https://unwantedopinion.net/home daily 0.75 2022-04-27 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/1651070849927-KYHYUY0VLRY2G301CWG0/IMG_0711.JPG Home https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/1651073210225-AFJ7DAQS6KG12N5K0WAR/IMG_0719.JPG Home https://unwantedopinion.net/articles daily 1.0 2026-01-06 https://unwantedopinion.net/articles/the-top-ten-films-of-2025 monthly 0.5 2026-01-06 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/b5afa75f-804a-40f8-a786-a270b4f57289/I%27m+still+here.webp Articles/Reviews - The Top Ten Films of 2025 - 10. I’m Still Here - After the capture of former politician and father in 1971, Brazil, Eunice and her family are forced to live in fear as she secretly fights for answers as to her husband’s disappearance. Fernanda Torres rightfully received an Oscar nomination for her performance here as a Mother desperately trying do right by her children, lost as to what has become of their lives in this political upheaval. Walter Salles most effective component of his film is his ability to manipulate a space that was once filled with love and morph it into one of coldness and hostility. The lack of morality that haunts this family is one that permeates the film too they seek justice that will never appear, a spectre just as their father has become. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/0d2486e9-579b-4e65-a139-89a76e1acc19/Black+Bag.jpeg Articles/Reviews - The Top Ten Films of 2025 - 9. BlackBag - A playful, Hitchcockian whodunnit that, at its core, is about the power of true companionship. Under its stylish modern spy aesthetic and cynical takes on modern dating (one that might make a good double-feature with, Materialists), lies a deeply positive message that true love can indeed conquer all. Fasbender is entrancing as the obsessively devoted, George, whose doubts lead to a myriad of questions about the nature of his marriage and the true intentions of those around him. Not a second is wasted in this tight, well-structured story, whose ending would be befitting of a classic golden-age thriller. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/d3f40eac-347e-49b2-9b27-e6064bfc1bd5/sentimental-value.jpg Articles/Reviews - The Top Ten Films of 2025 - 8.Sentimental Value - After the death of Renate and Inga’s mother, their estranged father, Gustav (Stellan Skarsgård), seeks to use their family home as the setting for his latest film. Joachim Trier’s latest film journeys into the complex emotions of fraught relationships and estranged relatives. Each performance pierces the veil of the screen, feeling wholly tangible, as Trier and his intimate camerawork bring us closer to the dynamics of this fractious family. Trier makes us feel like we, too, are an old family ornament who has seen the tumultuous ins and outs of their lives. Trier’s characters are always filled with insecurities and flaws, which are ever-present here, drawing us into their personal and profound moments of truth that they are forced to face. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/00c2c794-2ad8-4ad9-a5bd-0d367ac3ac50/blue+moon+.jpeg Articles/Reviews - The Top Ten Films of 2025 - 7. Blue Moon - Taking place within the final months of lonely Broadway lyricist Lorenz Hart (Ethan Hawke) set primarily in one location, Blue Moon is at times charming and hilarious, but never loses this tone of melancholy throughout. Hawke’s turn as the hopeless romantic only fills your heart with pity as he so desperately seeks to be loved, pining after Elizabeth (Margaret Qualley), whom he knows it could never truly work. Hawke is at the height of his powers, never failing to draw you in to every word and wild, witty remark. While the audience knows it is the end for Lorenz, there is a dawning sense that he, too, knows it is the end as Hawke manages to capture the sadness of the light fading from one’s eye. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/f43ec315-7c5c-4d47-a498-f3a5f78a570a/Train+dreams.jpeg Articles/Reviews - The Top Ten Films of 2025 - 6. Train Dreams - A lonesome man’s odyssey through the peaceful pines of America’s frontier, Train Dreams is a meditation on the interconnected roots of America, man, and the natural world. Narrated like a great American novel of the 20th century, accompanied by a visual style that frames its world like a portrait of a time long since passed. Joel Egerton leads the film as the quiet, stoic Robert, a man whose journey through the quiet and, at times, cruel forests makes both us and Robert contemplate what is truly important in life. We become hypnotised by Robert’s way of life, which, by the film’s close, director Clint Bentley brings us to an understanding of life’s brevity. Bentley’s film leaves space for reflection on the beauty and cruelty of not only America’s expansion, but also life itself. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/708c4ff0-8b70-4a61-b9e6-6d74a94520bb/sinners.jpeg Articles/Reviews - The Top Ten Films of 2025 - 5. Sinners - A true blast from start to finish, Ryan Coogler’s smash hit Sinners is set to be a vampiric classic in years to come. Sinners’ true impact comes from the time it gives us to inhabit the town of Clarksdale, understanding the relationship dynamics between the twins, Smoke and Stack (Michael B Jordan), and their dynamics between all the community they left behind since their time in Chicago. Jordan plays both twins with clear distinction and pedigree, while surrounded by a stellar supporting cast. All of this builds to a superb second act that, at its core, becomes about the connection music creates between people and time, leading to one of the most profound sequences of the year. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/1ab6d964-05c9-4f44-8bbf-2a7bf152e4d3/nosferatu.jpeg Articles/Reviews - The Top Ten Films of 2025 - 4. Nosferatu - What a year for vampires! Robert Eggers’ Nosferatu remake is gloriously dark, gothic and bleakly brilliant. Invoking the theatricality and visual prowess of the 1922 original along with more contemporary horrors like, The Exorcist (1973) and Possession (1981), Rogers solidifies his version of Nosferatu as its most evil. Lily-Rose Depp triumphs as the tortured Elizabeth, whose physical and traumitised performance evokes the film’s allegory of sexual assault and the victim blaming that follows suit. Its oppressive mood is dictated by the phenomenal set-design and cinematography of Jarin Blaschke, all coming together to create a visual feast for the eyes. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/e8a3a557-6ffb-4b85-a35f-e29a8128a7f5/brutal.jpeg Articles/Reviews - The Top Ten Films of 2025 - 3. The Brutalist - Epic in scope, emotion, and yes, runtime - The Brutalist is a triumph that was perhaps snubbed for last year’s Best Picture. Telling the story of Hungarian architect László Tóth’s (Adrien Brody) and his American odyssey to achieve his architectural vision, The Brutalist, is a startling reflection on the immigrant experience and the exploitation that follows. Brody rightfully won his second Oscar for a performance that enraptures the beauty and brutality that follows in chasing László’s vision. It is a performance that understands the consequence, pain, and worth of every sacrifice. The impeccably crafted Vistavision cinematography by Lol Crawley and the sonically sumptuous score by Daniel Blumberg capture the enormity of László’s dream and the darkness of his reality. A lofty cinematic experience that can be seen and studied in a myriad of ways, whether it be the capitalist exploitation of those told a false dream or the never-ending battle between art and commercialism, The Brutalist is a treasure trove of ideas and an inspiring tale of a ceaseless spirit. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/e8d7b925-ec83-49f0-94f2-a9dbaa90b1f1/marty+supreme.jpeg Articles/Reviews - The Top Ten Films of 2025 - 2. Marty Supreme - A true spiritual Successor to Good Time and Uncut Gems, Marty Supreme is every bit as chaotic, unpredictable, and intense, but it is Chalamet’s charismatic turn as the titular Marty that adds a touch of humanity to Josh Safdie’s anarchy. We follow Marty in every one of his wild schemes, as even under all that arrogance and recklessness, there is a true charm to Chalamet’s performance. Marty Supreme invokes the chaotic and hostile New York of Scorsese’s After Hours, a chaos all of Marty’s own making. Marty's ceaseless destruction and inability to know when to quit mount to a non-stop tale of twists and turns that remarkably highlights what is truly meaningful in life. This is an Icarus tale of sorts, of a man who flies too close to his massive, burning star of an ego, maybe coming out the other side burnt, but as a better man for it. Engaging from start to finish, punctuated by a breakneck editing style and transfixing score by Daniel Lopatin - Marty Supreme reigns supreme. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/dfa99277-6d22-4afe-9c3d-433d7a52c656/one+battle+.jpeg Articles/Reviews - The Top Ten Films of 2025 - 1.One Battle After Another - Paul Thomas Anderson’s 10th feature film is undeniably one of his best. While There Will Be Blood, remains as prevalent as ever in its commentary on cannibalistic capitalism, none of Anderson’s films have been quite so relevant to today’s political climate. Understanding the current heat of America’s governance, Anderson’s film does not stop from the first minute, ramping up the temperature and tension in every passing scene. As white supremacist Colonel Lockjaw (Sean Penn) tightens his grip on Baktan Cross, we become witnesses to some of the most exhilarating set-pieces of the year, all propelled by Johnny Greenwood’s frantic, electrifying score. Yet there is no suave, heroic figure with a righteous moral code to save the day; instead, we get Bob (Leonardo DiCaprio). A stoner who has been out of the revolutionary commission for 15 years is suddenly thrown into the fray between Lockjaw’s militia and bounty hunters, all in search of his daughter, Willa (Chase Infiniti). DiCaprio is at his comedic peak here (one that rivals his turn as Rick Dalton in Once Upon a Time in Hollywood), as a man woefully out of his element, fumbling around as he tries his best to save his daughter. Indeed, amidst the wild chase sequences and political commentary that highlight the tragic, consequential idiocy of fascistic rule, there is the story of people just trying to get by, trying to survive in a time of constant rage. https://unwantedopinion.net/articles/david-lynch-the-auteur-who-compromised-for-no-one monthly 0.5 2025-01-22 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/cb388cb1-d97c-4a55-b792-dd8be358480b/Twin+Peaks+-+3.jpeg Articles/Reviews - David Lynch: The Auteur who Compromised for No One - Take his terrifying prequel to Twin Peaks, Twin Peaks: Fire Walk with Me. The film chronicles the last days of Laura Palmer before her murder as she is brutally tormented by beings from two plains of reality. It is an unsettling watch, but its final moments are something transcendental. As Laura enters the red room Lynch’s philosophy of death becomes clear as the hand of Dale Cooper rests on her shoulder as if to say, everything is okay, death is not the end. It is a striking image; as Sheryl Lee’s performance reaches an emotional crescendo that accentuates this liberation from torment. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/276f88e6-7ee5-4fab-be88-13bd14e85f9a/mulholland-drive-meshes-of-the-afternoon-01.jpg Articles/Reviews - David Lynch: The Auteur who Compromised for No One - Mulholland Drive is regarded as Lynch’s most acclaimed work (and my personal favourite), the pinnacle of post-modern filmmaking and one that people obsessed over, wanting to understand every detail to determine what is real and what is a dream. However, as Roger Ebert said, admitting to Lynch that he did not comprehend the film fully, “I understand it emotionally and that’s the important thing” and Lynch replied, “Absolutely.” To understand film is to empathise with film and that is all that truly matters. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/a4f3cf00-a2fa-4f5c-a19e-e7740df6458a/p23257_k_h9_ab.jpg Articles/Reviews - David Lynch: The Auteur who Compromised for No One - The Straight Story, a film where an old man named, Alvin (Richard Farnsworth), drives a lawnmower across America to seek his brother’s forgiveness, is so earnest and charming, filled with Lynch’s Candour that only he could write. Farnsworth’s sympathetic performance makes Alvin so instantly likeable that his journey becomes irresistible to watch to the end. Just as in every Lynch film, these stories are lined with tragedy, as all our lives are. It never mattered how ordinary or extraordinary the world Lynch’s film inhabited, he always understood the human detail that made you connect to his stories. https://unwantedopinion.net/articles/the-24-best-films-of-2024 monthly 0.5 2025-01-05 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/a67b6cc4-53a6-402f-8cf6-b5a91c6e49c2/71MFUyA1-YL.jpg Articles/Reviews - The 24 Best Films of 2024 - 24. The Wild Robot – One of this year’s best animated features is the delightfully adorable, The Wild Robot. The story of an abandoned robot Roz (Lupita Nyong’o) as she and Fink the Fox (Pedro Pascal) become the surrogate parents to Brightbill the geese (Kit Connor) make for an engrossing watch about misfits banding together. Kris Bowers composes powerful melodies that give a sense of wonderment and strength to this rag-tag family, while director Chris Sanders’ desire for a hand-painted style in this 3D animated film gives the feature a storybook quality that stands out as Dreamworks’ prettiest film to date. It is a fun, affectionate watch that will bring a smile to even the most cynical. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/7745af0f-db2c-4b6d-9dc8-54a59c0f6241/MV5BMmJkNGNiNjgtMzFlYy00ZDI5LWI2YzktZGVjYjI5MjQyMGU3XkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 23. Longlegs – The Horror film that caught the cultural zeitgeist by storm, Longlegs was an impactful moment that demanded attention with its grippingly dour and eerie atmosphere. Boasting one of year’s most gripping opening scenes, Longlegs, sets its tone very quickly, as detective Lee Harker’s (Maika Monroe) search for the killer Longlegs (Nicholas Cage) takes her on a descent into a barren, grey and hopeless world where no good can be found. Oz Perkins makes you second guess every dark corner and - while we are used to some crazed Nicholas Cage performances – Perkins’ direction turns his mania into something fearful. While its slight genre shift and lack of ambiguity makes for a rather ordinary ending, the overwhelming feeling of dread Oz Perkins conducts is striking. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/6f4084d8-4fac-4675-90b4-a4b36e8fc28d/MV5BZDY3MGVjYjItN2I1OC00ZGNkLWIwOGQtNTBiNWM1NmQ5NTZlXkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 22. The Bike Riders – The Biker Riders was 2024’s biggest surprise. A film which looked like a conventional and rote tale about the real-life biker gang, the Vandals, turned out to be a thoughtful meditation on sexuality and community. Austin Butler leads the film as Benny, channelling his inner James Dean with a smouldering silence indicative of a man who wants to stay outside the noise of society. Writer and director Jeff Nichols and his production design team make for a convincing retro feel in its period accuracy and its framed narrative, narrated by Benny’s wife, Kathy (Jodie Cormer). Cinematographer, Adam Stone, adds to his quality with well shot biking sequences, rich colours and still frames that look like they could be hung up in an American Diner. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/de213a99-0551-463e-99f2-d49eec611f32/MV5BMzczYmQ0NTUtMTM5OS00Mzc4LWExZDYtOWE4YjRkOWJkYWRlXkEyXkFqcGc%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 24 Best Films of 2024 - 21. Blink Twice – Zoë Kravitz’s directorial debut is a sharp, bleakly brilliant thriller about the reclamation of power. Its subject matter is serious (perhaps the first time a trigger warning has been attached to a new release), with its depictions of sexual assault, however, Naomi Ackie carries the film with poignancy in her performance. Channing Tatum sheds his comedic skin, morphing into someone slimy and sinister, but putting on a front of consideration, like a chameleon of care. Kravitz’s film leaves many mysterious to be solved, layering her film in engaging twists and turns that feels Hitchcockian in its essence. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/0128eafe-f7e7-4791-885d-a058ee238092/%24_57-2.JPG Articles/Reviews - The 24 Best Films of 2024 - 20. Robot Dreams – Profound in its simplicity, Robot Dreams is a tender tale of love found, lost, and found again. Writer and director Pablo Berger chose to tell his story with no dialogue, as every emotion and humorous incident is depicted eloquently through the retro 2D animation style of Arcadia Motion Pictures. The everyday antics of Dog and Robot are charming, but it is a relationship born through a harsh reality, where loneliness stems from a feeling of anxiety and lack of belonging. Yet, Robot Dreams is ultimately about the importance of building such relationships, no matter where they are destined to go. Its retro-realised New York feels alive and the inclusion of September by Earth, Wind and Fire, that acts as the theme for Dog and Robot, brings bittersweet joy to the whole picture. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/80cfca91-92a0-419b-9c25-aa7f96234d4b/MV5BYjgxMDI5NmMtNTU3OS00ZDQxLTgxZmEtNzY1ZTBmMDY4NDRkXkEyXkFqcGc%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 24 Best Films of 2024 - 19. Conclave - Who knew the election of a new pope could be so thrilling? Well, director Edward Berger makes this Vatican City conspiracy a thoroughly captivating watch, filled with twist, turns, and spearheaded by the always brilliant Ralph Fiennes. Improving upon his previous feature (All Quiet on the Western Front), Berger’s film questions the meaning of faith and how its various interpretations can lead to human progress or regression. The Vatican City acts as a microcosm to real world political apathy, a race to find to the least immoral candidate amongst those desperate for power. Peter Straughan’s script is sharp and prevalent, with Fiennes’ speech on faith being one of the most enlightening pieces of writing you will find in a film this year. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/5c29454c-cdfe-4892-b0ef-280f10f1bf05/MV5BM2I4ZTZhOTMtZDQ0Ni00MzI5LWE2YjktNzc0NjdkOGJiZjYzXkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 18. American Fiction – Cord Jefferson’s, American Fiction, is comments on the establishment that pigeonholes Black storytellers. Much of its humour is derived from Monk’s embittered personality, brilliantly portrayed by the often-underrated Jeffrey Wright (also nominated for best actor) frustrated with the state of modern fiction. In turn, this pushes him to create a derivative, over the top novel that, to his bewilderment, becomes one of America’s most talked about novels. Yet, even with its primary thesis, American Fiction juggles many plots at once, never feeling overwhelming or unfocussed. Its ability to capture the tender and flawed aspects of love and family life, while having this meta commentary of how race is used in fiction, make for an impressive and captivating watch. Sincere, Witty and on the pulse, American Fiction is one astute feature. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/55abc400-bb5a-4bfe-a4da-16d7856002b4/GLYMzrsXYAA5xIS.jpg-large.jpeg Articles/Reviews - The 24 Best Films of 2024 - 17. Hit-Man - Glenn Powell only solidifies himself further as a true Hollywood star, bringing an effortlessly cool persona to Ron; all the while pulling off a quaint, docile aura whenever he returns to his true self. Powell manages to ground the silliness of his situation with dramatic conviction whenever the stakes are high, but never loses his comedic senses throughout. Adria Arjona is Powell’s perfect pairing, bringing immediate weight to the narrative from her first scene, shaking up the story with a chaotic lightning bolt. The Hit Man’s tension and stakes build naturally over the course of its dangerous romance, with exciting twists and turns that lead to a nail-biting third act. There is a clear purpose to Linklater and Powell’s romp, engaging in ideas of authenticity and the true self. Within its slightly ridiculous confounds, The Hit Man asks these questions as to whether validation only comes once the outside world feels drawn to our personality, whether through a change in appearance, confidence, or outright performance. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/cf7d1555-b7d7-491b-8631-76eff6adc46c/MV5BYTkzMjc0YzgtY2E0Yi00NDBlLWI0MWUtODY1ZjExMDAyOWZiXkEyXkFqcGc%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 24 Best Films of 2024 - 16. Civil War - While this is A24’s biggest film to date, budgeted at around 50 million dollars, do not go in expecting massive action spectacle. Civil War is not a film set out to politically divide its audience. This is a story of ambition, the loss of innocence and the desensitisation of violence. Garland’s characters feel real with purpose, imparted with morally questionable flaws, questioning the very humanity that must be removed to portray what must be seen. We see how violence effects everyone uniquely, how it transforms individuals, and how it can be capitalised on. This may be one of the last films Alex Garland directs and if so, he has concluded his filmography with a triumphant piece that holds a mirror to the world and the essence of violence itself. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/62f0a52a-3f74-4dd6-aa38-463b5f02d07c/MV5BNTcwYWE1NTYtOWNiYy00NzY3LWIwY2MtNjJmZDkxNDNmOWE1XkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 15. Furiosa: A Mad Max Saga – Mad Max: Fury Road is hailed as not only one of the greatest action films ever made, but one of the best films of the 21st century; thus, trying to replicate that film and its style would only lead to harsh comparison and disappointment. Director George Miller understands this, going for a slower paced film that gives us time to soak in the twisted world Miller has set before us. Anya Taylor-Joy’s stoic, rage induced presence gives real tenacity to her quest, matching Charlize Theron’s version of the character, making this film flow seamlessly into Fury Road. Chris Hemsworth hams it up with villainous delirium, making for one of the best performances of his career. The action is of course slick, stylish, and drowning in a diesel-punk aesthetic that makes for some of the most visually stimulating action you will likely see all year. Miller’s film is once vibrant and rich in saturation that sets itself apart from a film landscape that is desaturated and afraid of colour. Furiosa succeeds in what a prequel should do: enriching the story of its predecessor and the world of the Wasteland even further. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/cd2fb350-4018-4d50-a071-018ebdb07c31/01.jpg Articles/Reviews - The 24 Best Films of 2024 - 14. Anora – Sean Baker’s dismantling of the American dream continues in this stellar dramatic comedy. The fairy tale of a young sex-worker, Anora (Mikey Madison), who falls for the young and rich, Ivan, makes for a hilarious comedy imbued with catastrophe. Mikey Madison is destined for Oscar gold in a performance rich with personality, grit, and gusto. Baker has always been able to surround his leads with remarkable character actors, which is no different here. Yura Borisov, Mark Eydelshteyn and Karren Karagulian make for some of the impressively authentic supporting performances that bring the chaos to life. It is a humorous journey, but one clouded in callousness and selfishness that the viewer also falls in to. Baker’s greatest trick is convincing us that all of this is real, falling for a feigned romance just as Anora does, powerless as to the consequences. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/b4d12bb2-d3a1-41e9-99d1-b445fb00f7a6/MV5BMjgzNjczNDktMWE2MS00YTU1LThmNzUtOGE3MzIzYzQ4ZTQ2XkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 13. La Chimera – Imbued with strange magical realism, La Chimera is an oddity of a film. Taking influence from Italian modernist cinema, La Chimera fittingly and filmically has one foot in the past and one in the present. It is about the connections between the past and present, how our own pasts shape our present-day persons and motivations. Josh O’Connor’s silent, cantankerous being is a curious watch, one that fills you with frustration and whose motivations remain clouded until the film’s stellar conclusion. The band of crooks he journey’s with provide moments of cooky alleviation, but also reflect Arthur’s status as a nomad, seeking what is lost while his soul too is missing that piece of contentment. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/6e24daeb-c180-4155-a717-e47db4757c40/MV5BOWY3MjUzZTctOTI5ZC00MDA5LTk4ZTMtZWJjNjRmMzE4ZmI2XkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 12. The Holdovers – Inspired by films of the late 70s and 80s, such as The Last Detail, Five Easy Pieces and Dead Poets Society, The Holdovers is a heartfelt tale of the bonds formed between the lost and the lonely. Set to become a Christmas classic, the film follows a grumpy, alcoholic boarding schoolteacher, Paul (Paul Giamatti) who has been put in charge to babysit a handful of kids over the holiday season, including one particularly bright troublemaker, Angus Tully (Dominic Sessa). Giamatti rightfully earned a nod for Best Actor as the disgruntled, regretful teacher instilled with pathos. Paul’s evolving relationships with Angus and the School cook Mary (Da’Vine Joy Randolph, who deservedly won Best Supporting Actress) make for moments of familial joviality and heart-rending revelations. David Hemingson’s characters are well realised by director Alexander Payne who brings sincerity and conviction out of his performers, whose journey’s reach touching and satisfying conclusions. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/3a6b703a-6379-4382-8388-2b285e186043/MV5BODM5OTVlNDQtZTk2NS00NGJmLThkYWUtZjgxMGFhN2YxNmJkXkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 11. Dune Part 2 – What else can be said about Dune Part 2? An epic in every sense of the word, everything about Dune is massive, in its scale, cast, visual effects and ideas, that deal with themes of destiny, the manipulation of faith and colonialism. Denis Villeneuve’s sequel takes us to another world with wonderous work by cinematographer, Greig Fraser, and magical visual effects work by DNEG, that show what can be created with blockbuster financing (I’m looking at you Wicked and Deadpool & Wolverine). Timothée Chalamet commands the screen like we have never seen him before and his physical rival, Feyd-Rutha (Austin Butler), gives a deviously psychotic performance that captivated whenever he was onscreen. However, it is Zendaya who carries the soul of the film, whose emotions and character outcome prove what has been lost through Paul’s conquest. Dune Part 2 is the type of film that can only be appreciated on the big screen; so, if you (somehow) missed it, Dune Part 2 returns to IMAX screens this January. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/c416e2d4-ac8e-42c8-ada2-4fad3095f6cb/MV5BYjJjZDc5YTUtYTc4My00Yzc2LTkwMGUtOTg3ODIwYzJkYTJiXkEyXkFqcGc%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 24 Best Films of 2024 - 10. The Iron Claw – Based on the harrowing tragedy that befell the Von Erich wrestling family, director Sean Derkin weaves a story of loss and, most essentially, one of pain. How pain pushes us, breaks us, and sets us on the road to ruin. Zac Efron epitomises this feeling, (perhaps best emblemised in his first fight with Ric Flair) as a man striving for greatness refusing to recognise the trauma and distress he is under. Efron has never been better, carrying the film with emotional and physical might. The rest of the cast, including, Harris Dickinson, Jeremy Allen White, and most essentially, Holt McCallany, are all on excellent form, pushing themselves to physical limits and emotional depths to depict a remarkably tragic tale with the utmost conviction. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/ba386f1a-e285-4b68-bd26-d5e969f60c43/MV5BMGJjYzVhYjEtNWYwMy00YTk5LWExMjYtNTdjODMyZTU3MzQwXkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 9. Monster – Inspired by the Rashomon storytelling technique, Monster, depicts the consequence of miscommunication and misinterpretation that befall a mother, her son, and his teacher. Monster’s ability to instil and play with our human misunderstandings and frustrations makes you realise the emotional power film can have over its viewer. Director Hirokazu Koreeda and writer Yûji Sakamoto know precisely when to conceal and reveal character information in order to deliver the most powerful emotional punch. As every passing chapter goes by the film’s title grows more salient, for what makes us monsters? In Koreeda’s film, perhaps it is simply ignorance or a lack of communication that divides us and fashions a fabricated hatred. Monster is an undeniably relatable picture, one where its structural design is entangled with its messaging to resonant effect. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/bf2ea932-3aaa-425b-b684-353457e0d304/MV5BMzc0NDExOTQtODA1MC00Zjg5LWFkZGQtOWYyOThiZGZiN2MzXkEyXkFqcGc%40._V1_QL75_UX480_.jpg Articles/Reviews - The 24 Best Films of 2024 - 8. Queer – Luca Guadagino’s second film of the year is a tremendous, surreal exploration of lust and loneliness. Daniel Craig gives a career best performance as, Lee, the heroine addicted ex-pat who falls for the young Eugene. Guadagino’s ability to convey longing and love’s destructive qualities in his films (Call Me by Your Name, Challengers, Bones and All) have stood as his greatest skill as a filmmaker; yet, never has it proven more effective and heart-breaking than in, Queer. Due to the surreal quality of William S. Burroughs’ novel, Guadagino can go beyond the physical realm to depict desire as a ghostly spirit desperate for touch, and at times, an amalgamation of two beings, searching for something within. Guadagino’s surreal touch never takes away from the grounded emotion, reaching an existentially moving conclusion to Lee’s journey. Trent Reznor and Atticus Ross’ score (the pair who also worked on Challengers) give the film an ethereal, tender touch with one of the year’s best compositions too. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/e41a761b-828c-4446-a510-937694b855af/MV5BZGNiZmJmNGYtNTk4Yi00YTdlLWEyZDItMGZjMWY2ZDFiMWZiXkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 7. I Saw the Tv Glow – While I Saw the Tv Glow is labelled as a horror film, its unsettling nature is not derived from jump scares or violent deaths, but from a visceral expression of emptiness and loneliness experienced by trans people. Its reflections on memory and nostalgia are perfectly embodied by Jane Schoeburn’s direction, which create a dreamlike, uncanny reality, in which the only humanity that exists is by the love shared by Owen (Justice Smith) and Maddy (Brigette Lundy-Paine) for a Tv show named, The Pink Opaque. Justice Smith gives the most underrated performance of the year, one enveloped in melancholia and misunderstanding, culminating in a haunting conclusion indicative of our inability and impossibility to empathise with an experience we do not fully understand. The film flows like a dream, making it hard to discern memory from fantasy, with its gentle stream pulling you along this uncanny world of missing humanity. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/2e27ddc9-06d6-4bd7-b781-7020270491e5/MV5BMTBkZTk1NzMtMTNlMC00ZjFmLWE5ZWYtYzg0NmVlNzllNTRlXkEyXkFqcGc%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 24 Best Films of 2024 - 6. The Taste of Things – Undoubtedly 2024s most romantic film, Anh Hung Tran directs a delicate culinary journey into the bonds formed through passions and expression. Eugénie (Juliette Binoche) has been the head chef to housemaster Dodin (Benoît Bouffant) for years, a relationship based on respect and longing. The set-up is already infused with traditional romanticism, but it is the expression of love through cooking (conducted with care in its soft camera work and smooth edits) that makes for deliciously fresh viewing. Eugénie and Dodin’s romance is rich with history; a history that is felt through their familiar gaze and respect, all expressed naturalistically through Binoche and Bouffant’s performances. Few words are needed between the two, as long, appetising sequences of cooking demonstrate their understanding of one another. The Taste of Things is about how all our own unique relationships and bonds are formed through passion and how we can express emotion through a shared love. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/179c1f0a-3476-4251-9f5e-c6024f5a8786/MV5BMWJkNjdmMzctZTk2YS00MDE1LWI0ZTEtNzc3OTEzNGJjZjE4XkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 5. The Substance – A modern day reimagining of, The Picture of Dorian Gray, mixed in a blender with Re-Animator and a Cronenberg body-horror, may be the closest thing you can get to describing The Substance. However, such comparisons do a disservice to The Substance’s audacious originality, a story that always remains focussed on its allegory for addiction and the unjust beauty standards perpetuated by mass media. The outward battle between Elisabeth (Demi Moore)and Sue (Margaret Qualley) is indicative of the internal hatred we have of our own bodies and appearances at times, while the body-horror elements take those feelings to the extreme. Yet, what has not been credited enough is the film’s dark, over the top humour, that make for some of the funniest moments you will see in a 2024 film. This is a hyper-realised world, one in which its absurdity cleverly makes clear the ridiculousness of our own reality and standards. Over the top, grotesque, hilarious, tragic, and filled to the brim with enough visual odes to Kubrick, Cronenberg, Cinderella, and Psycho to satisfy any film buff. The Substance is a real treasure to behold, but perhaps not for the faintest of hearts. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/e77d341c-1103-4ed9-9aa8-543dd79951c2/MV5BNjk4MTQ3MGEtZmI4OS00N2NhLWI5ZjgtYWE5ZWVkZGExYTQ1XkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 4. The Zone of Interest - Much like Jonathan glazer’s previous feature (Under the Skin), The Zone of Interest, explores humanity and the immeasurable depths of human evil. Set in 1943, the film centres on Nazi Officer, Rudolf Höss (Christian Friedel), his wife, Hedwig Höss (Sandra Hüller) and their family, as they live a life of luxury and contentment in their villa, positioned right next to Auschwitz concentration camp. Glazer’s direction is masterful. The power and unsettling nature of the film is in the imagery of everything that is and is not explicitly shown. The camp, the sounds of gunshots and screams, the smoke from chimneys or steam from trains pervade almost every shot of the household. A place where no discussion, remorse, or fraction of empathy is shown for the crimes committed only a few metres away. As every scene layers new horror upon the last, Glazer is doing the inverse of what he did in Under the Skin: showing the depletion of humanity, becoming something terrifying and wholly alien. It is harrowing, but The Zone of Interest will leave you utterly compelled. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/55b3fff4-fc4f-427d-9d4c-1e2c07153ecb/MV5BYTlmMGRkYmMtMGYzZC00NzExLWFmNWEtNDFjZmUxZDk0NDFiXkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 3. The Beast – Lea Seydoux and George McKay star in 2024’s most elusive film to define. One part The Age of Innocence and one part David Lynch horror with a sprinkling of The Matrix; The Beast is a genre jumping, time warping tale unlike any other. Set in the future where most of humanity are deemed useless by A.I., we decide to give up our freedom of choice to escape to a simulated world where all our real emotion is dulled. Wholly original and utterly bizarre, The Beast will remain a mystery throughout most of its runtime, but one you will want to uncover. Bertrand Bonello’s film implores the need for human connection and emotion in a digital era where we are slowly drifting apart, while also unpacking the terrors and cruelty our emotions can take us. Seydoux and McKay’s romantic and hostile journey through time and multiplicity take Bonello’s ideas of unjust emotion to more personal dimensions, transcending into the operatic. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/1005efa7-73a2-4f58-abb4-afbba0e03bb7/MV5BNjFjNTI2ZmYtZDRjNi00YzQ5LTlmOTItZWI1OWNiMGM5ZWFlXkEyXkFqcGc%40._V1_.jpg Articles/Reviews - The 24 Best Films of 2024 - 2. Sing Sing – The story of an acting troupe confined behind the bars of the Sing Sing prison, makes for the most emotionally resonant experiences in a 2024 film. Colman Domingo and his co-star, Clarence Maclin (producer, co-writer, and former prisoner whose own story the film is based on), reach into their souls to deliver genuine, flawed humanity. The majority of the supporting cast are prisoners playing themselves, yet you could never tell that these are not professional actors. Director, Greg Kwedar’s, commitment to his performers in their conveyance of compassion within the human spirit, has made for an emotionally evocative piece of cinema. In a world where art’s worth seems to be diminishing by a desire to leave all creativity to technology, Sing Sing proves the necessity of expression and art itself. How we can use it to heal and form community in the darkest of times. No piece of technology could replicate a fragment of profundity found within Sing Sing. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/a83163b4-8b6b-48f8-8ae5-1068fcbf668a/MV5BYWU2MjRjZTYtMjVkMS00MTBjLWFiMTAtYmZlYTk1YjkyMWFkXkEyXkFqcGc%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 24 Best Films of 2024 - 1. Poor Things – The first film I watched this year has remained unbeaten across everything else I have seen.Yorgos Lanthimos has crafted his finest film yet with Poor Things. A Frankenstein inspired story of Bella Baxter (Emma Stone), a woman brought back to life with the curious and quickly evolving mind of a child. Lanthimos’ vision is a fantastical blend of steam punk and the surreal, perfectly brought to life by production designers Shona Heath and James Price, evoking a sense of wonder, confusion and horror that fills Bella’s mind on her journey of self-discovery. Lanthimos’ ensembles are freakish and hilarious (particularly Mark Ruffalo’s utterly ridiculous Duncan Wedderburn), spearheaded by an audacious Emma Stone performance that stands as her greatest piece of acting. Lanthimos returns to his study of control, with the twisted objectification and control of Bella used to highlight the insecurities of masculinity, while also providing a refreshingly progressive understanding on the self and sexuality. Hilarious, progressive, and emotional, Poor Things is a steampunk inspired wonderland that cannot be missed. https://unwantedopinion.net/articles/joker-folie-deux-review monthly 0.5 2024-10-08 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/7c3c5e63-54be-46c4-a574-7624cda0372f/joker-folie-a-deux-movie-poster.jpg Articles/Reviews - Joker: Folie á Deux Review - Phoenix’s Raspy, rough tones make for one of the standout music sequences late in the film that brings real emotion to the film’s final act. Gaga is stellar as well, if not slightly underutilised, acting as a surrogate for the obsessive fans of Joker (2019). Even with a more metaphorical role, Gaga of course brings her vocal prowess to numbers such as ‘They Long to Be’ and, in particularly, ‘Gonna Build a Mountain’. The pair have sincere on-screen chemistry making this manic match an intriguing watch. Yet even with its romantic, seemingly optimistic musical numbers, Phillips uses these moments of escapist alleviation to create a stark contrast to Arthur’s reality. The musical numbers enter a realm of bright lights, pantomime, dance, and joy, all juxtaposing the hopelessness of Arthur’s life. The implementation of these musical devices only emphasises the stark reality, in turn making this a film that is downright darker than its predecessor. https://unwantedopinion.net/articles/may-review-round-up monthly 0.5 2024-06-06 https://unwantedopinion.net/articles/the-hit-man-review monthly 0.5 2024-06-06 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/916f4135-f438-45db-afbd-2213935db23e/GLYMzrsXYAA5xIS.jpg-large.jpeg Articles/Reviews - The Hit Man Review - Written and directed by Richard Linklater (The Before trilogy, Boyhood and The School of Rock) and co-written by Glenn Powell himself, The Hit Man is a witty, charming comedy that may be the summer’s most playfully exciting film. The film’s comical sequences in which Gary plays a variety of different hitmen are always a delight in seeing what outlandish caricatures he comes up with next, constantly concluding in a whacky mugshot sequence that feels like something from a prank show. The romance born from fabrication between Gary and Maddison is instantly fraught, simultaneously exuding sensual harmony from its two leads. https://unwantedopinion.net/articles/civil-war-review monthly 0.5 2024-04-12 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/a9a0d049-3489-4f6b-bbfb-c84a3a7cf2bd/MV5BYTYyODhlODktYjUzNC00NjUyLWI1MzYtNmI0MTY3YTUxYjY2XkEyXkFqcGdeQXVyMTkxNjUyNQ%40%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - Civil War Review - Garland’s characters feel real with purpose, imparted with morally questionable flaws, questioning the very humanity that must be removed to portray what must be seen. For Lee, she has now seen too much, someone who felt comfortable capturing such atrocities when it wasn’t on her own soil, but now finds herself struggling to depict what is now at home. Garland and his editor, Jake Roberts, give the action a unique quality. Jumping between frantic, up close guerrilla warfare, seamlessly cutting to brief, silent photographs that add unorthodox rhythm to the set pieces. The sound design is also immaculate as every bullet effect feels powerful and startling, giving its battles gritty realism. While this is A24’s biggest film to date, budgeted at around 50 million dollars; do not go in expecting massive action spectacle. https://unwantedopinion.net/articles/the-2024-best-picture-nominees-ranked monthly 0.5 2024-03-07 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/9e607053-07a3-4059-b5e5-589580298b60/MV5BOGI2MzQ1NzQtMmVkOC00ZGI0LWI3YjQtN2FjMzQ1NmRhNzFhXkEyXkFqcGdeQXVyODE5NzE3OTE%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 10. Maestro – The story of the great American composer, Leonard Bernstein (Bradley Cooper), while technically impressive, Maestro unfortunately falls into the typical biopic pitfalls. Leonard Bernstein’s greatness is often discussed, yet seldom shown (bar one truly evocative symphony in a cathedral), as we jump through thirty years of his life with his wife Felecia (Carrey Mulligan). The drama centring on Leonard Bernstein’s sexuality and his wife’s ashamedness over it, does provoke interest; however, the weight of such conflict is always kept at arm’s length due to Cooper and Mulligan’s ostentatious performances. Out of all the nominees, Maestro is the one that feels the least interesting, following a safe narrative without much provocation and in turn making it the most bog-standard, typical best picture nominee you would find every other year. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/b636e01a-5509-4650-b33f-1d9364cd691d/kkORXK5rfpZGdBz0r2AASHC8dyG.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 9. Barbie – The Film that took the world by storm, Barbie, is a completely nonsensical picture, and it is all the better for it. The entirety of the cast brings gleefully childish performances to their Barbie’s and Ken’s, acting as if they are kids in dress up. Margot Robbie’s turn as a lost doll now suddenly burdened with purpose has the hardest performance, but Robbie strives in both the comedic and the dramatic bringing real heart and soul to this plastic person. Ryan Gosling as Ken has proven to be a fan favourite, having some of the biggest gags and a massive musical number - that will most likely win an Oscar. His discovery of the patriarchy leads to one of the film’s funniest sequences and Gosling pulls it off, completely immersed in the silliness and fragility of Ken’s ego. The real-world sequences remove some of the film’s cinematic flare and its corporate confounds mean its criticisms cannot go too far. Nevertheless, Barbie will remain a true cultural moment and one of 2023’s best comedies. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/12a0b4d2-c684-4cab-a98d-8909e6a30e52/MV5BZDlkZmRlYTctNGJmNy00MjVkLThjZDQtMWY5Zjg2NjlhZDZkXkEyXkFqcGdeQXVyMDM2NDM2MQ%40%40._V1_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 8. American Fiction – Cord Jefferson’s, American Fiction, is an astute, funny, and sincere film that looks at the establishment that pigeonholes Black storytellers. Much of its humour is derived from Monk’s embittered personality, brilliantly portrayed by the often-underrated Jeffrey Wright (also nominated for best actor) frustrated with the state of modern fiction. In turn, this pushes him to create a derivative, over the top novel that, to his bewilderment, becomes one of America’s most talked about novels. Yet, even with its primary thesis, American Fiction juggles many plots at once, never feeling overwhelming or unfocussed. Its ability to capture the tender and flawed aspects of love and family life, while having this meta commentary of how race is used in fiction, make for an impressive and captivating watch. Sincere, Witty and on the pulse, American Fiction is a worthy and astute best picture nominee. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/ba11262e-7e75-4181-a5e9-3a1689c28b43/MV5BNDc2MzNkMjMtZDY5NC00NmQ0LWI1NjctZjRhNWIzZjc4MGRiXkEyXkFqcGdeQXVyMjkwOTAyMDU%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 7. The Holdovers – Inspired by films of the late 70s and 80s, such as The Last Detail, Five Easy Pieces and Dead Poets Society, The Holdovers is a heartfelt tale of the bonds formed between the lost and the lonely. Set to become a Christmas classic, the film follows a grumpy, alcoholic boarding schoolteacher, Paul (Paul Giamatti) who has been put in charge to babysit a handful of kids over the holiday season, including one particularly bright troublemaker, Angus Tully (Dominic Sessa). Giamatti has rightfully earned a nod for Best Actor as the disgruntled, regretful teacher instilled with pathos. Paul’s evolving relationships with Angus and the School cook Mary (Da’Vine Joy Randolph, a shoo-in to win Best Supporting Actress) make for moments of familial joviality and heart-rending revelations. David Hemingson’s characters are well realised by director Alexander Payne who brings sincerity and conviction out of his performers, whose journey’s reach touching and satisfying conclusions. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/5204a496-e791-4b89-98f2-4f40abc817f2/MV5BYzRmOGQwZjktYjM2Ni00M2NmLWFlZDYtZGFhM2RkM2VhZDI1XkEyXkFqcGdeQXVyMTM1NjM2ODg1._V1_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 6. The Zone of Interest - Much like Jonathan glazer’s previous feature (Under the Skin), The Zone of Interest, explores humanity and the immeasurable depths of human evil. Set in 1943, the film centres on Nazi Officer, Rudolf Höss (Christian Friedel), his wife, Hedwig Höss (Sandra Hüller) and their family, as they live a life of luxury and contentment in their villa, positioned right next to Auschwitz concentration camp. Glazer’s direction is masterful. The power and unsettling nature of the film is in the imagery of everything that is and is not explicitly shown. The camp, the sounds of gunshots and screams, the smoke from chimneys or steam from trains pervade almost every shot of the household. A place where no discussion, remorse, or fraction of empathy is shown for the crimes committed only a few metres away. As every scene layers new horror upon the last, Glazer is doing the inverse of what he did in Under the Skin. Showing the depletion of humanity, becoming something terrifying and wholly alien. It is harrowing, but The Zone of Interest will leave you utterly compelled. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/c8696371-a6a8-42ad-a7d9-8454c589d579/MV5BOTkzYmMxNTItZDAxNC00NGM0LWIyODMtMWYzMzRkMjIyMTE1XkEyXkFqcGdeQXVyMTAyMjQ3NzQ1._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 5. Past Lives – Past Lives is a tender, resonant account of two people with a profound bond. Through divergences in culture and career, Nora and Hae-Sung are still bound to each other through fate or, as the two call it, “in-yeon” (a connection between two people that span multiple lifetimes). Even, with its typically romantic set-up, Past Lives is more interested in the complexities of love and its undying, evolving form. For Nora and Hae-Sung, love is not one static entity, but something that sleeps and reawakens over time. It is Greta Lee and Teo Yoo’s naturalistic performances that manage to convey love’s intricacies, as their eyes look deep into the soul of the other with longing and a tinge of wonder. There is a meditative quality to Song’s direction that allows the viewer to soak in this relationship, bringing focus to the dialogue and characters. Past Lives is one of the sweetest films of the year and a heartfelt look into the everlasting and indecipherable ties between us. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/89bc46a1-c476-4092-9530-0038158815d3/71lqDylcvGL._AC_UF894%2C1000_QL80_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 4. Oppenheimer – Undoubtedly set to win Best Picture, director, lead actor and many more, Oppenheimer is a colossal film, one that manages to capture the personal plight of its protagonist, while ruminating on humanity’s own, potentially fatal mistakes. At times Nolan makes us want to turn back the clock, bringing forth the horror of scientific discovery that feels emotionally overwhelming at points. All of it is punctuated by Murphy’s profound performance and an ensemble that aid him at every turn. Once it starts, Oppenheimer never stops, going at blistering pace for its entire three-hour runtime. Yet, even within this rapidity, Nolan makes everything clear, and the tension built between courtrooms, marriages and detonation tests become almost too overwhelming to bear. This is spectacle on a terrifyingly beautiful scale, with an ending that will remain one of 2023’s most memorable. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/6281690b-1f0b-4206-87df-1a0625dfb545/MV5BNTE0OGNjYWUtMDBmOC00Mzg1LWE3OTgtMDRjZmViZDU2YWQxXkEyXkFqcGdeQXVyMDA4NzMyOA%40%40._V1_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 3. Poor Things – Yorgos Lanthimos has crafted his finest film yet with Poor Things. A Frankenstein inspired story of Bella Baxter (Emma Stone), a woman brought back to life with the curious and quickly evolving mind of a child. Lanthimos’ vision is a fantastical blend of steam punk and the surreal, perfectly brought to life by production designers Shona Heath and James Price, evoking a sense of wonder, confusion and horror that fills Bella’s mind on her journey of self-discovery. Lanthimos’ ensemble are freakish and hilarious (particularly Mark Ruffalo’s utterly ridiculous Duncan Wedderburn), spearheaded by an audacious Emma Stone performance that stands as her greatest performance. Lanthimos returns to his study of control, with the twisted objectification and control of Bella used to highlight the insecurities of masculinity, while also providing a refreshingly progressive understanding on the self and sexuality. Hilarious, progressive, and tragic, Poor Things is a steampunk inspired wonderland that cannot be missed. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/f78871e2-89f6-4680-b789-ca3c2a1b0304/MV5BMDBiYmRkNjUtYzc4My00NGFiLWE2NWUtMGU1ZDA1NTQ3ZjQwXkEyXkFqcGdeQXVyMTM1NjM2ODg1._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 2. Anatomy of a Fall – A film about the complexities of relationships and the myriad of ways in which we are perceived by the outside world. Sharply penned by director Justine Triet and Arthur Harari, their story grows more complex with every passing scene, as revelations lead to engaging courtroom clashes. Sandra Hüller ignites as the imperfect widow. Her performance is instilled with misjudged self-assurance as her emotions unravel in the realisation of what her life appears to the public. Milo Machado Graner plays the tortured son Daniel, caught between two narratives of his mother’s life. He carries much of the film’s emotional weight, giving a remarkably powerful turn that stands out as one of the year’s best supporting performances. With primarily only two locations and coming in at 2 hours and 30 minutes, Triet has made movie magic as all that time slips away through a mesmerising tale filled with secrecy and the realisation that even your own memory and perceptions may not in fact be the truth at all. Anatomy of a Fall is an instant courtroom thriller classic, layered, enthralling, unforgettable. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/73d6ee9e-da72-4b02-a92a-4742421ee555/MV5BMjE4ZTZlNDAtM2Q3YS00YjFhLThjN2UtODg2ZGNlN2E2MWU2XkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2024 Best Picture Nominees Ranked - 1. Killers of the Flower Moon - Killers of the Flower Moon is a rich tapestry of a film, an American epic that comes around once in a blue moon. It is a film that encompasses a multitude of ideas and shines a light on one of America’s darkest and most shameful chapters. Killers of the Flower Moon is Scorsese’s final statement on America’s true nature: ugly, violent, and greedy. Its subject matter is uncomfortably relevant, exposing mankind’s lack of self-reflection, as one character puts it, “This is just another tragedy. People will forget and no one will care.” Its trio of main performances are stellar. Leonardo DiCaprio gives his most pitiful performance, while Robert De Niro gives a villainous turn for the ages. However, it is Lilly Gladstone whose eyes command the picture, where the horrors are most reflected and with such a powerful performance it is likely she will take home the gold. Scorsese triumphs with yet another profound study into the routine, banality of evil and the consequences of complicity, leading to an ending that remains unforgettable. Killers of the Flower Moon may not win best picture, but it will be remembered as perhaps the most important film Scorsese has ever made. https://unwantedopinion.net/articles/the-top-23-films-of-2023 monthly 0.5 2023-12-31 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/19c459c0-1f85-4216-b88e-9ab51037116a/zbMRm6P6wPe9SQ6qJ7ZTAvCMS6e-scaled.jpg Articles/Reviews - The Top 23 Films of 2023 - 23. The Boy and the Heron – Ten years since his last feature film, Hayao Miyazaki returns with a semi-autobiographical tale of loss and acceptance. Studio Ghibli’s animation has never been anything short of gorgeous, as nearly every frame here is lush and colourful. Mahito’s journey into an altered world is unpredictable and completely bonkers, like a heightened Alice in Wonderland. Yet, even within the madness, Miyazaki’s ruminations on humanity’s faults and imperfections are clear. In terms of pure, uninhibited imagination no film this year comes close. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/6447a138-52c1-4e5d-83fd-174783adf710/MV5BZTFkNmE5MjUtZDE1Yi00ZmQyLTk2YWUtN2EwODA1ZmNlOTA5XkEyXkFqcGdeQXVyMTM1MTE1NDMx._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 23 Films of 2023 - 22. Pearl – Infused with a vibrant, technicolour aesthetic and grand, swooning, overly romantic score; Pearl, is a true throwback to the golden age of Hollywood, instilled with a twisted grotesqueness. Mia Goth is astounding in the titular role, bringing the spirit of childlike innocence weaved with an ever-growing darkness. Goth’s true power creeps up on you, and by the third act, you soon realise the pathos Goth and West have given to someone so perverse. Amidst the brutality both given and received by Pearl, this is the film’s best quality, its ability to find a soul within the sinister. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/5277b5c0-a8d4-4b47-a2f6-f9b8990e85a2/MV5BMDUwMGI1ZTgtZTg5OC00YWIzLThlMjMtYTczYTYyYjA3NmU1XkEyXkFqcGdeQXVyMTkxNjUyNQ%40%40._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 21. The Eternal Daughter - Writer and Director Joanna Hogg has always made deeply personal films and now utilising a supernatural genre, Hogg conveys an emotional story of regret, guilt, and the power of memory. Hogg manages to make the idea of memory feel like a roaming presence, something that always surrounds us, pervading the physical world. Tilda Swinton is one of the world’s most fascinating performers to watch. Within her dual roles, Swinton brings a nuanced, performance enriched with small, humanistic details, bringing these two to life amidst the presence of the dead. Impeccably shot by Ed Rutherford who manages to instil an eerie, unsettling atmosphere with his use of space and shadows, which is also aided by the ghostly cooing that brings old fashioned chills to a surprising, even tender tale. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/030acf04-c8f7-4651-90d2-540ab2f0fc38/MV5BMjI5MWE4MTctYjExYS00MmViLTgwZjEtMmI1OTBkN2M2OGE2XkEyXkFqcGdeQXVyMTAyMjQ3NzQ1._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 20. Rye Lane – One of the finest rom-coms in recent times, Rye Lane, is a dreamy, colourful, and irresistibly charming film. Its two leads David Jonsson and Vivian Oparah ooze charisma, with the pair playing off each other’s distinctive character quirks with zest and passion. Its vibrant aesthetic gives the film a dreamy quality, joining the pair as they saunter through London and into zippy, creative, cut-away gags that fill the film with personality. The story flows naturally, sprouting silly scenarios that draw Dom and Yas closer together. It is a sweet and heart-warming picture that will undoubtedly leave you with a smile on your face. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/531ee076-75c7-461e-a73c-4d0e5f2ec555/MV5BMDMzZjQwOWEtZjZmOC00YzIxLWEyZWMtMjgxMThkYWU0ZWZkXkEyXkFqcGdeQXVyMTAyMjQ3NzQ1._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 23 Films of 2023 - 19. Sanctuary - Directed by Zachary Wigan, Sanctuary, is a wild blend of drama, erotic thriller, and comedy. Micah Bloomberg’s fun, energetic script and Wigan’s controlled, seamless direction, manage to maintain the film’s momentum, with every act exploring new facets of Rebecca and Hal’s relationship. Margaret Qualley and Christopher Abbott’s chemistry sizzles, playing off each other’s rhythms, keeping you engaged at every twist and turn. Qualley is especially hard to decipher, manipulating the situation so both Hal and the audience are lost between fact and fiction. Sanctuary explores the dynamics of power in humorous, while simultaneously being quite tense. However, Sanctuary’s fascination with fantasy and its ability to reveal truths in ourselves, that makes Sanctuary unique in its exploration of the erotic. Coming in at a trim 90 minutes, Sanctuary, zips by without a wasted minute. Fun, electric and punchy, Sanctuary is simply a blast. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/3f267dcb-5e21-4994-b05a-931fb35247b8/MV5BOThmY2FlYmQtYTM4OS00MWM5LThiNGMtNjExYjQ2NjExZmViXkEyXkFqcGdeQXVyMTMwODM2ODM%40._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 18. Enys Men – The reality bending, abstract horror, Enys Men, is an experience that no other film has produced this year. The feeling of isolation sinks in quickly, every passing scene bends reality and time further as The Volunteer (Mary Woodvine) has nothing left but to fall into her tortured and twisted memories. Dialogue and plot are seldom here, as director Mark Jenkins prioritises mood and atmosphere, putting you in an uneasy position for its entire runtime. Through its abstraction and symbolism, Jenkins conveys the deterioration of isolation in a feature that will leave everyone with their own unique interpretation of what the truth of Enys Men is. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/1272ce2c-23c7-4ba2-b469-1b4d29417f75/MV5BZTYxYmMyOWItZGNiZC00YmU3LThmNGUtZjdlYzhmNjc1N2YxXkEyXkFqcGdeQXVyMTkxNjUyNQ%40%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 23 Films of 2023 - 17. Reality – Based on the true FBI interview of Reality Winner (Sydney Sweeney), Reality is bound by a brilliant concept, as every piece of dialogue is pulled from the real interview transcript. Sweeney captivates, playing against type as the lonely and imbittered government intelligence specialist. Set in primarily one location, director, Tina Satter, has made a claustrophobic film that grips you tighter as the agents slowly get closer to truth with their duplicitous small talk. Between the lines of this unaltered transcript and Sweeney being the sole female character, Satter manages to convey an analogical story of a predatory male force and the perversion of power. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/d2c37ff9-57a0-4edb-a8be-87bf0c69acf7/MV5BZWZkZjE2OGYtN2RiMS00ZDE5LWFlZGQtYzI1OTNhZDZkYzM3XkEyXkFqcGdeQXVyODk2NDQ3MTA%40._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 16. Bottoms - A twisted rendition of High School comedies of yesteryear, Bottoms is an absurdist comedy that expresses the dangers of celebrating hyper-masculinity. Sennot and Edebiri are terrific leads. Of the pair, Sennot brings the more unhinged, chaotic energy, while Edebiri plays the more level-headed, comedy straight person, which in turn makes her one of the more rational people in this bizarre world. They are a dynamic duo, whose energies jive and clash at perfect points. There is rarely a dull moment, with the film always firing jokes and filled with hilarious side characters (Mr G and Sylvie being particular standouts) that keep you engaged with the club. Leo Birenberg and Charli XCX also provide an energetic, dreamy score that heighten the film’s romance and ferocity, making it one of the year’s most exciting film scores. Bottoms is, without a doubt, the funniest film of the year. Even in its whacky, wild and violent ways, it packs real heart, making you truly care for this band of misfits. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/7c7db436-4d08-46e0-8076-fd0f25ab5204/MV5BMzI0NmVkMjEtYmY4MS00ZDMxLTlkZmEtMzU4MDQxYTMzMjU2XkEyXkFqcGdeQXVyMzQ0MzA0NTM%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 23 Films of 2023 - 15. Spider-Man: Across the Spiderverse – Artistically bold and innovative, Across the Spiderverse manages to recapture the magic of its predecessor, somehow surpassing it with a story that questions franchise stagnation and the importance of forming your own path. In a world where multiverses are used for cheap fan service and remove dramatic sincerity, Across the Spiderverse flips the franchise formula, using the narrative device to heighten the emotion, action and hilarity. Miles Morales has solidified himself as one of the best on-screen Spider-Men we’ve ever had. Filled with pure drive to change the established order, Miles’ monumental quest to save his family and the multiverse is truly engrossing. Across the Spiderverse’s ending tantalises and makes the wait for this saga’s conclusion all the more excruciating. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/055d53a1-b34f-4c7e-a3dc-7cf56978d091/MV5BMDExZGMyOTMtMDgyYi00NGIwLWJhMTEtOTdkZGFjNmZiMTEwXkEyXkFqcGdeQXVyMjM4NTM5NDY%40._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 14. John Wick: Chapter 4 – The John Wick series may be the most consistent and entertaining franchise in recent memory. With every instalment, the scale and the world building of the Wick universe gets bigger, yet, never loses sight of its identity or the thrills. John Wick: Chapter 4 is the franchise’s magnum opus. Every frame looks grand, operatic and drips with style, with much of the credit being attributed to director, Chad Stahelski and cinematographer, Dan Lausten. The creativity and the extensiveness of every action scene is astounding, with an exceptional stunt ensemble coming together to bring some of the most chaotic and over the top action in Hollywood cinema. Keanu Reeves continues to be one of the most enjoyable and likeable action stars and brings tremendous physicality to the role. John Wick: Chapter 4 is the best kind of action spectacle. One that demonstrates the collaborative effort of cinema and the brilliance that comes from a truly committed crew with a sole vision. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/d30101ef-5268-4014-a451-b1c806967154/MV5BMTc1ODM5YjQtMmQzNS00Y2FkLWJhNTgtYTE5ZDY0NjQyNmRjXkEyXkFqcGdeQXVyMTY3ODE5NTY1._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 23 Films of 2023 - 13. May December - May December is a strange, understated psychological thriller of obsession, denial, and metamorphosis. Natalie Portman delivers her most interesting performance to date as the self-absorbed, disingenuous Elizabeth; a performance within a performance, with truth seeping through the cracks in her mask only briefly throughout. Julian Moore’s, Gillian, is a woman completely lost in the fort of her own delusion. Her childish voice and narcissistic tantrums allude to something deeply wrong in her psyche or even a want to be perceived as innocent. Charles Melton is absolutely terrific as the broken Joe. He walks in an ape like slouch with the weight of the world on his shoulders – gloomy, giving the expression that something has been lost. Joe has the most intriguing and sorrowful arc, but Melton successfully delivers on the emotion, providing one of the best supporting performances of the year. What is vital here is that director Todd Haynes handles the film’s subject matter with respect, looking at the multiple facets of such a tragedy and, most importantly, how it effects Joe and his family. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/7e27864a-593b-4767-9d4e-c76e8eac206a/MV5BN2M5MDk1OTMtM2ZlMi00NzNiLWE2NWEtZmNkNzQ4ODExNzQ3XkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 12. Are You There God? It’s Me, Margaret – Kelly Fremon Craig’s film exhibits humanity and warmth that few films are able to achieve, with much of this success being attributed to the brilliant, Abby Ryder Fortson. There is a real found naturalism to many of the film’s performances, but it is Fortson who encapsulates the nervousness, joyousness and awkwardness that comes with childhood. Along with Rachel McAdams as Margaret’s mother, Barbara, the two provide touching, wholehearted performances that highlight a mother and daughter’s parallel connection through change and alienation. Through its sincerity, Craig provides a truly hilarious script, with much of the humour involving childish misunderstandings of puberty that make the characters even more endearing. The mother and daughter story at its core and the cute comedy that surrounds it, makes Craig’s film a charming, moving watch that beckons for a return to comedy for the whole family. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/8764acf2-7e6a-43cb-9842-4404f0d2825f/MTS_Poster.jpg Articles/Reviews - The Top 23 Films of 2023 - 11. Marcel the Shell with Shoes On – Not since the likes of Wall.E has there been a character filled with such pure innocence as Marcel (Jenny Slater). Within five minutes, Marcel becomes a character you cannot help but root for as this mocumentary style feature showcases the struggles of his day-to-day life after the disappearance of his family. Even with this style, Marcel the Shell is deeply cinematic, expressing the control of fear and the necessity to push ourselves beyond the realms of comfort. Marcel the Shell with Shoes On is the most wholesome and infectiously joyous film this year, a must watch and one that will surely make your day a little brighter. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/c148a189-270b-41ac-b37f-e3a6ac77dcab/MV5BNTlmYzAzMzYtZDFiMS00YTAyLTk2YTYtYTM4YTNmN2RjYzc3XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 10. Mission Impossible: Dead Reckoning – It comes to no surprise that Tom Cruise and long-time partner, Christopher McQuarrie, have created yet another astonishing blockbuster. The seventh instalment in the near thirty-year franchise feels as fresh as ever, with each set-piece building and evolving in exhilarating fashion. Each stunt is, of course, performed with commitment by Cruise, who at sixty years old is pushing to make the most thrilling action sequences in modern cinema. Dead Reckoning also finds the perfect balance between tension and comedy being the funniest in the franchise to date. Its story is surprisingly relevant too, exploring A.I.’s involvement in global security, turning truth into the world’s new super weapon. Dead Reckoning is the type of action blockbuster studios should strive to make, enthralling, inventive and a finale that truly takes your breath away. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/68ca5178-c6d4-47da-85e8-5a3b78ac1433/MV5BZGU3OTkwMDgtZDFjMy00ZjE1LTk3YmUtNzQ2MDRiMTllYTc0XkEyXkFqcGdeQXVyNjgxODk1MTM%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 23 Films of 2023 - 9. Passages - Passages is an unpredictable and fascinating look into sexuality and the power dynamics of relationships. Tomas’ self-centred and narcissistic persona is engrossing to watch and is captured brilliantly through Rogowski’s duplicitous face. He has the eyes of an innocent deer, but his seductive soul is transparent, only wanting what suits him in the moment. Wishaw is also terrific as the emotionally scarred husband, exhausted with Tomas’ behaviour and is conflicted in whether to stay or move on from Tomas. His facial expressions manage to convey fragility and fatigue with his relationship that highlight the damaging history between them. Adèle Exarchopoulos’ as Agathe, is similarly effective in her role as the alienated woman, bringing understated tragedy to someone lost in the throes of passion. Passages is exquisitely shot with cinematographer, Josée Deshaises, utilising natural light and evocative close-ups to bring life to this troubled threesome. Director Ira Sachs delivers on an intriguing look into the unjust consequences of loving someone and the victims it leaves behind. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/c9e599a8-ea32-4772-8198-1322be2cc764/le-8montagne-e1681197851433.jpeg Articles/Reviews - The Top 23 Films of 2023 - 8. The Eight Mountains – An ode to the power and meaning of friendship, The Eight Mountains is a soaring tale that beckons us to reflect on the connections we have formed in our own lives. Pietro and Bruno’s relationship ebbs and flows between envy and affection throughout their lives; flawed, but utterly human, you are drawn to the men’s s humble ambition of rebuilding a house on the Italian mountainside. The mountain peaks of Italy make for meditative, yet striking imagery, transported to a wondrously colossal part of the world. Much like the mountainsides, the emotional depths of The Eight Mountains is vast and by the film’s conclusion you too feel the immensity of Pietro and Bruno’s odyssey together. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/d9ec41f0-9ebd-402a-9674-ba5d73a6013e/MV5BZGM1MzczNmQtMjBmYS00NTRhLWI0MzctNTFkZDc4OGUyODdjXkEyXkFqcGdeQXVyMjMxOTE0ODA%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 23 Films of 2023 - 7. The Fabelmans - Steven Spielberg’s semi-autobiographical tale of passion becoming obsession only perpetuates his status as one of the greatest filmmakers of all time. It is both personal and universal, a tragic story which tells the tale of the fractious relationship between a mother and her son and how the blessings of talent can exile you from those you love. A soulful piece that shows us how art can reveal truth within ourselves as well as its power to move us. Spielberg infuses his film with his signature visual flare that brings with it the essence of something classical, and John Williams provides a sweetly sentimental score instilling this intertextual device that takes us back in time along with Spielberg himself. The ensemble here are all distinctly terrific, but it is Gabriel LaBelle who delivers the most underrated lead performance of the year. Even after 50 years of filmmaking, Spielberg still has powers like no other. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/75630d0b-23ff-45fd-ac55-71ba9315d8d4/MV5BOTkzYmMxNTItZDAxNC00NGM0LWIyODMtMWYzMzRkMjIyMTE1XkEyXkFqcGdeQXVyMTAyMjQ3NzQ1._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 6. Past Lives - Past Lives is a tender, resonant account of two people with a profound bond. Through divergences in culture and career, Nora and Hae-Sung are still bound to each other through fate or, as the two call it, “in-yeon” (a connection between two people that span multiple lifetimes). Even, with its typically romantic set-up, Past Lives is more interested in the complexities of love and its undying, evolving form. For Nora and Hae-Sung, love is not one static entity, but something that sleeps and reawakens over time. It is Greta Lee and Teo Yoo’s naturalistic performances that manage to convey love’s intricacies, as their eyes look deep into the soul of the other with longing and a tinge of wonder. There is a meditative quality to Song’s direction that allows the viewer to soak in this relationship, bringing focus to the dialogue and characters. Past Lives is one of the sweetest films of the year and a heartfelt look into the everlasting and indecipherable ties between us. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/01d5b29f-69f1-434f-80d5-b783b422babf/MV5BM2I0ZDcyYzItMGEyNi00YWVhLTlmNTQtOWVlYjE1ZGVhNWM0XkEyXkFqcGdeQXVyMTkxNjUyNQ%40%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 23 Films of 2023 - 5. Tár - Todd Field’s grandiose arthouse picture is a testament to pitch perfect character writing. Lydia Tár is the most strikingly well realised character of the year, with Cate Blanchett delivering what might be her greatest performance, as Blanchett brings this problematic, predatory figure to life in such a strikingly authentic way. Along with Field’s sublime screenplay, his film feels visually distinct. Overcast with the bleak grey skies of Berlin, there is a compounding sense of dread that hangs over Tár’s head. The wide and still nature of the film’s frames liberate the actors to deliver the full weight of Field’s script. There are even moments of horror and dreams of fate that feel simultaneously alien and at home in this dark character study. Tár is a dense, distinctive film that, much like its titular character, has many secrets to uncover. Yet, even after one watch, the power of Blanchett and Field overwhelm and astonish. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/1acbbbbb-2db4-44b0-a5a5-e1b2e1c7a646/MV5BMDBmYTZjNjUtN2M1MS00MTQ2LTk2ODgtNzc2M2QyZGE5NTVjXkEyXkFqcGdeQXVyNzAwMjU2MTY%40._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 4. Oppenheimer – Oppenheimer took the world by storm this July and rightfully so. This is a colossal film, one that manages to capture the personal plight of its protagonist, while ruminating on humanity’s own, potentially fatal mistakes. At times Nolan makes us want to turn back the clock, bringing forth the horror of scientific discovery that feels emotionally overwhelming at points. All of it is punctuated by Murphy’s profound performance and an ensemble that aid him at every turn. Once it starts, Oppenheimer never stops, going at blistering pace for its entire three-hour runtime. Yet, even within this rapidity, Nolan makes everything clear, and the tension built between courtrooms, marriages and detonation tests become almost too overwhelming to bear. This is spectacle on a terrifyingly beautiful scale, with an ending that will remain one of 2023’s most memorable. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/797327c3-bfbf-42d7-9b38-41d969d527c8/MV5BMDBiYmRkNjUtYzc4My00NGFiLWE2NWUtMGU1ZDA1NTQ3ZjQwXkEyXkFqcGdeQXVyMTM1NjM2ODg1._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 3. Anatomy of a Fall - This is an enthralling piece about the complexities of relationships and the myriad of ways in which we are perceived by the outside world. Sharply penned by director Justine Triet and Arthur Harari, their story grows more complex with every passing scene, as revelations lead to engaging courtroom clashes. Sandra Hüller ignites as the imperfect widow. Her performance is instilled with misjudged self-assurance as her emotions unravel in the realisation of what her life appears to the public. Milo Machado Graner plays the tortured son Daniel, caught between two narratives of his mother’s life. He carries much of the film’s emotional weight, giving a remarkably powerful turn that stands out as one of the year’s best supporting performances. Every member of the ensemble is pitch perfect, making each line of dialogue all the more riveting, having you on the edge of your seat to see what they deliver next. With primarily only two locations and coming in at 2 hours and 30 minutes, Triet has made movie magic as all that time slips away through a captivating tale filled with secrecy and the realisation that even your own memory and perceptions may not in fact be the truth at all. Anatomy of a Fall is an instant courtroom thriller classic, layered, enthralling, unforgettable. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/b9c205b2-51c8-41d8-8899-39e6b6d3dedc/MV5BMjE4ZTZlNDAtM2Q3YS00YjFhLThjN2UtODg2ZGNlN2E2MWU2XkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - 2. Killers of the Flower Moon - Killers of the Flower Moon is a rich tapestry of a film. One that encompasses a multitude of ideas and shines a light on one of America’s darkest and most shameful chapters. Where The Irishman was a statement on Scorsese’s life as a filmmaker and his mortality; Killers of the Flower Moon is his final statement on America’s true nature: ugly, violent, and greedy. Its subject matter is uncomfortably relevant, exposing mankind’s lack of self-reflection, as one character puts it, “This is just another tragedy. People will forget and no one will care.” Its trio of main performances, from Lilly Gladstone, Leonardo DiCaprio and Robert De Niro all give career best turns, showing us the banality and consequences of true evil. Scorsese triumphs with yet another profound and unforgettable ending. After twenty-five films, Killers of the Flower Moon may stand as one of Scorsese’s final films, but also the most important he has ever made. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/5f702858-b7d2-4c2c-af30-0407a103d933/MV5BZmYzMjMzN2EtMGYwNi00ODc3LWI3YTctMjA5YjI1MGFkYTlhXkEyXkFqcGdeQXVyMDM2NDM2MQ%40%40._V1_.jpg Articles/Reviews - The Top 23 Films of 2023 - All of Us Strangers – Andrew Haigh’s fifth feature film is nothing short of a masterpiece. Framed like a ghost story, enwrapped in a dream, All of Us Strangers is an absorbing look into the psyche of the lonely and the peculiar ways in which we deal with trauma. Haigh’s direction is controlled, layering this mystery with fraught romance, tender conversation and even tinges of psychological horror. Andrew Scott delivers a heart-wrenching performance, one where he reaches into the depths of the human soul to produce a performance that tears you apart by the film’s finale. Without question, Scott gives the best performance by a male actor this year. His supporting cast, consisting of Paul Mescal, Claire Foy and Jamie Bell, all rise to the complexities of their roles, giving new facets to Adam’s life, revealing truth as to his life and feelings. Every scene is essential here, building to a climax that brings this strange, uncanny film to a devastating conclusion. All of Us Strangers is cinematically powerful, one that leaves you in awe of the emotional might film can achieve. https://unwantedopinion.net/articles/november-review-roundup-1 monthly 0.5 2023-12-02 https://unwantedopinion.net/articles/killers-of-the-flower-moon-review monthly 0.5 2023-10-23 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/63f8cef2-e161-4b70-ae4e-469a35238dea/MV5BNjQwOGM2YTItMGYwNC00YTM4LWI0Y2QtZjQ2ZDcyMmRjMTFhXkEyXkFqcGdeQXVyMDM2NDM2MQ%40%40._V1_.jpg Articles/Reviews - Killers of the Flower Moon Review - Coming in at three hours and twenty-six minutes, Killers of the Flower Moon is an epic in both scope and runtime with every second of it being deserved, with not one scene feeling unnecessary or protracted. Killers of the Flower Moon is his scathing indictment of America and the bloodshed it was built on; how a racial genocide went practically unpunished and the importance of remembering such history. At its core, this is a film is about the true face of evil. How in the presence of evil, those that commit such atrocities believe their cause just, and deem themselves innocent which is where the film’s true horror lies. Scorsese frames Hale and Ernest’s actions as ordinary, banal almost, and with every passing scene the weight of their actions become increasingly harder to bear. Scenes of violence and discussions over their next victims, are depicted in such a nonchalant manner that it makes it all the more despicably sickening. https://unwantedopinion.net/articles/martin-scorseses-top-ten-greatest-films monthly 0.5 2023-10-23 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/fc91dbc3-c93c-41f3-9513-2debd08d9bd9/MV5BMDhkN2FhYTktYWUwNy00NTE5LWJiYjYtMGNlODIyNDc5MWZhXkEyXkFqcGdeQXVyNTAyODkwOQ%40%40._V1_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 10. The Age of Innocence (1993) – Once cited as Scorsese’s most violent picture, The Age of Innocence (adapted from Edith Wharton’s acclaimed novel) is an exquisite looking film that harkens back to golden-age classical romances. Exploring the confines of social constructs and class, the forbidden romance between Newland Archer (Daniel Day Lewis) and Ellen Olenska (Michelle Pfeiffer) breads palpable chemistry burdened with shame. Scorsese is adept at telling tales of psychological torment and here we see it played out under the guise of love, as the impossibility of being with Ellen and the soul crushing civility he must endure instils acrimony towards the world that surrounds him. This portrayal of New York in the 1870s comes to life with astounding production and costume design by Dante Ferretti and Garbriella Pescucci, resulting in an immersive experience of this upper-class society. It is a shame The Age of Innocence remains as Scorsese’s only purely romantic film, as his take on romance is grand, yet, furtive. It also boasts one of Scorsese’s most powerful endings. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/14cde447-5e50-4504-8ff4-1395c644d0de/MV5BYjRmODkzNDItMTNhNi00YjJlLTg0ZjAtODlhZTM0YzgzYThlXkEyXkFqcGdeQXVyNzQ1ODk3MTQ%40._V1_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 9. Raging Bull (1980)– A 20th century Shakespearean tragedy, Raging Bull is a brutally bleak analysis on the alienation of aggression. Robert De Niro is a force of nature as, Jake La Motta, one whose fragile masculinity leads to glory and devastation. A screenplay by Mardik Martin and Paul Shrader (Taxi Driver) and edited by now long-term collaborator and friend, Thelma Schoonmaker, it is a sublimely put together piece which still boasts some of the greatest boxing scenes in cinema. One of Scorsese’s greatest skills is his ability to conjure empathy for crooks, scoundrels and the downright villainous; in this mix, Jake stands as one of his most complex figures. Shot with effective composition, Michael Chapman’s black and white cinematography has made the film stand the test of time, setting it apart from other boxing titles and holding a position in Scorsese’s vast filmography. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/bdbc7fdf-7fd4-4e7b-a304-4acae5804129/MV5BMTUxMjEzMzI2MV5BMl5BanBnXkFtZTgwNTU3ODAxMDE%40._V1_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 8. After Hours (1985) – Set within a nightmarish, uncanny Soho, After Hours is an exhausting, excellent dark comedy - undoubtedly one of Scorsese’s strangest works. The film follows Paul Hackett, as he dares to stray from his daily routine after a chance encounter with the enticing Morrissey (Rosanna Arquette) at a local diner. Once Paul enters Soho, logic and sense fade behind him and a simple journey home becomes a Herculean quest. Paul’s unravelling from mild-mannered word processor to the most wanted man in Soho is exasperating, but equally as entertaining. Everything that can go wrong will go wrong in the inescapable purgatory of Soho, with each scenario escalating into new heights of the inexplicable. It’s quirky and temperamental ensemble of characters gives the film edge and a further feeling of unpredictability. Its frantic energy never lets up, and with a twisted sense of humour, After Hours, makes for a riveting ride. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/fd124939-f479-429a-9f9f-5dce4d379d40/MV5BMGUyM2ZiZmUtMWY0OC00NTQ4LThkOGUtNjY2NjkzMDJiMWMwXkEyXkFqcGdeQXVyMzY0MTE3NzU%40._V1_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 7. The Irishman (2019) – Before its release, The Irishman was perceived as a spiritual successor to Goodfellas, a mobster reunion with Robert De Niro and Joe Pesci back together. However, from its opening shot, The Irishman immediately proves that it is a very different feature entirely. This is a deeply melancholic film, one that reflects on Scorsese as a filmmaker, utilising a familiar genre and his greatest muse, Robert De Niro, The Irishman becomes a meditation on time and mortality. De Niro gives, perhaps, his most underrated performance as Frank Sheeran, a man so soulless and emotionally barren he verges on becoming a horror villain, with Pesci too bringing a subdued, cold-hearted performance as Russel Bufalino. Director of Photography, Rodrigo Prieto, lenses the film with sophistication, applying a vibrant colour pallet that slowly drains as time goes on, emphasising the loss and moral decay that pervades in Frank’s life. The Irishman is a slow burn that builds to a tragic final hour, with the film’s final shot beautifully summating its themes profoundly. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/e272fd38-cbcb-4afe-84a1-966dc947670d/MV5BMjY3OTk0NjA2NV5BMl5BanBnXkFtZTgwNTg3Mjc2MDI%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 6. Silence (2016) – One of Scorsese’s hidden gems, Silence, tells the tale of two Jesuit Priests, Father Rodrigues (Andrew Garfield) and Father Garupe (Adam Driver), as they journey to feudal Japan to seek their mentor who has seemingly abandoned the Catholic faith in order to save himself. Silence is a harrowing, yet deeply enlightening picture, one that questions the very idea of belief, what it means and even the consequence of doing so. Rodrigues and Garupe’s journey through Japan are filled with physical, psychological, and emotional pain as they bear witness to the slaughter of the Japanese Christian people. Rodrigues’ journey deeper into Japan mirrors Heart of Darkness, becoming an insular voyage as to how pride, ego and faith all entwine into one. Yet, even with such subject matter, Scorsese manages to lace the film with a progressive and hopeful idea. Faith is not one, confined narrow path, but its practice can be multifaceted and even personal. Silence is one of Scorsese’s unsung epics that is dense, but quietly moving, all the while boasting Andrew Garfield’s greatest performance to date. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/b3703cf2-d6a9-47fd-801a-9b1724dcb87c/MV5BMTFkNmY0OTktYmUyNS00MjI3LWE3ZGItNWU1NzkyMDY3NTlmL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyNjc1NTYyMjg%40._V1_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 5. The Last Temptation of Christ (1988)– Not to be confused with Mel Gibson’s, Passion of the Christ, The Last Temptation of Christ is Scorsese’s first overtly religious picture and still his most controversial film to date. Adapting Nikos Kazantzakis’ novel of the same name and pairing up with Paul Schrader once again, The Last Temptation of Christ is a bold interpretation of the Christian canon, portraying him not as a perfect being, but a struggling, deeply flawed man. Filled with rage, doubt, and even rejection of his status as the son of God; this take that leads to a deeply fascinating film, led by the terrific Willem Dafoe in one of his most effective performances. Harvey Keitel’s turn as Judas is also heart-breaking, turning the known traitor into something far more nuanced. The film has a transportive quality, all being shot on location in Morocco, with wonderful costume design by Jean-Pierre Delifer. While everyone knows the story of Jesus Christ, Scorsese delivers on an unpredictable, surprising third act that will leave you guessing until the final frame. Plus, David Bowie as Pontius Pilate is simply inspired casting. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/a44c42c4-dfcf-4249-92d4-0156f69ddbb8/MV5BMjIxMjgxNTk0MF5BMl5BanBnXkFtZTgwNjIyOTg2MDE%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 4. The Wolf of Wall Street (2013) – Yes, yes, yes, The Wolf of Wall Street has become a film appropriated by business bros and YouTube hustlers who have misinterpreted Jordan Belford’s exploits as an ideal to strive towards. The Wolf of Wall Street is Scorsese’s most debauched film to date, one that makes the exploits of Goodfellas and Casino seem tame in comparison, where greed and honour amongst crooks is lost amidst the unlimited capital. Leonardo DiCaprio gives a devilishly charismatic performance, one that tricks its audience to gleefully indulge in the criminality and mayhem on screen, losing our own sense of morality as Belford and his ensemble corrupt us with their sleaze and anarchy. Yet, even in all the mayhem and obscene comedy, Scorsese never loses sight of his message, holding a mirror to the capitalist society that encourages and even celebrates the indulgent obscenities on display. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/53fb24b8-3e16-4509-975f-95c52ef12152/MV5BY2NkZjEzMDgtN2RjYy00YzM1LWI4ZmQtMjIwYjFjNmI3ZGEwXkEyXkFqcGdeQXVyNzkwMjQ5NzM%40._V1_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 3. Goodfellas (1990) – Scorsese’s quintessential mob epic not only proved influential to the likes of HBO’s, The Sopranos, but unjustly branded Scorsese as a one-note filmmaker. Nevertheless, Goodfellas is an enthralling Icarus inspired tale of man striving to become something that he never could – “a made-man”. The luxurious, almost fantastical life of a gangster is perfectly juxtaposed with Scorsese’s realistic, vicious violence. Ray Liotta, Robert De Niro and Joe Pesci are iconic in their roles; but it is Lorraine Bracco as Karen Hill who most astutely reflects the corruption and pain attributed with the mob life. Scorsese’s ability to install empathy where it does not belong once again arises here, with the protagonist Henry Hill facing the bitter reality, that beyond crime is fate worse than death - the life of a “Schmuck”. Meticulously crafted, beautifully shot, pitch perfect performances and an airtight script makes Goodfellas an irresistible watch. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/28199077-1cf8-45f6-ba3c-4ffa8431638a/MV5BMjE1YjBlNTItYjM0YS00ZTBjLWI0Y2EtNDg2NGZlOTZlMDk2XkEyXkFqcGdeQXVyNjc5NjEzNA%40%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 2. The King of Comedy (1982)– The film that nearly killed Scorsese’s career, The King of Comedy, now stands as a cult classic and one of his greatest achievements, whilst merging all his best filmmaking qualities. De Niro stars and delivers a performance that has aged like fine wine; one that feels completely alien to what we have grown accustomed to seeing in the actor. Rupert Pupkin feels small, awkward, and passive aggressive, showcasing De Niro’s range in garish three-piece suits. Much like his turn as Travis Bickel, there is a pitiful complexity to Rupert, he is deluded and dangerous, but Paul D. Zimmerman’s script manages to instil empathy towards someone so unhinged. Jerry Lewis (practically playing himself as Jerry Langford) is a jaded contrast to Rupert’s eccentricities, a man fed up with and now embittered by fame. Rupert is constantly disregarded by Jerry and his management; while Jerry’s fame has pushed him further away from society, never being seen with friends or family, and trapped eating dinner alone in the silence of his ivory tower. Rupert’s relentlessness to get on Jerry’s show, mixed with his fantastical delusions are humorous, there is a tinge of melancholy to the whole picture, one that is perfectly epitomised in Rupert’s climactic monologue. Along with its relevant commentary on obsessive fandom and para-social relationships, The King of Comedy is a multifaceted engaging picture, deserving of appreciation that has been long missed. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/ba420736-bdbc-4840-a127-e6ba4c51e6b4/MV5BM2M1MmVhNDgtNmI0YS00ZDNmLTkyNjctNTJiYTQ2N2NmYzc2XkEyXkFqcGdeQXVyNzkwMjQ5NzM%40._V1_.jpg Articles/Reviews - Martin Scorsese’s Top Ten Greatest Films - 1. Taxi Driver (1976) – The film that put Scorsese on everyone’s radar, Taxi Driver remains a powerful and timeless film, almost fifty years since its release. Scorsese’s vision of New York is one of the most hostile environments he has created. Dank, dirty, and ridden with violence, the oppressive weight of it feels tangible, crushing Travis as every scene goes on. Michael Chapman’s cinematography is captivating, neon reflections pervade the city sidewalks along with dense shadows that follow Travis through the night. Paul Schrader’s screenplay places you in the psyche of an alienated soul like no other, with De Niro’s turn as Travis remaining his most unsettling and brutally tragic performance. Lonely, lost, and traumatised, Travis lingers outside the ordinary world, almost on the cusp of sanity, but slipping further away as each night passes. Scorsese’s films have always had an affinity with lonely and alienated figures. Whether through violence, mental health, love, or faith; his protagonists tend to be isolated through a force beyond their control. It is in Taxi Driver that this feeling is most accentuated with striking relevancy with Travis standing as the progenitor of today’s modern incel. As Scorsese puts it “tragically, it’s a norm. Every other person is like Travis Bickel now.” Taxi Driver has become far more reflective than ever before and, most recently, was shamefully ripped off in 2019’s Joker (just with less nuance). Martin Scorsese has made an array of outstanding films across his 56 year long career, but Taxi Driver still remains as his magnum opus. https://unwantedopinion.net/articles/the-august-review-roundup monthly 0.5 2024-01-04 https://unwantedopinion.net/articles/barbie-review monthly 0.5 2023-07-23 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/8ffe0360-fbeb-4e72-8675-15b1d5e28545/barbie-BARBIE_VERT_TSR_W_TALENT_2764x4096_DOM_rgb.jpg Articles/Reviews - Barbie Review - Barbie is a completely nonsensical picture, and it is all the better for it. The entirety of the cast brings gleefully childish performances to their Barbie’s and Ken’s, acting as if they are kids in dress up. Margot Robbie’s turn as a lost doll now suddenly burdened with purpose has the hardest performance, but Robbie strives in both the comedic and the dramatic bringing real heart and soul to this plastic person. Ryan Gosling as Ken will undoubtedly be a crowd favourite, having some of the biggest gags and a massive musical number. Yet, it was Ken’s vitalness to the film’s overarching plot that came as surprise, but a humorous and welcome one at that. His discovery of the patriarchy leads to one of the film’s funniest sequences and Gosling pulls it off, completely immersed in the silliness and fragility of Ken’s ego. https://unwantedopinion.net/articles/fw8j3zot0e3n91rkgh6f34ugz4go6p monthly 0.5 2023-07-22 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/90ab2a94-af7f-4b51-a7bb-b54b3f6ee1b3/MV5BMDBmYTZjNjUtN2M1MS00MTQ2LTk2ODgtNzc2M2QyZGE5NTVjXkEyXkFqcGdeQXVyNzAwMjU2MTY%40._V1_.jpg Articles/Reviews - Oppenheimer Review - Oppenheimer is the culmination of Nolan’s cinema, with plentiful odes to his styles and previous films. The film jumps through the chronology and mixes black and white and colour to establish fact and subjectivity like Memento; the team of scientists assembled for Los Alamos is akin to the heist style of Inception; and the visualisation of scientific theory and concepts, harkens back to Interstellar. Scientific jargon and exposition do take up a lot of the conversations, but in contrary to this, Oppenheimer is Nolan’s most human film to date. Unlike any of his films before, Nolan uses close-up to a welcomingly intense degree here, allowing the audience to take in the sheer emotional weight of what is at stake here, with much of it carried by Murphy. https://unwantedopinion.net/articles/are-you-there-god-its-me-maragaret-review monthly 0.5 2023-05-18 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/ac323ac0-0e12-4fc8-8835-515cfe8262ab/MV5BN2M5MDk1OTMtM2ZlMi00NzNiLWE2NWEtZmNkNzQ4ODExNzQ3XkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_.jpg Articles/Reviews - Are You There God? It’s Me Maragaret Review For the last few years, Hollywood has lacked in its big screen family comedies. Most of the comedies released now are crude, rude and mostly use profanity as a punchline. While there is nothing particularly wrong with this (Stepbrothers is the epitome of this juvenile humour and that is hilarious) it feels as though there has been an absence in a purer form of comedy. Kelly Fremen Craig’s, sweet and sincere, Are You There God? It’s Me Margaret, is a return to something sorely missed. Set across one year, Are You There God follows the young Margaret (Abby Ryder Fortson) as she is forced to face the prospect of moving to New Jersey, leaving behind her friends and her beloved Grandma (Kathy Bates). Along with this, Margaret is confronted with the question of faith and the struggle to fit in with her newfound friend, Nancy (Elle Graham). https://unwantedopinion.net/articles/march-review-round-up monthly 0.5 2023-04-03 https://unwantedopinion.net/articles/the-2023-best-picture-nominees-ranked monthly 0.5 2023-06-15 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/fd2da54b-caaf-41ae-b6e4-806debcbf1d4/MV5BYjhiNjBlODctY2ZiOC00YjVlLWFlNzAtNTVhNzM1YjI1NzMxXkEyXkFqcGdeQXVyMjQxNTE1MDA%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 10. Avatar: The Way of Water While its visual effects are undoubtedly astonishing and some sequences are great to look at, Avatar 2, has very little else going for it. Its story is somehow even more derivative than its predecessor, its character writing paper thin and its villains goofier than anything you would find on a Saturday morning cartoon. Its themes of environmentalism being at the forefront of a huge blockbuster film is admirable, but it does very little to expand on these ideas that were already explored in the last film. It is still good to see the Academy embrace the sci-fi/ fantasy genre once again; it is just a shame that in a year where Nope, After Yang and Guillermo Del Toro’s Pinocchio were released, they give the attention to a film that is all style and little substance. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/de8a46fe-189d-4185-8b9f-7ce820f4e60f/rva3UhKaMeiB0Vej5A2pm1leX7K.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 9. Elvis Of course, no best picture nominee list would be complete without the obligatory biopic. Elvis is perhaps the most imbalanced film of 2022. There are genuine moments of enthralling, musical mania and an Austin Butler performance that is truly captivating. However, it feels as though director Baz Luhrmann, is at odds with himself. Luhrmann is most well-known for his fast and frantic style of filmmaking and when this is reigned in slightly, Elvis really finds its feet. Its first hour feels all too stylistically incoherent, feeling like a feverish nightmare at times. The film also boasts the most bafflingly bombastic performance of the year with Tom Hanks’, Colonel Tom Parker, a performance solely concerned with derailing any sense of dramatic sincerity. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/fd4f8ab3-199f-4ebe-b345-4c65fc13805c/All_quiet_on_the_western_front_%282022_film%29.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 8. All Quiet on the Western Front Much like the obligatory biopic, no best picture list would be seen without a traditional war epic. All Quiet on the Wester Front is an impeccably well-made film – almost to a fault. It is a war film that looks slightly too good and in doing so, it lacks a real sense of grit that all the great war epics do. Its anti-war message is solid, but it does not provide anything new when it comes to depicting the horrors of war. There are so many excellent aspects of All Quiet on the Western Front, from its ensemble performance and dread inducing score and sound design. Yet, when it all comes together it just lacks that distinctive quality to make it stand out from the vast catalogue of war films that have come and gone. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/0cb5e375-9827-404b-ac8b-77cef24f649e/MV5BNDRiZjc0ZDMtMjhlYi00ZjAzLTg0MDQtZDI2NGEyYTBlN2M2XkEyXkFqcGdeQXVyMTA2MDU0NjM5._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 7. Triangle of Sadness Ruben Östlund’s satirical commentary on the plagues of capitalism and the super-rich is an enjoyably twisted feature. Östlund has put together a cast of exceptionally unlikeable snobs in this humorous societal deconstruction of the imaginary barriers of wealth. Triangle of Sadness is also an interesting exercise in film’s ability to create empathy, even for those we find deplorable and Östlund manages to conjure these contradictory feelings quite successfully. There are moments of truly effective cinema, with the captain’s dinner being a comical and nightmare inducing sensory overload. Its commentary may be on the nose and at times it does meander, but nonetheless, Triangle of Sadness’ observations are astute, and its ending is brilliantly bleak. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/c0712b25-880c-4047-8ee7-7146d535a949/MV5BN2Y1NGE3MGYtNTc4YS00YjNlLThlYzgtNzVlNWZiOTlmYWNlXkEyXkFqcGdeQXVyMTU2Mjg2NjE2._V1_.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 6. Women Talking Sarah Polley writes and directs this tragic account of systemic misogyny and the brutality that follows. Based on the novel by Miriam Toews and inspired by true events in Bolivia; Women Talking is an emotionally stirring piece that brings with it one of the strongest ensembles of last year. The tales of sexual abuse and the fears of how the women should carry on are captivating, with every argument bringing with it weight and purpose. The entire cast are exceptional, but it is Claire Foy’s performance that leaves you speechless; an acting snub that is beyond perplexing. Women Talking’s importance lies in its heartbreakingly relevant themes and over time its importance will only grow as society fails to change. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/b5fcfc31-4a98-442f-bd65-e0a1abd38fbd/Everything_Everywhere_All_at_Once.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 5. Everything Everywhere All At Once With Everything Everywhere All At Once, the Daniels have created a feature that exudes cinema. From spectacle, action, comedy and tender emotion, Everything Everywhere All at Once leaves you almost overwhelmed by the time the credits roll. It swells with a near overload of the senses, but one that never feels messy, always keeping focus on the importance of story, character and its multitude of themes. Michelle Yeoh is a leading lady like no other, bringing heart and heft in every scene. This is without question one of the most explosively inventive and enjoyable films of last year and will most likely be this year’s winner. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/e8d9e71a-50da-4c5b-80f7-5c48f133f925/Banshees-of-Inisherin.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 4. The Banshees of Inisherin Martin McDonagh has crafted a darkly funny picture that brings with it weighty existential questions as to the meaning of life and legacy. The Banshees of Inisherin also hosts a sleugh of terrific performances; However, it is Brendan Gleeson whose dry, ruthless persona, which at first proves humorous; soon reveals a man in deep depression. While the folk tale atmosphere may allude to something more mystical, what you have here is an honest depiction of a man struggling with his mental health and how he should be remembered. The Banshees of Inisherin may leave you melancholic once it is over, but it is a film that will keep you ruminating long after the credits roll. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/2a16ce09-d458-4895-899b-2e3e1fd23001/MV5BZGM1MzczNmQtMjBmYS00NTRhLWI0MzctNTFkZDc4OGUyODdjXkEyXkFqcGdeQXVyMjMxOTE0ODA%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 3. The Fabelmans Steven Spielberg’s semi-autobiographical tale of passion becoming obsession only perpetuates his status as one of the greatest filmmakers of all time. It is both personal and universal, a tragic story which tells the tale of the fractious relationship between a mother and her son and how the blessings of talent can exile you from those you love. A soulful piece that shows us how art can reveal truth within ourselves as well as its power to move us. Spielberg infuses his film with his signature visual flare that brings with it the essence of something classical, and John Williams provides a sweetly sentimental score instilling this intertextual device that takes us back in time along with Spielberg himself. The ensemble here are all distinctly terrific, but it is Gabriel LaBelle who delivers the most underrated lead performance of the year. Even after 50 years of filmmaking, Spielberg still has powers like no other. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/b345e70a-d7eb-413a-8999-4f2fb31bf7cb/MV5BM2I0ZDcyYzItMGEyNi00YWVhLTlmNTQtOWVlYjE1ZGVhNWM0XkEyXkFqcGdeQXVyMTkxNjUyNQ%40%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 2. Tár Todd Field’s grandiose arthouse picture is a testament to pitch perfect character writing. Lydia Tár is the most strikingly well realised character of 2022, with Cate Blanchett delivering what might be her greatest performance. Blanchett outperforms any actor of last year, bringing this problematic, predatory figure to life in such a strikingly authentic way. Along with Field’s sublime screenplay, his film feels visually distinct. Overcast with the bleak grey skies of Berlin, there is a compounding sense of dread that hangs over Tár’s head. The wide and still nature of the film’s frames liberate the actors to deliver the full weight of Field’s script. There are even moments of horror and dreams of fate that feel simultaneously alien and at home in this dark character study. Tár is a dense, distinctive film that, much like its titular character, has many secrets to uncover. Yet, even after one watch, the power of Blanchett and Field overwhelm and astonish. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/8838b2fe-a432-4357-b330-9da7becd54eb/MV5BZWYzOGEwNTgtNWU3NS00ZTQ0LWJkODUtMmVhMjIwMjA1ZmQwXkEyXkFqcGdeQXVyMjkwOTAyMDU%40._V1_.jpg Articles/Reviews - The 2023 Best Picture Nominees Ranked - 1. Top Gun: Maverick Yes, Top Gun: Maverick may have been gushed over too many times on this site. It may not be the most intellectual or artistically evocative film of last year; however, Top Gun: Maverick is raw, visceral entertainment done to perfection. It is a film that celebrates the power of cinema, a demonstration of how all aspects of filmmaking can come together to provide thrills like no other. This is a blockbuster from days passed, something long missed, yet simultaneously pioneering on a cinematic front. This is not just the best blockbuster of the year, this is the best blockbuster in many years, one that demonstrates the power of the big screen. Is it cheesy? Yes. Predictable? Perhaps. But somehow, none of it seems to matter, this is a film in which the sum is greater than its parts. It works on a visceral and emotional level, with a tight, impactful story that reaches an astounding crescendo. Now, will it win best picture? Absolutely not. But it cannot be denied that the lengths taken Cruise and crew took to entertain is something that even the likes of Steven Spielberg had to praise. For it cannot be denied that Top Gun: Maverick is an astonishing cinematic achievement. https://unwantedopinion.net/articles/the-top-22-films-2022 monthly 0.5 2023-01-06 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/dce8b2cf-ba59-4884-96dd-328f56862c3c/MV5BN2M3Y2NhMGYtYjUxOS00M2UwLTlmMGUtYzY4MzFlNjZkYzY2XkEyXkFqcGdeQXVyODc0OTEyNDU%40._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 22. Barbarian - Barbarian is one of the most unpredictable horror films in recent memory. At every turn writer/director Zach Cregger takes the film in wildly different directions, morphing the film into a smorgasbord of horror styles and genres. The film packs effective scares and some horrifying imagery, but it is also disarmingly hilarious, with Justin Long’s AJ being a despicable highlight. Cregger’s implementation of humour never detracts from the terror, being used at perfect points to elevate an already disturbing picture. The film’s subversive qualities are indeed risky and may not pay off for some, but what it leaves you with is a wholly entertaining horror flick that will have you guessing at every turn. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/6d54d7e1-89f9-41d9-8bd4-235a66ddeeca/MV5BYmZlZDZkZjYtNzE5Mi00ODFhLTk2OTgtZWVmODBiZTI4NGFiXkEyXkFqcGdeQXVyMTE5MTg5NDIw._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 21. Glass Onion - Glass Onion is, quite simply, the best comedy of 2022. Rian Johnson’s character writing is effectively silly, with each of the ensemble cast brining their own ridiculous flare to the screen. Daniel Craig as Benoit Blanc takes this ridiculousness and dials it up to eleven, with his preposterous accent and manic mannerisms being a highlight of the whole picture. Kate Hudson and Edward Norton are standouts too, with a particular dinner gag and a comment about sweatshops being true laugh out loud moments. Johnson’s film goes along swiftly with an up-tempo pace, aided by its punchy editing and sharp, witty writing. Glass Onion is a blast from start to finish and a sequel that stands toe to toe with its predecessor. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/7bc5a9a5-7170-496b-a9ca-1406d51c6144/MV5BNDJhYjFlYTgtMDQ3ZC00ZDg1LWE0ZmEtMTMwNDFmOTE0NTc3XkEyXkFqcGdeQXVyNTAxMTUwNDQ%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 22 Films of 2022 - 20. Tory & Lokita - A naturalistic story of two immigrants faced with adversity in Belgium, Tory & Lokita is an emotionally engaging drama of love and friendship. The bond between its titular characters is enchanting, one that makes us fear for the unjust conditions the two are put under. From drug dealing to prostitution, Tori & Lokita is an unflinching portrayal of exploited migrants. Writers/directors, Jean-Pierre Dardenne and Luc Dardenne, have put together a film with such realistic intensity that you are left white knuckled throughout, in hopes that Tori and Lokita will be safe. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/e8276d4e-e8bf-4aaa-8346-438635b7d6a3/MV5BNDk2YTA1MGYtMGNjMi00YTJlLWI1YjItMjBjOGJlZGIwZmYzXkEyXkFqcGdeQXVyODA0MjgyNzM%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 22 Films of 2022 - 19. Blonde - Undoubtedly the most controversial pick here, Blonde is a dark film, one in which its subject matter will undoubtedly turn people away. However, it is a picture in which the sum is indeed greater than its parts and one that has been misinterpreted upon its release. Through this mirage of truth and fiction, Andrew Dominik has produced a truly expressive piece, one in which feeling overrides fact, as you are left understating the horrors and tragedy that plagued Marilyn’s life. Nick Cave and Warren Ellis also provide a dazzlingly ethereal score that is this year’s best. Through this harrowing watch you cannot help but be moved, saddened and yet amazed at the person behind the icon. A piece that in turn makes the real life Marilyn’s work all the more impressive. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/ad4ef0ea-78cb-44cc-84f3-44f87004c4b0/MV5BZDU4NTE3YTQtMzczMC00YzRkLWI5MjItNGE3NjQ0NTY4MzExXkEyXkFqcGdeQXVyODA0MjgyNzM%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 22 Films of 2022 - 18. Happening - Happening is a powerful, personal feature detailing the cruel nature of pregnancy imposed on a young individual. Anamaria Vartolomei gives a powerhouse performance as Anne, giving the character both a presence of vulnerability and strength. The personal quality of the film is aided by Laurent Tangy’s natural camera work and Géraldine Mangenot’s subtle editing that gives scenes a non-disruptive, intimate quality. Happening also demonstrates a particular feeling of isolation, rooted in a societal taboo that adds another tragic tint to the feature. Happening is undoubtedly a tough watch, but a rewarding and insightful piece, showcasing the importance of choice and its necessity as a human right. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/639a1735-8e59-4b9e-b156-8a7c459a6e72/MV5BM2Y1NDFlODYtYzMwZi00ZmRhLTg5ZWYtYTkwZWUyMTMyOWMzXkEyXkFqcGdeQXVyMTEyMjM2NDc2._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 17. Red Rocket - The story of a washed up porn star is a dark comedy that brings with it a complex social commentary of poverty in America and one of the most despicably likeable characters of the year in Mickey Sabre. Director Sean Baker brings his insightful storytelling talents to a film that shows the horrible power that capitalism has to create and destroy. While it is strikingly funny, Baker always manages to keep you keenly aware that the despicable lengths characters will go for money, is all a product of America’s societal failures. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/bc572846-81f4-4046-9f1e-e734d0ab90d5/MV5BMDdmMTBiNTYtMDIzNi00NGVlLWIzMDYtZTk3MTQ3NGQxZGEwXkEyXkFqcGdeQXVyMzMwOTU5MDk%40._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 16. The Batman - When looking at, The Batman, as a whole, it is quite staggering that a big Hollywood studio would commit its biggest IP to such a bold vision. Its dedication to telling a crime story of corruption and deconstructing its central figure is truly commendable. Its commitment to its heavy themes, gloomy world and 3-hour runtime may put some people off; but for those that venture into this dreary world, prepare for an impeccably constructed noir thriller. One that proves what blockbuster cinema can achieve under someone with the vision and passion to make it come true. We finally have a Batman film that lives up to The Dark Knight and proves Batman’s status as the king of comic book movies. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/d63a8edd-5604-4754-9e06-f90373060564/MV5BM2ZkZjMzNWMtMGY3Ny00YzA0LWIxODktYjY1YzU3NzE1ZjM3XkEyXkFqcGdeQXVyMTA3MDk2NDg2._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 15. Decision to Leave – Decision to Leave is a dreamy neo-noir that is masterfully directed by Park Chan-Wook. It is both modern, yet classical in nature, with its greatest ode being to Alfred Hitchcock’s, Vertigo, in which obsession too plays a key role. While this is Wook’s most sensitive film to date, he still manages to inject some of his dark, uncanny humour into this delicate and dark romance. Indeed, Decision to Leave showcases a director at the height of his craft, while also being one of the year’s most oddly romantic films. It is a peculiar puzzle box of a film, but when unravelled is both devastating and touching. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/117a8f71-8f8d-4ac8-b903-2fd3a3a4aa85/MV5BZTgzZmU0ZTItMGMxMy00ZTRjLTkwYzctYWYxNzM0Mzg1MzAzXkEyXkFqcGdeQXVyMTM5MDM2MTk5._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 14. Boiling Point - Filmed entirely in one shot, Boiling Point is a relentlessly entertaining flick that captures the stress and animosity of the hospitality industry. This is all heightened by the exceptional performances from Stephen Graham and co-star, Vinette Robinson, in particularly. The use of the one-shot technique that, although may appear gimmicky, actually becomes an effective tool in making us feel we are being exhaustedly rushed around this hectic restaraunt. Yet, within all the frantic goings on, Boiling Point still manages to take time to highlight each character’s own personal issues through brief but effective vignettes. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/27cc2161-0685-4790-bf78-d985e2e29911/MV5BNTdiMWI1ZmUtOTk3OS00ZDYxLThjZWYtYjIwNWJkNTkxMmJlXkEyXkFqcGdeQXVyMTQyODg5MjQw._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 13. Living - Director, Oliver Hermanus, and writer, Kazuo Ishiguro, made the bold decision to remake one of cinema’s all-time classics, Ikiru. However, their efforts have paid off as, Living, is a beautifully constructed adaptation that acts as an excellent companion to its original counterpart. While the structure and scenarios are consistent with the original film, Hermanus and crew have made this story feel fresh enough to stand on its own. From the gorgeous visuals, tender score and transporting the film to a new English setting, it never feels as though Hermanus’ take is redundant. Bill Nighy gives the performance of his career as Mr Williams, a man so lost as how to even exist. There is a real soul to this film, one which captures the wonder in life’s little victories and the importance of human connection. Thematically and cinematically, Hermanus has constructed a picture with timeless quality. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/a35488d5-a6ff-4a11-9434-86191a7136f8/MV5BYjljNGMzMjYtZTYwMS00NGMxLWIxY2UtM2E1N2FjZjBlN2MwXkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_-2.jpg Articles/Reviews - The Top 22 Films of 2022 - 12. The Quiet Girl - Colm Bairéad’s tale of a withdrawn girl taken from her family home is one filled with quiet complexity. With little dialogue, Bairéad manages to highlight the emotional ties we can create, even in silence. Through the eyes of child innocence the complexities of loss and abandonment are explored through fresh, uncynical eyes. The rural Irish setting provides for a beautiful backdrop that reflects the story’s calm approach. Yet, there is also an inevitability to the story that brings with it a sense of dread in knowing this place of tranquility will be ripped from both Cáit and the audience. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/a57b224a-6ad9-4842-82b3-61ae4b297ff1/MV5BYzdmNGZjNWYtYjhiMy00MGEzLTk4OGUtNDM0ZDNmN2Y0OTQxXkEyXkFqcGdeQXVyMTA3MDk2NDg2._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 11. The Northman - Based on the folk fable that inspired Shakespeare’s Hamlet, Robert Eggers has adapted an age-old fable with a vision that is as timeless as the tale itself. Beautiful and brutal to behold, Amelth’s tale is one that blends the mythic with an authentic story of male delusion and toxic masculinity, as well as questioning if there can be a life beyond the purpose we have contrived in our own mind. Every frame is so keenly constructed, immersing the viewer within this harrowing, yet mystifying Norse world. Skarsgård as Amleth is no hero, he is rage incarnate, only driven for a taste of revenge that too makes us as driven to see how this quest will conclude. The Northman is a tremendous odyssey, one drenched in violence, hate and anger, that solidifies Eggers’ talents as a filmmaking visionary. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/69fb00d4-5397-442f-aa4f-959294576608/MV5BYTdiOTIyZTQtNmQ1OS00NjZlLWIyMTgtYzk5Y2M3ZDVmMDk1XkEyXkFqcGdeQXVyMTAzMDg4NzU0._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 22 Films of 2022 - 10. Everything Everywhere All At Once - With Everything Everywhere All At Once, the Daniels have created a feature that exudes cinema. From spectacle, action, comedy and tender emotion, Everything Everywhere All at Once leaves you almost overwhelmed by the time the credits roll. It swells with a near overload of the senses, but one that never feels messy, always keeping focus on the importance of story, character and its multitude of themes. Michelle Yeoh is a leading lady like no other, bringing heart and heft in every scene. This is without question one of the most explosively inventive and enjoyable films of the year -Everything Everywhere All At Once is truly something to behold. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/e4682b8b-15a4-429a-ad1e-e32c0bdaab0e/MV5BOTEzMjU2Y2ItYzc3NC00N2IwLTg2MDMtNGM2M2Y4OTE5ZWM3XkEyXkFqcGdeQXVyMTA3MDk2NDg2._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 9. The Banshees of Inisherin - The Banshees of Inisherin –Martin McDonagh has crafted a darkly funny picture that brings with it weighty existential questions as to the meaning of life and legacy. The Banshees of Inisherin also hosts a sleugh of terrific performances; However, it is Brendan Gleeson whose dry, ruthless persona, which at first proves humorous; soon reveals is a man in deep depression. While the folk tale atmosphere may allude to something more mystical, what you have here is an honest depiction of a man struggling with his mental health and how he should be remembered. The Banshees of Inisherin may leave you melancholic once it is over, but it is a film that will keep you ruminating long after the credits roll. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/5842b8a7-b1ab-4368-950d-930458da923d/MV5BNGM0MmJmYjktMmJlYS00YWEyLThhY2UtMGQzYjA5MDA5N2YwXkEyXkFqcGdeQXVyODc0OTEyNDU%40._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 8. Great Freedom - Set in post-war Germany, Great Freedom follows Hans as he is repeatedly incarcerated under paragraph 175, which criminalises homosexuality. Great Freedom is one of the most inspiring films of the year, with Hans (Franz Rogowski) being the embodiment of perseverance and hope. This a film that highlights the vulnerability of the human soul, yet, never displaying it as a weakness. Sebastian Meise’s direction manages to make this one location constantly interesting along with Crystal Fournier’s varied cinematography. Great Freedom may be a weighty story, but one that demonstrates the necessity of human compassion and its unwavering power. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/879d0d71-2b7e-42b8-97a3-45aab4acc511/MV5BZjkzYmFjZGItMDYwMy00YTljLWE0YWYtOWNmNzdkZDdlYmI5XkEyXkFqcGdeQXVyMTM1MTE1NDMx._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 7. After Yang - Kogonada follows up his peaceful and poignant 2017 feature, Columbus, with this meditative sci-fi film about the entwined nature of memory, the self and how mourning can reshape our feelings towards those we lost. Kogonada and cinematographer Benjamin Loeb have crafted a still feature akin to Columbus, one that evokes a similar contemplative quality, but simultaneously has its own elegant style. Colin Farrel gives a restrained performance, but one that is deeply in touch with humanity and delivers on the profundity of Jake’s discoveries. Malea Emma Tjandrawidjaja, gives the film a humorous edge with adorable childish glee and Aska Matsumiya provides a tranquil, tender score to the picture, one that complements Kogonada’s direction. After Yang is a delicate journey that questions and connects us to the human and is, undoubtedly, the most peaceful film of 2022. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/72bd7cf1-01ae-4a94-aaee-e97f21772359/MV5BMGIyNTI3NWItNTJkOS00MGYyLWE4NjgtZDhjMWQ4Y2JkZTU5XkEyXkFqcGdeQXVyNjY1MTg4Mzc%40._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 6. Nope - Jordan Peele’s third film is his most ambitious and, perhaps, his best film yet. Nope’s layered deconstruction of grief and the lust for spectacle is, indeed, spectacular, while it also boasts two of the most endearing characters of the year in OJ (Daniel Kaluuya) and Emerald (Keke Palmer). Nope undeniably cinematic, not just in scope, but in its inspirations too. It feels like a classic Spielberg blockbuster (aided by some John Williams like compositions), as well as a grand western with unique sci-fi horror influences. Nope is a strange genre mix, but an exceptionally successful one at that. Peele’s ability to combine a multitude of ideas, with grand set-pieces and insightful character moments is further proof that he is one of the most interesting talents in the industry today. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/cd4b5b91-a3d9-40c0-b6bb-cb00ed4ba5e6/MV5BNjBhZjNkNDItODcxMS00ZGNmLTk3ODUtOGU1NWI3N2Q3YmM1XkEyXkFqcGdeQXVyMDM2NDM2MQ%40%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - The Top 22 Films of 2022 - 5. Guillermo Del Toro’s Pinocchio – Guillermo Del Toro’s conclusion to his loosely connected death trilogy, may be his finest work yet. Co-directed by Mark Gustafson, the two have managed to create an instant family classic that manages to capture an intrinsic fable like quality which is both fun and deeply mature. The story is as thematically beautiful as the stop-motion animation, as every character design is bursting with distinctive detail. The film’s insight into mortality and existence is both simplistic, yet deeply affective. Move aside Disney, for this is the Pinocchio adaptation for the ages. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/f030de7a-10fd-41de-9141-aa9d274747a9/MV5BMzk5ZWU1ZTktZjMxZi00YjFmLTk4NGUtZjU1NmFiNWI4YThjXkEyXkFqcGdeQXVyMTg1MDc3NjY%40._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 4. Mass - Four characters. One room. This is all that Mass utilises and yