It isn't a waste of 2 hours, especially since it's a Netflix original. But let's hope that Gilroy hits it out of the park on his next shot - I'd stick with a talent like his any day.

Rating: 2.5/5

Top 10 Horror Films

Once again, I am providing a list. Instead of directors, I have compiled what I believe to be my top 10 horror films. Horror is my favourite genre. Any disagreements, suggestions or responses are welcome. I would love to hear from people and their thoughts on my selections!

There is no specific criteria as to how I chosen these top 10. I have included some classics on the list, those I feel have been both influential and have aged well. I have also, towards the top of my list, included those that I feel are still scary. Mostly, my list is comprised of films that I enjoy to watch the most.

10. Wolf Creek (2005)

John Jarratt, Cassandra Magrath, Kestie Morassi

Directed by: Greg McLean

Discovered one day while scouring the depths of Netflix, this sleeper is an indie favourite of mine. It centers on a group of 3 backpackers sightseeing in Australia. When they return from their day excursion, their car is dead. The group is then approached by a local who offers them help and water to get back on the road. You know where I am going. Since its' release back in 2005, it has gained a following. A sequel was released, as well as a mini-series on the same premise. The third instalment in the franchise is currently in pre-production as well. Check it out.

9. 28 Days Later (2002)

Cillian Murphy, Naomie Harris, Brendan Gleeson

Directed by: Danny Boyle

This, for me, is the mecca of zombie-themed horror movies to date. Waking up in a hospital, a lone survivor is faced with trying to find a hiding spot following the outbreak of an incurable virus in the UK. The action purrs along and the cast is terrific. Many have tried, yet nobody has come up with the same tension-fueled, action-packed zombie product that Oscar winner Danny Boyle has.

8. Hostel (2005)

Jay Hernandez, Derek Richardson, Eythor Gudjonsson

Directed by: Eli Roth

Dubbed as the creator of "torture-porn", the concept has never been on display as much as the first of 2 Hostel films. It focuses on 3 backpackers who head to Europe to party and have sex. Unfortunately, an underground torture ring has other things in store for them when they check into their hostel and gain the attention of 2 suspicious women. Roth is also my favourite horror director. His violent imagination creates squirm-inducing scenes that you would think impossible for any rational mind. Lately, Roth has departed to family-friendly and action films. He should get back to films like this, Cabin Fever and The Green Inferno - ones that make your skin crawl.

7. Scream (1996)

Neve Campbell, Matthew Lillard, Courteney Cox

Directed by: Wes Craven

Anyone in their wits would have to include a film of Wes Craven's in a top 10 list of horror films. What better one to include than the story of young Sydney Prescott, the target of Ghost-Face, on the anniversary of her mother's murder. It's a fantastic film, but also revolutionized the meta-genre in which the film basically narrates and comments on itself - in the horror/slasher sense. It's a terrific slasher film from one of horror's best ever directors.

6. Halloween (1978)

Jamie Lee Curtis, Nick Castle, Donald Pleasence

Directed by: John Carpenter

This is perhaps the most influential slasher flick to have ever been made. The only competition it has is Tobe Hooper's 1974 The Texas Chainsaw Massacre. But this one wins. Not scary by contemporary standards, in 1978, it was game-changing. It tells the story of serial killer Michael Myers who, on the anniversary of murdering his family, escapes the Smith's Grove mental institution and terrorizes the quiet town of Haddonfield. It has spurred countless sequels and remakes, and commenced the terror of the most famous serial killer to ever be put on screen - Michael Myers. It also catapulted Jamie Lee Curtis' career.

5. A Quiet Place (2018)

John Krasinski, Emily Blunt, Millicent Simmonds

Directed by: John Krasinski

A near silent film, this one fries your nerves. Krasinski's first shot at directing horror comes up aces. Set in a post-apocalyptic world, the film chronicles the Abbott family as they try to survive on their farm while navigating monsters who hunt by sound. It was a showcase for Blunt (one of my favourite actresses) and an unforgettable in-theatre experience. Because of the fact that sound is so rare in the film, when used, it's shattering.

4. Get Out (2017)

Daniel Kaluuya, Allison Williams, Catherine Keener

Directed by: Jordan Peele

A rare acknowledgment of how good horror can be by the Academy, this whirlwind of a film chronicles Chris Washington and his weekend venture to meet the rich parents of his Caucasian girlfriend. As his suspicions mount, so does the tension in the film. This was one of the films on the list that successfully merged comedy with horror, remaining scary in the process. The film is based on prominent social issues with a horrifying twist. A breakthrough for the Brit, Kaluuya is fantastic. Peele is set to release another horror film in March. Stay tuned - the list may change.

3. The Conjuring (2013)

Patrick Wilson, Vera Farmiga, Ron Livingston

Directed by: James Wan

This is the first film on the list to tackle the paranormal. The film follows paranormal investigators, Ed and Lorraine Warren (husband and wife), and their work as they help a family being terrorized by a dark presence. Primarily relying on the stereotypical horror tropes of jump scares, it works wonders. It is very scary - the type of movie in which you white-knuckle your way through.

2. Sinister (2012)

Ethan Hawke, Juliet Rylance, James Ransone

Directed by: Scott Derrickson

The premise behind this one is intriguing - a true crime writer moves to a house in which he finds a box of home movies, suggesting the gruesome work of a serial killer dating back generations. Hawke's first attempt at horror is chilling. This one, along with some jump scares, works wonders on the found footage concept. The images are equal parts gruesome and creepy. It's another white-knuckler, and is a little more effective than The Conjuring.

1. The Strangers (2008)

Scott Speedman, Liv Tyler, Gemma Ward

Directed by: Bryan Bertino

This one is just flat-out terrifying. I can still watch this, over ten years later, and get chills. A young couple are terrorized by three masked assailants while staying in an isolated vacation home. What is so terrifying is that there is no alleged motive behind the terror. The three partners never speak and we never see their faces. It's a real portrait of terror. There's also no music in the film, making it so much more nerve-wrecking. After watching it, you'll think twice about staying home by yourself. It's chillingly scary - and my favourite horror film.

HONORABLE MENTION: The Blair Witch Project, House of Wax, Backcountry, Hush, The Others, The Texas Chainsaw Massacre, Friday the 13th, A Nightmare on Elm Street, Saw 2, The Hitcher

What We Do In The Shadows

Jemaine Clement, Taika Waititi, Jonny Brugh

Directed by: Jemaine Clement, Taika Waititi

What We Do In the Shadows

The next indie to be highlighted is one that has some fangs - literally. Ever wonder how a group of vampires could co-exist in a flat in New Zealand? Before Taika Waititi jumped into the Marvel universe with Thor: Ragnarok, he joined Jemaine Clement to direct, write and star in this hilariously unknown gem. Allowing a documentary crew to follow them around (only if they wear a crucifix around each of their necks), the secret society of vampires navigate their way through the New Zealand underworld.

The film starts by introducing the family of vampires and shows them having a 'flat meeting' in which they bicker about each of their responsibilities. They start by advising on a method in which to appropriately have a victim to the flat. They pronounce, "if you're going to eat a victim on my couch, put down some towels." And in the same breath, they flash to a scene in which they have stolen clothes from some of their victims. Vladislav (Jemaine Clement) then advises, "Yes, some of our clothes are from victims. When you are a vampire, you become really sexy."

The film has an Office-esque feel in that it is a mockumentary that follows the group as they deal with everyday problems - with the added twist that they're vampires. There are cut scenes in which a hilarious montage is shown, and individual vampires engaging in interview-like sequences to the camera directly to explain something. There are shots of them drinking human blood, hitting main veins. They're gruesome, but so slapstick that they are hilarious. Ditto with the score, hilariously over-exaggerated in that the choice of music for the scene is so blatantly botched.

In a staged scene, they recruit two victims to come back to the flat in order to feast on them. After they get rid of one of them, the other, Nick (Cori Gonzalez-Macuer) agrees to become a vampire. One of the best sequences of the film is his transformation to a vampire, the score becoming something melodic out of a Hallmark movie of the week sap story. It's priceless.

Then, in the funniest set of the scenes that the film has to offer, while walking the backstreets of New Zealand, hopping from bar to bar, the vampire crew, Vladislav, Nick, Viago (Waititi) and Deacon (Jonny Brugh, the comic MVP of the film. He is absolutely priceless, especially in his frustration with Nick telling the regular public that they are a horde of vampires) stumble across a pack of werewolves in which they engage in verbal jousting, and eventually, an all-out brawl.

The comparison to The Office doesn't stop there though - the awkward and cringe-worthy humour is present throughout the entire film. When the vampires get ready to attend a Convention towards the end of the movie, Vladislav is nervous because the guest of honour is "The Beast", a nickname for his ex-girlfriend Pauline.

It's a tight run-time of 86 minutes, but Clement and Waititi keep the laughs constant and gut-busting. It's an uproarious diamond in the rough.

Rating: 4.5/5

How good though?: Meh, not that good Watch it when you get a chance See it ASAP

Can You Ever Forgive Me?

Melissa McCarthy, Richard E. Grant, Dolly Wells

Directed by: Marielle Heller

Can You Ever Forgive Me?

Director Marielle Heller, who only has one other feature in her filmography (The Diary of a Teenage Girl) offers Melissa McCarthy a chance to showcase her acting skills. McCarthy is Lee Israel, a boozy, lonely, grumpy, writer known for her 'riveting' biographies that nobody wants anymore. After being fired from her job at the New Yorker, Israel starts writing a new biography on Fanny Brice, something her agent tells her that, "nobody wants to read."

In her research for this doomed biography, Israel stumbles upon a letter written by Brice ages ago. Desperate to pay her rent and to get her cat seen by the veterinarian, Israel sells the letter to a collector of literary artifacts for big money. Then, realizing there is more money in these artifacts than in her writing, Israel begins to forge these artifacts with her own writing, something she had no regret for. She proclaims, "it was the first time in a long time that I was proud of my work." Admittedly so, I am not a McCarthy fan. But, it's a kick seeing her get away from the self-deprecating raunch-com in order to stretch her dramatic chops. The pity she has for herself is written all over her face. Oscar rightly recognized her in their nominations this past week. If she keeps these kinds of roles, she could make the hop into my good books.

And when Israel is put on a watchlist for these artifact buyers, enter Jack Hock (Richard E. Grant), Israel's new friend that she claims, "fucked his way through Manhattan." Hock starts to sell the artifacts crafted by Israel and takes a cut. Grant, whose filmography I am not especially familiar with, is the live-wire of the film. He injects energy into any scene as soon as he appears on camera. He's hilarious, yet also vulnerable when the role calls for it.

The script, penned by Nicole Holofcener and Jeff Whitty, is based on Israel's biography of the same name, so naturally, there is some acidic wit in the dialogue. When summoned for jury duty later in her life, Israel responded, "I cannot attend as I am a convicted felon. Who ever said crime doesn't pay?" It was that kind of humour that Israel became known for.

But still, there is something missing here. The direction is uneven. There are a lot of random and seemingly pointless scenes that have the tendency to drag on a little too long. And the score is awkward. It gets achingly loud and holds on a little too long for each scene's own good. But, I have added an extra half of a star for the simple message the movie communicates. It addresses the diminishing nature of literature - ironic how it is encapsulated in a film. When Israel's agent refuses to get her an advance on her Fanny Brice biography, Israel screams back, "But I am doing good writing?" It's something that has continued to depreciate in recent years, much to the chagrin of literature lovers, myself included. That, along with McCarthy's newfound dramatic prowess and Grant's livewire performance, are the best parts of the film.

Rating: 3/5

Top 10 Directors

Just for some fun, during a downtime in movie season, I have prepared a list of my 10 favourite directors! Basically, the directors whose movies I enjoy to watch the most, time and time again. I'd love to hear from people on their thoughts on the list.

10. Noah Baumbach

Most readers will probably not even know who this director is. He makes fantastic, character driven films, and has a stylistic element in which he frequently cuts shots before sentences, or scenes are fully over. It's quirky, but it works for him. He also catapulted the career of Greta Gerwig, and offered Ben Stiller some of the best performances of his career. Not action based, he allows his actors the most from their script.

Best Movie: The Squid and the Whale

Worst Movie: Frances Ha

9. Adam McKay

Though McKay has stretched his directorial chops with The Big Short and Vice, he makes my list for his comedic pedigree. He's gotten the best from Will Ferrell and his teaming with John C. Reilly, and his movies as a whole are the most quotable in the comedy universe. It isn't even close. He is a pioneer for comedy.

Best Movie: Step Brothers

Worst Movie: Anchorman 2

8. Steven Spielberg

People will probably wonder why Spielberg is so far down on my list, considering he's probably the director most people not familiar with Hollywood would recognize. He's provided some fantastic classics for entertainment, but he's also had some misses. There's E.T, but then there's The BFG. There's Jaws, but then there's War Horse. Nonetheless, he has to make any movie fan's list of top 10.

Best Movie: Saving Private Ryan

Worst Movie: War Horse

7. Ben Affleck

I don't think it's that controversial to claim that Affleck is a much better director than he is an actor. I think it's also true that Affleck is acting his best when he's directing himself. His filmography is shorter than most that will appear on this list - but it's potent. It's rumoured that he is one of the most sought after directors for production companies in Hollywood. But, clearly he is picky. He can stage an action scene and build dread like no other. Hopefully he continues to direct.

Best Movie: The Town

Worst Movie: Live By Night

6. Stanley Kubrick

It's a shame that Kubrick had to fall this far down the list, because I love everything about him. He was truly an innovative director, taking projects and doing things with his actors that had never been done before. 2001: A Space Odyssey was a project that undoubtedly paved the way for space movies. Even the film that he was allegedly the most dissatisfied with, Eyes Wide Shut (he died before he could finish the editing process) is brilliant.

Best Movie: A Clockwork Orange

Worst Movie: Barry Lyndon

5. Quentin Tarantino

Tarantino is another guy whose movies are immediately recognizable. Blood and guts; terrifically developed characters and long-winded scenes that focus on dialogue and character. Tarantino is wickedly clever and has offered some of the most memorable scenes in cinema. He also has an uncanny ability to take on societal issues in a satirical and effective way.

Best Movie: Django Unchained

Worst Movie: Jackie Brown

4. Martin Scorsese

Scorsese, for myself, is a better Spielberg. He's had a ton of classic films, but he's also got his fair share of misses. He is notorious for being extremely meticulous and demanding the best out of his actors. Known to shoot takes hundreds of times, it shows in his work. It also doesn't hurt that two of his frequent collaborators are Robert DeNiro and Leonardo DiCaprio. He has also been instrumental in the gangster epic movement.

Best Movie: The Departed

Worst Movie: Hugo

3. Denis Villeneuve

Villeneuve, in the same fashion as the next 2 directors that will appear on this list, doesn't miss. He came from out of nowhere and has not left the radars of movie lovers since. Villeneuve has a slow burn feel to most of his movies, and then bam, they sneak up and floor you. He also has a distinct way in which he canvasses scenes and his camera angles are also inventive. There isn't a blemish on his resume.

Best Movie: Prisoners

Worst Movie: Arrival

2. David Fincher

Once again, Fincher doesn't miss. He tackles the dark and brutal with precision and skill. He also has a wide-reaching filmography that simply gets better and better. I like the dark nature of Fincher's films the most. But, when he isn't busy making dark films like Se7en, Zodiac, or Gone Girl, he can also craft such films as The Social Network and The Curious Case of Benjamin Button.

Best Movie: Zodiac

Worst Movie: Alien 3

1. Christopher Nolan

This man is a genius. He has taken on subjects of all varieties - he revolutionized the human perspective-superhero experience with the Dark Knight trilogy, he has dabbled in sci-fi through Inception and Interstellar and he even threw his hat in the war epic ring through Dunkirk. Whatever it is, Nolan brings intensity, skill and brilliance to it. I've named some super class directors on this list, but Nolan is definitely my favourite.

Best Movie: The Dark Knight

Worst Movie: Memento

Glass

James McAvoy, Bruce Willis, Samuel L. Jackson

Directed by: M. Night Shyamalan

Glass

The latest from director M. Night Shyamalan, perhaps the director who has experienced the biggest rollercoaster ride of a career in Hollywood, is a doozy. Heralded as a mega-sequel, this epic combines two of Shyamalan's previous films Unbreakable, from 2000 and Split, from 2016. Let me explain. Unbreakable tells the story of security guard David Dunn (Bruce Willis), the sole survivor of a fatal train crash who consistently finds himself in good fortune to avoid trouble. Upon news of his 'unbreakable nature', he is tracked down by Elijah Price (Samuel L. Jackson), a man with confusingly weak bones, who tries to solve the mystery. The film was also distributed by Disney.

Split is a film in which Kevin Wendell Crumb, an individual with 23 diagnosed personalities, who kidnaps 3 young girls, all the while his 23 personalities try to fight off the 24th - The Beast. The film was distributed by Universal. Shyamalan somehow struck a deal for that surprise Willis cameo at the end of Split that carries through to the release of Glass. Universal will be distributing the film in the United States, while Disney gets to distribute it overseas. Ok, back to Shyamalan.

The man who once made everyone's jaws drop with that chilling film The Sixth Sense virtually became a nobody. He released Unbreakable (fantastic) and followed it with so-so films Signs (2002) and The Village (2004). Then Shyamalan entered Hollywood hell when he directed Lady in the Water (2006, bad), The Happening (2008, one of the worst films ever released, also provided Mark Wahlberg with the worst role of his career in a movie he himself described as 'terrible'), The Last Airbender (2010, awful) and After Earth (2013, also one of the worst that gave Will Smith a career low as well). Taking a couple years off in which he worked on Wayward Pines, Shyamalan released The Visit, a surprising delightful horror film that ended with a classic Shyamalan twist. Finally, he released Split, and Shyamalan was back in our good books.

Glass starts 3 weeks after the ending of Split, picking right back where we left off. Kevin (James McAvoy) has kidnapped another 4 girls, and David Dunn (Willis at his stoic best), who operates a home security system company with his son (Spencer Treat Clark), is tracking him, trying to stop the kidnappings. An encounter comes, and eventually Crumb and Dunn are both committed to Raven Hill Memorial Psychiatric Hospital, where they are treated by Dr. Ellie Staple (Sarah Paulson) and reunited with none other than Elijah Price (Samuel Jackson). Dr. Staple specializes in those individuals that believe themselves to be superheroes. That's all that I'll say about the plot... but expect the unexpected.

McAvoy is perfect. Literally flawless. His performance in Split was revolutionary and he inhabits all characters in this film as if he never left them. Daniel Kaluuya was rightly recognized last year for Get Out - it's a shame that McAvoy was never talked about for his own game-changing work. He seamlessly switches personalities in the same breath as if it's nothing - and this film offers us some new personalities that were not seen in Split. It's a series of small performances for the ages.

Shyamalan is also at the top of his game. There are inventive camera angles and shots being used that offer interesting perspectives and fantastic tracking shots. And the eerie score by West Dylan Thordson is chilling, adding all the much more to the unsettling film. He also uses some scenes that were shot for Unbreakable, but were never used. My only complaint is that it could have been a little tighter. The climactic scene starts tremendously strong, but seems to linger a little too long. At a run time of 2 hours and 9 minutes, it seems Shyamalan wanted to milk everything that he could out of some of his most iconic characters that he's made. But we do get some interesting background stories for our three central characters.

Shyamalan likens the film to a comic book - is it a sequel, or an origin story? In the height of superhero films, Shyamalan builds on his 'comic book movie' premise that he started in 2000 and continues to break the mold. All in all, it's a mega-sequel that does not disappoint whatsoever. There's some activism going on - Shyamalan makes a point to illustrate that social media isn't all bad (you'll know when you see it). It's a kick to see Shyamalan back in form, and to see the iconic cast interacting and weaving their multiple universes. People will pick and prod because this is a sequel - and standards for a sequel are exponentially higher for whatever reason. Don't listen to pessimists, just have fun, and appreciate that we've got Shyamalan back and a never better McAvoy.

Rating: 4.25/5

Beautiful Boy

Steve Carell, Timothee Chalamet, Amy Ryan

Directed by: Felix von Groeningen

Beautiful Boy

Another family-dealing-with-addiction tale to come out of Hollywood in the prime of movie season? Ahhh... how about one that stars Steve Carell and Timothee Chalamet? That may change your mind a tad. Director Felix van Groeningen throws his hat in the ring for his first feature that isn't foreign, and produces an admirable result. The script, penned by Luke Davies and Van Groeningen himself, is based off 2 best-selling memoirs by the 2 principal characters, father David Sheff ("Beautiful Boy") and son Nic Sheff ("Tweak"). The script works just fine, but it's the actors that give this movie the boost it needs.

The film opens with David (Steve Carell) seeking help after his son Nic (Timothee Chalamet) has just returned from a 2 day bender. He checks into rehab, gets better, goes to college and relapses. It's a tale that has been told a thousand times over. What makes it different is the motive behind Nic's use. When asked why he started using, Nic responds, "It made me feel better than ever, so I kept on doing it." There's no childhood trauma, or obvious motivating factor behind the drugs that send the entire Sheff family into turmoil.

Nic splits time between David and his mother (Amy Ryan), now divorced, as the family desperately seeks to help their ailing son with his addiction. Ryan, who has allegedly dealt with a lot of addiction issues in her own family (though not herself), taps into that emotion and lets it flow on screen. She brings a wealth of tears and fragility to the mother figure. Though, it's David who has custody and has to bear the majority of the burden. In one truly disturbing scene, he finds Nic's notebook and realizes that the challenge will be harder than anything that he's ever faced. He realizes Nic's problem is long-lasting and real. Carell, who is spitting out projects for fun in the past years, brings genuine sentiment and heartfelt emotion to David. It's a fine performance.

There's nothing particularly effective about the cinematography, nor inventive about some of the shots or angles. But the soundtrack is great, a number of hit songs upping the theme of any particular scene with a zany feeling. There also isn't much to the score, but in the above mentioned scene when David finds Nic's notebooks, the score is haunting, very much adding to the impending horror of the addiction.

Then there's Chalamet. Riding on a high from last year's Call Me By Your Name, Chalamet brings an intensity to the role of an addict, continuously failing to overcome his demons. Perhaps the best scene of the movie is when he meets David in a café to ask for money in order to move to New York. When David refuses, tempers flare. It's a heartbreaking scene in which Chalamet showcases the height of an addict running into withdrawal. Chalamet was just left off the Academy ballot this morning - Oscar, that's a mistake. It's a shattering and terrific performance.

It's an addiction story with a human element - a refreshing element in that no obvious motive exists. Though most addiction stories are elevated by the performances, this one is no exception to that rule. It's also a fine debut from a foreign director who should excite in the coming years.

Rating: 4/5

Starred Up

Jack O'Connell, Ben Mendelsohn, Rupert Friend

Directed by: David Mackenzie

Starred Up

David MacKenzie, the guy that has brought you such recent films as Hell or High Water and Outlaw King made a quietly powerful indie film in 2013, Starred Up. The title itself is a term used to describe minor prisoners who are so violent that they are moved to adult prisons. As such, the title should convey the premise of the film and its' main character Eric Love (Jack O'Connell). If you are at least a little familiar with the above two mentioned films, this one keeps in the same tradition of violent and emotional confrontations between characters so layered you could serve them on a plate.

The film starts with a sequence in which Love is introduced into prison. The guards strip him stark naked and search every single inch and hole available. As soon as Love is locked away, he starts making a weapon - literally immediately. That's the type of fella we're dealing with. O'Connell, who at the time was a newcomer (it was only 2 years later that he won the BAFTA Rising Star award that Daniel Kaluuya won last year), is sensational. He offers an explosive performance that magnetizes your eyes whenever he's on the screen. Of late, O'Connell hasn't picked up many major roles that this breakthrough would have suggested. It's a shame.

Then, in a subtle interaction in the yard, he is confronted by his father (we don't learn it is his father until a little later), Neville Love (Ben Mendolsohn). Shortly after, he nearly kills a fellow inmate who tries to offer him a lighter - and the film takes off. It's a series of violent encounters and testosterone-fueled confrontations. Mackenzie is so famous for his long, tracking shots of characters that follow them from place to place, and he does it ever so effectively in this film. It's also a very effective way to show the prison and the environment that has moulded these prisoners.

Soon after, a volunteer therapist, 'O' (Rupert Friend) takes Love into his counselling sessions with some other high-risk offenders to try and change his behaviour for the better. Friend plays 'O', one member of the system genuinely trying to make a difference, with heartfelt sentiment, until pushed too far by Deputy Governor Haynes (Mackenzie regular Sam Spruell). Although the film is enticing because of the violence and brutally real confrontations, the counselling sessions are very effective sequences in which tension and heartfelt exchanges go hand-in-hand. The scenes work in such stark contrast to the rest of the film's brutality, making them extra effective. Love interacts and learns so much from other members of the group, played with malice and grace by Anthony Welsh and David Ajala.

As the film progresses, so do the relationships - especially between Neville and Eric. Mendolsohn, who has had a polarizing career of ups and downs, portrays Neville as a tough and mean man, very much beaten by the system. But under the hard exterior is a brittle man who wants nothing more than for his son to beat the system and to get out of prison. It's a terrific performance from an actor that should be pickier with his roles.

But this is O'Connell's show. He is a fireball onscreen, and in one of his best roles ever, proves that he should be cast in much more. All in all, it's an indie that flew under the radar - but never should have. Mackenzie offers a masterclass in filmmaking, and truly knows how to get the best out of his actors.

Rating: 4/5

How good though?: Meh, not that good Watch it when you get a chance See it ASAP

Aquaman

Jason Momoa, Amber Heard, Patrick Wilson

Directed by: James Wan

Aquaman

The latest installment from the inferior DC Universe (to the superior Marvel, of course) comes through that bad, broody, tatted-up, ripped dude, Aquaman. Horror maestro James Wan, notorious for such revolutionary horror films as Saw, Dead Silence, Insidious and The Conjuring, is the one sitting in the director's chair for the King of the Sea epic. Though the tone of this one is miles away from Wan's horror niche, there are still hints that Wan can't escape his roots - there are still jump scares and a generally darker tone to the film. We got a taste for Aquaman in DC's Justice League, but now the dude-liest superhero in action today gets his own feature film, and it's just a blast.

The film kicks off with a storm, just off the coast of Maine, where a lighthouse keeper (Temeura Morrison) notices a stranded woman on the rocks by the ocean, who winds up being Atlanna, Queen of Atlantis (Nicole Kidman in a role, the reasons which for taking are unbeknownst to me). The two share their time together and make a baby, later found out to be Arthur (Jason Momoa), the half-breed who is a rightful King to Atlantis. Momoa is a movie star with genuine appeal, and he is simply having a ball playing Aquaman.

Later, when Arthur and his father are sinking some pints at a nearby bar, he is confronted by Mera (Amber Heard), who tries to recruit him in order to stop his half-brother King-Orm (Patrick Wilson) from starting a war with the land-dwelling people who have polluted their oceans beyond repair. Mera claims the war will cost the world billions of lives. And so, Arthur reluctantly accepts, tapping into his training that he learned early on with Vulko (The aid to the King played by Willem Defoe). King Orm has some backup as well through, through Black Manta (Yahya Abdul-Mateen II), trying to avenge his father following a confrontation earlier on in the film (Michael Beach). Got that? Didn't think so. There is more, but I will avoid the confusion. It's a terribly convoluted plot, with enough holes and leads to fill half of a dozen movies.

The battle scenes are terrific, providing tons of fun. Sure, sometimes they're over the top, but remember, Wan also directed Furious 7, so we'll offer him a pass. The effects of DC films have always seemed glossed over; less-realistic than that of its' competitor Marvel. But these are just fun. Wan experiments with camera angles, and tons of new weaponry - the action scenes are the highlights of the film. One scene, specifically in Sicily, Italy (There are like 20+ settings throughout the film) is fantastic. It splits its' time between Momoa and Heard's characters fighting off their respective foes. The supporting case is just fine - Wilson oozes malice, Heard has some genuine chemistry with Momoa, and watch out for Dolph Lundgren, who is clearly out of his element, but it's a hoot to see him regardless.

All in all, it's genuine fun, and Aquaman works best when it doesn't get caught up in the confusing plot, but rather, offers some genuine escapism. Grab some popcorn and have some fun with DC's most entertaining instalment yet.

Rating: 3.5/5

Golden Globes Recap

Globes Recap

Well, as you can tell, some of my picks for this past Sunday's ceremony went... unexpectedly. I went 7/13 (lol). Here are my 5 main takeaways from the Globes:

1) Bohemian Rhapsody Winning Best Picture (WTF??)

Undoubtedly the biggest upset of the night, this is quite the doozy. Going into the ceremony, I wouldn't have even picked Bohemian Rhapsody to be a lock for a Best Picture nomination for the Academy Awards. Now, based on past years, it is somehow the frontrunner? The HFPA really went with some unexpected picks this year - so, I still don't think Bohemian has a real shot to do any damage at the Oscars. Lacking any real emotional or dramatic heft, Rami Malek and the Queen music were the only redeeming features of the film. That being said, Bradley Cooper of all people should be feeling like he got punched in the gut right about now.

2) A Star is Born shutout

Arguably the biggest frontrunner for awards at this point in time, Bradley Cooper's directorial debut was shut out from any major awards. It did win Best Original Song for "Shallow", but let's face it, that was never a real competition. Cooper not winning for acting was somewhat of a surprise, along with directing. But the biggest snubs were Close's win for The Wife over Gaga's breathtaking performance, and Bohemian Rhapsody snatching the statue for Best Picture - Drama right out from under Star's nose. In my opinion, it is the best movie to come out this year, and should have won a number of awards Sunday. Oh, well. I smell redemption for Cooper and co. at the Oscars.

3) The HFPA liked Green Book more than just about everybody

Green Book was the surprise movie winner this past Sunday, winning more trophies than any other film, notching 3 - Best Motion Picture - Comedy/Musical, Best Supporting Actor and Best Screenplay. These are 3 serious awards. Best Supporting Actor for Ali wasn't much of a surprise. But in the Best Picture category, it beat out Yorgos Lanthimos' darkly comic The Favourite, and Adam McKay's satirical Vice - either of the two were better than Green Book. That said, both of the mentioned films also had better screenplay than Green Book as well. I would venture as far to say that the only real good lines in Green Book came from Mortensen's character. Expect it to notch some nominations with the Academy - don't expect it to be so lucrative.

4) Bill Murray as the MVP Presenter

Touched on by Tyler Perry earlier in the night was the fact that 'most celebrity presenters are really as drunk as they seem.' Moments later the proposition was put to good use by none other than Bill Murray. Stumbling onto the stage with a golden chalice full of alcohol, Murray messed up his words a number of times, claiming to have 'a number of good friends throughout the category.' It was a hilariously accurate portrayal of what most celebrities are actually getting up to at the ceremony. More should do it - it's better for the fans. Keep being you, Bill.

5) First Man winning the Score musical

In my Globe predictions, I predicted Mary Poppins to win this category - but concluded that Hurwitz should have for First Man. One of the best films of the year, it was snubbed from most categories for some reason. Aside from two (this one and Claire Foy's nomination) it was absent from the ballot. I think a win in this category signals that the HFPA knows it should have honoured that film more and was scrambling to redeem themselves. I can't promise more trophies at the Oscars, but First Man is slated to gather more nominations from the Academy, and it'll be deserving of them.

The Favourite

Olivia Colman, Rachel Weisz, Emma Stone

Directed by: Yorgos Lanthimos

The Favourite

The latest fireball from Greek director Yorgos Lanthimos comes in the form of a period piece, in which Queen Anne (Olivia Colman), in 18th century England has her attention being sought after by her close friend Lady Sarah (Rachel Weisz), and a new servant Abigayle (Emma Stone). Lanthimos is an under the radar superstar - two of his previous films go in two different directions. The Lobster is in the category of Favourite, a black comic take in which people must find love, or they turn into animals. The other, The Killing of a Sacred Deer is a twisted film about redemption and involves such squeamishness as bleeding from the eyes. Both are terrific, and Favourite follows in the Greek oddball's footsteps.

The film starts depicting Queen Anne, after stepping in poison ivy, being babied and catered to her every whim. She calls hysterically for Lady Sarah, needing her help right away - illustrating the depth of Anne's loneliness and need for constant attention. Colman, who plays Anne with the right mix of malice and vulnerability, is flat-out spectacular. She exits a room after a meeting with Lady Sarah, in which she snaps at a guard: "Did you just look at me? Did you??" When the guard doesn't look, she demands, "Look at me! Look at me!" When the young man looks, she yells, "How dare you?! Close your eyes!" She very much deserves the Golden Globe she nabbed this past Sunday.

We soon find out that attention isn't the only thing that Lady Sarah is vying for, perhaps one of the main reasons she advocates for a war that will keep her husband on the frontlines for England. And so, it's when Abigayle is sent in Sarah's stead that she takes a tender approach to the Queen, as opposed to the hardball approach offered by Sarah. This tender approach allows the two to get closer - and in one particular scene, Sarah and Abigayle are target shooting and the Queen sends for Abigayle rather than Sarah - that the rest of the film is set.

It also helps that the dialogue, in a script so deftly written by Deborah Davis and Tony McNamara, is so delicious and witty, that the actors can't help but be fantastic. Weisz is a commandeering wonder, maneuvering the landscape of the film so effectively that she bites into every juicy one-liner thrown up to her like they are a full rack of ribs. At the start of the film, when Abigayle asks for a job, she replies, "To do what? Be a monster for the children to play with, perhaps?" And Stone, who is one of Hollywood's best working actresses at the moment, starts with Abigayle as vulnerable, but quickly ramps her up with confidence and boldness that matches Sarah at every turn. Their scenes together and their exchanges are hilariously malicious. They're a fantastic duo.

The film is technically brilliant - set and costume design is flawless. The score, by Lanthimos frequent, Johnnie Burn, is bracing and effective. And the cinematography, shot by Robbie Ryan, is fantastic, switching from close-up shots, to panoramic shots, to fluid 180 shots. It's technically and extraordinarily sound. There are other supporting turns as well that come up aces. Nicholas Hoult excels as the leader of the opposition, Harley, countering Lady Sarah's political goals at every turn.

All in all, it's one of the best films of the year. Ready yourself for trickery, blackmail and jealousy. But in true Lanthimos style, expect the unexpected from this filmmaking virtuoso.

Rating: 4.25/5

Green Book

Viggo Mortensen, Mahershala Ali, Linda Cardellini

Directed by: Peter Farrelly

Green Book

Remember the guy that brought you Dumb and Dumber? Well, he's back. But he's traded in his raunchy comedy take for a feel-good drama with comedic undertones. Peter Farrelly, the man at the helm here, also directed Shallow Hal, Fever Pitch and Hall Pass. Green Book tells the true story of rugged, hungry and mean Tony Lip (Viggo Mortensen), who is hired by the articulate, brilliant and well-to-do Dr. Don Shirley (Mahershala Ali) to drive him from concert to concert avoiding incident in the deep south, during the 1960s. The film illustrates the friendship that blossomed between the two men and their everlasting bond, right up until their deaths, within months of one another in 2013. Dr. Shirley proclaims that he sought out Tony because of his, "innate ability to resolve conflict." Though both men come off as polar opposites at the start of the movie, a deeper look into things brings about the opposite effect. Farrelly, known for pulpy laughs without sentiment in the above mentioned films, escapes that in this one - but barely.

The film starts with Tony bouncing at the nearby club, Copa, trying to scrounge together enough money to allow his family, and his wife (Linda Cardellini in a terribly underwritten role) to pay rent at the end of the month. Unable to meet a meal he didn't like, a scene at the start of the movie shows Tony challenging Fat Paulie at a local diner in a hot dog eating contest. Fat Paulie eats a whopping 24, only to be upstaged by Tony's 26 - a feat that earns him $50. The Copa shuts down and Tony is out of work. Luckily, as mentioned above, Tony is sought out by Dr. Shirley to navigate him through the deep south while on a concert tour - he knows he's in for problems. Tony demands more money to accept the position, and if he doesn't get it, claims, "you can hire that little Chink that just pranced out of here." Yeah, Tony is that kind of ignorant. And so, the men embark on a journey - the title refers to the book passed to Tony in order to know how to navigate the terrain with Dr. Shirley. The 'Green Book' is a 'negro tourist' guide, its' tagline being, "Vacation without Aggravation." As you can imagine, this racial tension sparks the rest of the movie - interaction after interaction.

Mortensen, another one of Hollywood's underrated stars, sports an extra 40-50 pounds to vividly portray the Italian tough-guy. Though as the film progresses, we see the heart that Tony has - he wants so bad to be able to describe his feelings for his wife, Dolores, and he cares so much for his friend, Dr. Shirley. Towards the end of the film, he can barely sit through a Christmas dinner at his apartment, entire Italian family in tow, without worrying about Dr. Shirley. He can riddle the snappy, ignorant lines off his tongue in one breath, screaming, "I'd take a piss on his living room floor," and proclaim to Dr. Shirley that his dialect is, "fuckin romantic," in the next, with genuine feeling. It's a fantastic performance. He's the highlight of the film.

And Ali, so good as of late, nails Dr. Shirley. He starts the film coming off as an uppity type, seemingly better than Tony. However, as the film progresses, we see that Dr. Shirley is a broken man, alone and utterly frustrated with the marginalization he's experienced throughout his life. He exclaims that he hates being paid to play the piano by rich, white people. He suffers somewhat of an identity crisis, unable to fit in, no matter how much he tries. In one scene, he makes Tony pull the car over. Both men storm through the rain and he screams in Tony's face, "If I'm not black enough, and I'm not white enough, and I'm not man enough, then tell me Tony, what am I?" He's terrific at layering a man with much more than meets the eye.

What brings this feel-good drama out of the pulp that Farrelly is so accustomed to is the dynamic that Mortensen and Ali bring to their dialogue as a team. What starts as a very uncomfortable relationship between the two, almost coming off as a teacher chastising their student, or a mother deploring her son, quickly develops into a witty and hilariously heartfelt back and forth between the two. The two actors know how to play off one another, and their characters learn more than they could ever have imagined from each other. They save it from delving into sappy escapism.

The music, chiefly provided through Dr. Shirley's piano performances, is excellent. Though Ali does not physically play the piano, he captures the virtuosity and essence of Dr. Shirley on stage. Credit to Kris Bowers, who composed the score and is responsible for the music that we do hear, for a fantastic job. One scene, when Shirley and Tony defiantly refuse to play at a venue where they won't allow Dr. Shirley to dine, and they travel up the road to an all-black bar called 'The Orange Bird', shows Dr. Shirley actually playing for fun, instead of his mechanical playing at uppity venues - and loving it. Although classical music, it grows on you, and you can't help but smile while watching. All in all, it's Ali and Mortensen, who offer incredible performances separately and as a duo that make the film. You don't want to miss it.

Rating: 3.5/5

Golden Globe Picks

Sunday, January 6th

Hosted by: Andy Samberg, Sandra Oh

Best Film - Drama

Bohemian Rhapsody

If Beale Street Could Talk

A Star is Born

BlackKklansman

Black Panther

Who Should Win: A Star is Born. It's by far the best in the category.

Who Should have been nominated: Any number of films - First Man, Widows, A Quiet Place.

Best Film - Comedy/Musical

Green Book

The Favourite

Vice

Mary Poppins Returns

Crazy Rich Asians

Who Should have been nominated: Deadpool 2. The first installment of the foul-mouthed hero was recognized at last year's ceremony, offering Ryan Reynolds the performance of his career. The second, although not quite as good and lacking the surprise element of the first, was still a very good movie, and supersedes at least 2 films in this category.

Best Actor - Drama

Willem Dafoe - At Eternity's Gate

Bradley Cooper - A Star is Born

Rami Malek - Bohemian Rhapsody

John David Washington - BlackKklansman

Lucas Hedges - Boy Erased

Who Should Win: Rami Malek. Bradley Cooper is terrific - and cheers to him for nailing the singing and acting. But Malek's performance and his ability to accurately capture Freddy Mercury's bravado, gusto and stage mannerisms is nothing short of a triumph.

Who Should have been nominated: Ryan Gosling - First Man, or Joaquin Phoenix - You Were Never Really Here. Perhaps two of the most underrated actors of our generation deliver implosive tour-de-force performances that rightly should have been recognized.

Best Actress - Drama

Melissa McCarthy - Will You Ever Forgive Me?

Lady Gaga - A Star is Born

Glenn Close - The Wife

Rosamund Pike - A Private War

Nicole Kidman - Destroyer

Who Should Win: Lady Gaga. Her performance is a revelation that blew everyone away.

Who Should have been nominated: Emily Blunt - A Quiet Place. Labelled as a 'sociopath' by her husband-director John Krasinski, Emily Blunt is an absolute rockstar and steals the show for this doozy of a flick. Her scene in which she steps on a nail while trying to be quiet, or giving birth in the bathtub should have been enough by themselves to earn her a nomination for this category.

Maggie Gylenhaal - The Kindergarten Teacher. In one of Netflix's original productions, this film mostly flew under the radar. Though in a role that allows Gylenhaal to showcase how good she really is, she plays a kindergarten teacher aspiring to be a poet - and will really do whatever it takes to do so.

Best Actor - Comedy/Drama

Lin-Manuel Miranda - Mary Poppins Returns

Viggo Mortensen - Green Book

Christian Bale - Vice

John C. Reilly - Stan and Ollie

Robert Redford - The Old Man and the Gun

Who Should Win: Christian Bale. He is fantastic and nails every nuance and mannerism of Dick Cheney.

Who Should have been nominated: Tom Hardy - Venom. I understand this is a super unpopular take. Venom wasn't very good of a movie - but Hardy's back and forth with the black creature is hilarious.

Ryan Reynolds - Deadpool 2. The bad-boy of the Marvel universe is a custom role for Reynolds. He is fantastic.

Best Actress - Comedy/Drama

Emily Blunt - Mary Poppins Returns

Constance Wu - Crazy Rich Asians

Elsie Fisher - Eighth Grade

Olivia Colman - The Favourite

Charlize Theron - Tully

Who should have been nominated: Blake Lively - A Simple Favor. I find it difficult to nail an exact genre for this movie - though I think that with the track record of the Globes, it would have likely fallen into the comedy category. And it's a great performance from Lively - seductive, strong and self-defiant.

Best Supporting Actress

Regina King - If Beale Street Could Talk

Amy Adams - Vice

Claire Foy - First Man

Rachel Weisz - The Favourite

Emma Stone - The Favourite

Who Should have been nominated: Cynthia Erivo - Widows, or Elizabeth Debicki - Widows. Both offer the film fantastic performances. Erivo is a no-bull take, while Debicki offers a portrait of a battered and bruised woman who overcomes all to show tremendous strength.

Best Supporting Actor

Sam Rockwell - Vice

Mahershala Ali - Green Book

Richard E. Grant - Can You Ever Forgive Me?

Timothee Chalamet - Beautiful Boy

Adam Driver - BlackKklansman

Who Should have been nominated: Steve Carell - Vice. All credit to Rockwell for a great performance as George W. Bush. But Carell delivers, in my opinion, a better performance in Vice. He was also fantastic in Adam McKay's previous dramedy The Big Short, but was passed on then as well. He should rightly be here.

Daniel Kaluuya - Widows. His take of a psychopathic brother is nothing short of a scene-stealer. It's a monstrous performance that should not have been overlooked.

Best Director

Spike Lee - BlackKklansman

Bradley Cooper - A Star is Born

Alfonso Cuaron - Roma

Adam McKay - Vice

Peter Farrelly - Green Book

Who Should Win: Bradley Cooper. Cuaron seems poised to win the statue for his foreign "masterpiece" Roma. But Cooper should rightly win - his directorial debut took everyone by surprise - and A Star is Born is one of, if not the best film of the year.

Who Should Have Been Nominated: This is a pretty stacked category with some heavy hitters. But for arguments sake, Damien Chazelle's First Man has been criminally overlooked for this ceremony - so the youngest ever Best Director winner should be on the ballot.

It's also worth noting Steve McQueen for Widows, which was left off the Globes ballot completely (????). McQueen has always been an innovative director - and there are a couple of scenes in this film (one in which Colin Farrell talks to his secretary inside their limo while travelling through Chicago, and the camera stays out of the vehicle, seamlessly transitioning from the slums on one side of the road, to the rich community on the other) that could have single-handedly earned McQueen a nomination.

Best Screenplay

Green Book

Vice

If Beale Street Could Talk

The Favourite

Roma

Best Motion Picture - Animated

Mirai

Incredibles 2

Isle of Dogs

Spider-Man: Into the Spider-Verse

Ralph Breaks the Internet

Who Should Win: This is a very tough one - for me, it's between Spider-Verse and Incredibles 2, undoubtedly the 2 best animated features of the year. I give the slight edge to Spider-Verse because it came from nowhere. But anyone that says all sequels suck, look no further than Incredibles 2 to put that to bed.

Best Original Score

A Quiet Place

Isle of Dogs

Black Panther

First Man

Mary Poppins Returns

Who Should Win: First Man. The sheer effectiveness of the score in thefilm is brilliant. It was overlooked in categories that it should not have been - and rightly deserves a win here.

Who Should Have Been Nominated: Halloween. Just the reincarnation of the Carpenter classic eerie synthesizer should have been enough for a nomination.

Best Original Song

"All the Stars" - Black Panther

"Girl in the Movies" - Dumplin

"Requiem for a Private War" - A Private War

"Revelation" - Boy Erased

"Shallow" - A Star is Born

Who Should Win: "Shallow." This isn't even close. Most of the soundtrack for Star could have been individually nominated and still won this category. The entire record is phenomenal and this is the best original song I have heard in ages.

Best Motion Picture - Foreign Language

Girl (Belgium)

Roma (Mexico)

Never Look Away (Germany)

Shoplifters (Japan)

Capernaum

Who Should Win: Roma. Cuaron's epic is getting shouts for Best Picture. It should breeze through the foreign film category.

Vice

Christian Bale, Amy Adams, Steve Carell, Sam Rockwell

Directed by: Adam McKay

Vice

This year's Christmas Day special was a welcome treat in the form of a Dick Cheney biopic - who is notoriously known as one of the most powerful, yet silent, Vice Presidents in the history of the United States of America, serving George W. Bush. Adam McKay, the guy that brought you such comedic landmark films as Anchorman, Anchorman 2, Talladega Nights, Step Brothers and The Other Guys (I mean, seriously, that is a cracker of a comedy roster), is back at the helm, directing and writing the journey of the man who assisted Dubya. In 2015, McKay traded in directing purely comedy films to prove that he had dramatic chops as well - assembling an all-star cast to direct the blackish comedy-drama The Big Short. Though all of the above-mentioned comedy films are truly great, Vice falls more towards the Big Short genre, once again coming in hot with a dream cast, and once again proving McKay to be one of the best in the business. Anybody who says comedy can't tastefully and fantastically mix with drama need look no further than both Short and Vice.

The film opens with a double flashback, switching from Casper, Wyoming in 1963 where Cheney (Christian Bale) is arrested for his second DUI, already having been given the boot from Yale and switching to the boardroom in the White House on the fatal day of 9/11, whereby Cheney makes some ambiguous and suspect orders. Bale has always been one of the most versatile and dedicated actors in the business, along with being a merciless shape shifter (see The Machinist, The Fighter vs. The Dark Knight trilogy vs. American Hustle). Sporting an extra 40-ish pounds, Bale embodies Cheney's potato-like frame and the accompanying mannerisms. According to Bale, he has thousands of pictures and videos of Cheney stored on his iPhone in order to effectively study one of the most secretive men to ever occupy the VP position. It does pay off, though. Bale effectively manoeuvers Cheney's persona and that low, raspy, twitchy dialect that made Cheney a quiet assassin. And that ending monologue is a doozy. No stranger to the Academy, Bale has been nominated three times in the past eight years, having one win under his belt (The Fighter). Expect him to be on the ballot again this year.

Following the DUI, it's Dick's wife, Lynne (Amy Adams) who gives him the kick he needs to smarten up. Adams is terrific in the role, coming through as a manipulative, power-hungry, do anything it takes type. In an early scene that catapults Cheney to action, she adamantly states, "You're nothing but a big, fat, piss-soaked, fu-cking, ze-ro." Though Adams is fantastic, Lynne comes off as being the puppeteer to Cheney. At an event, she whispers to her husband, "Half of the people here want to be us. The other half fear us." Later, McKay has them lying in bed together, reciting Shakespeare to one another offering parallels to Macbeth and Lady Macbeth.

After the kick he needs, the film shows us Cheney interning with his political mentor Donald Rumsfeld (Steve Carell), and later becoming the youngest Chief of Staff to Rumsfeld's youngest Secretary of Defense, that the United States had ever seen. Carell is a live-wire, and its' his performance that keeps the film humming, especially for the first ¼ of the running time. McKay seems to have reserved the majority of his signature dialogue and wit for Carell, as he later exclaims to Colin Powell (Tyler Perry), "You're nothing but a fucking chicken shit," during an intelligence briefing. As Carell's performance gets less lively as the film progresses, so do the antics in office (Cheney exclaims to him, after bringing him in as Secretary of Defence, "times have changed... soft approach now"), Carell offers the film's liveliest and most nuanced performance.

And, finally, following a fake ending halfway through the film, we get to the meeting between Cheney and George W. Bush. Last year's Best Supporting Actor, Sam Rockwell, is back in the fold as Bush. Though, this year, he has a much smaller responsibility. Credit to Rockwell, he nails the twangy drawl of Dubya's dialect. But the film doesn't offer Bush much else. As Lynne comes off as the puppeteer to Dick, Dick comes off as the puppeteer to Bush. Though Rockwell answers the call, the film does not offer much for him to do - portraying him as a somewhat clueless front piece for all of the political maneuvering being done behind him.

Though, it is McKay pulling the strings, and so, don't expect a cookie cutter biopic. Interlaced with real life footage and bloated metaphors that cut to the screen, the film flows well and does not feel like 2 hours and 12 minutes. While Vice is certainly an achievement of a film, something is missing here that McKay achieved in Short. Nevertheless, expect it to be up there with other Academy Award hopefuls this season, due largely to McKay's ability to get the best out of his actors. Given the climate of American politics now (and there's a funny jab at Trump in there), it's a film you don't want to miss.

Rating: 4/5

First Man

Ryan Gosling, Claire Foy, Jason Clarke

Directed by: Damien Chazelle

First Man

Ladies and gentlemen, we officially have the first pure Oscar-bait movie of the season. First Man recounts the true story of astronaut Neil Armstrong, and the rest of the team that launched the successful Apollo 11 mission to the moon. During the era in which the Soviet Union dominated space exploration, the venture marked a dazzling breakthrough for aeronautics. Though, once you watch the deeply visceral reunion of director Damien Chazelle and lead man Ryan Gosling, you'll understand just why this spectacle will earn every accolade it receives in the upcoming awards season.

The film starts with Neil, alongside wife Jan (Claire Foy), mourning the death of their newborn, Karen. A note here about Foy: Mostly renowned for her television successes (The Crown), her turn here puts her firmly in the running for the Best Supporting Actress statue. She embraces the role of the strong mother left home to tend to the children while Neil runs off, not knowing if he will ever return. In one fantastic scene, she lets Neil have it, forcing him to tell their boys that he may never return, proclaiming, "I'm done." A very outward performance, Foy radiates ferocity, matching her counterparts at every turn, making a great case as to why she should be cast in everything going forward. She's a dynamo.

The film covers several years in the 1960's, canvassing all of Neil's astronaut training, lunar surface vehicle training, Gemini 8 mission and eventual commanding of the Apollo 11 mission. Chazelle, a long way from his musical love letter to Hollywood, La La Land, is more concerned about the human element driving the mission, rather than the spectacle of space displayed in such films as Gravity, or Interstellar. The scenes in which we see Neil test a rocket bouncing off of the atmosphere, or his leading the near catastrophic Gemini 8 missile back to earth, to the eventual landing on the moon are shot with an intensity, placing the viewer inside of the capsule, where the camera vibration gives a noxious feeling, allowing the viewer to better understand the near-doomed astronauts. There's a reason why Chazelle allows the space and surrounding blackness to merely backdrop the real drama that is written all over the faces of the astronauts attempting to navigate unknown terrain.

The score, composed by Oscar winner Justin Hurwitz (La La Land) bounces back and forth between symphonic, melodic and thumping, greatly increasing the tension of many of these action sequences. Yet, at some of the most significant moments of the film, the score vanishes entirely. Perhaps the most inviting scene of the film, Neil's first steps on the moon, we hear silence, save for his laboured breathing. Significantly, we do not see the cheering of the crew or the American fans back home, but rather a touching gesture by Neil in his daughter's memory.

Gosling, who has criminally only been nominated for two Academy Awards (Half Nelson, La La Land), will surely be in the running for Best Actor. His implosive performance is magnificent, as he digs into the role of Armstrong, a torn family man trying to balance work and personal road bumps. Instead of outward bursts and long monologues, we are left to search his eyes and observe his facial expressions, with Chazelle smartly leaving the camera on his face for long takes. What Gosling does in the scene where he is forced to tell his two boys that he may not come back from the Apollo 11 mission is hearbreaking and impeccable, portraying a man truly torn. He refuses to talk about his daughter, or many fears that he has with his missions. It's a timely nuanced performance from one of the greatest actors of the generation. He's brilliant.

Sure to grab nominations in the technical categories like Film Editing, Sound Editing and Sound Mixing the film truly is beautiful. With that said, the long and intense action sequences dip into lengthy lulls. At a run-time of 2 hours and 21 minutes, some of the fat could have been trimmed, allowing a little more precision. Blessed with a cast of names familiar to most, including Kyle Chandler, Lucas Haas, Pablo Schreiber, and Corey Stoll, it's Jason Clarke who offers a few moments of comic relief and touching gravity. But it's Foy and Gosling whose performances remind us of the human beings, and the effort that went into a mission that launched the famous phrase: "That's one small step for man, one giant leap for mankind."

Rating: 4/5

Halloween

Jamie Lee Curtis, Judi Greer, Nick Castle

Directed by: David Gordon Green

Halloween

Confession: I am a Halloween fanboy. I watch all of them every Halloween season, so to see a new installment from Director David Gordon Green and funny man Danny McBride was a welcome Halloween treat. By contemporary standards, the 1978 original from John Carpenter isn't scary per se, and a tad tame, compiling a mild body count of 5. David Gordon Green, whose weirdly intriguing resume ranges from bad (The Sitter), to good (Pineapple Express), to fantastic (Stronger), wisely ignores the 9 predecessor sequels, and chooses to base his own off of the 1978 Carpenter landmark.

The action picks up 40 years after the original Halloween massacre, with two British investigative journalists visiting the Smith's Grove rehabilitation institution to get a glimpse at the "Boogeyman" himself, Michael Myers. While there, they meet Dr. Sartain, the predecessor to the infamous Dr. Loomis. A note: This was a great adage to not inject a new Dr. Loomis into the plot, because let's face it, nobody could replace the late-great Donald Pleasance (not even you, Malcolm McDowell). This opening scene, of the two journalists attempting to illicit a response from Michael is equal parts creepy and intense, setting the tone for the rest of the film.

Then, we're launched into fanboy stardom, which starts as soon as the opening credits. The font, same as the original, the jack-o-lantern backdrop the same as the original, and yes, that eerie Halloween synthesizer score is back and updated (By Carpenter himself, and his son, Cody). Green wisely brought in the master, Carpenter himself, to serve as the chief executive producer for the film. And the best mimic of all? The long, tracking sequences that take Michael's point of view as he stalks and terrorizes his victims. They're phenomenal. A nice update: the body count in this new re-vamped sequel more than triples the original.

The two journalists then venture to try and get a word with the only survivor from Michael's original Halloween night murder spree, Laurie Strode (Jamie Lee Curtis), who in the 40 years since that night, has turned into a merciless survivalist, gun-ready and locked up in a booby-trap of a house as if it's Fort Knox, waiting for the day that she can meet Michael again (perhaps reminiscent of Neve Campbell's character in Scream 3). Laurie describes herself as a 'basket case', having caused a near permanent riff between herself and her daughter Karen (Judy Greer), and grand-daughter Allyson (Andi Matichak). Before we turn to our heroine, an aside of the supporting cast: Greer, who's largely a household name, comes up aces - her naivety is palpable until called into action. And Matichak, a newcomer, is a warrior. She resembles the young Strode of the '78 original. Watch for her - she'll be cast in lots in the coming years.

Lee Curtis, whose first feature film and career-defining role was the young Strode back in 1978, inhabits the character as if she never left. She's strong, vulnerable, fiery and sad at the same time. In one scene, she tells the sheriff, "Every night I have prayed that he would escape." When asked why, she responds "So I could kill him." You feel it. She's fantastic.

The plot is nothing new: A bus crashes, bodies pile up and terror ensues. However, there isn't much more of an eerie feeling than seeing Michael dawn that William Shatner painted mask as he starts his reign of violence. Another throw-back to the original is the casting of Nick Castle to portray the Boogeyman. Castle portrayed the original essence of pure evil in the 1978 original - and stays true to the character. The way he walks, the tiny head turns and movements are the same. He's a powerhouse.

To say much more would be to dive into spoiler territory - but there are twists and turns that you will not see coming. One note: as in most horror films, there are tidbits of comic relief, mostly at the start of the film, that undercut the scares and relieve tension. Aside from Jibrail Nantambu (sassy boy being babysat - absolutely hilarious), most of the attempts at humour are awkward and ill-timed. I would attest this to the obvious comedy background from the director Gordon Green and co-writer Danny McBride (Eastbound and Down). Besides this, there are tons of inventive new kills, throwbacks and action. Altogether, Green and McBride's admiration of Carpenter's original is clearly visible - It works wonders.

Rating: 4/5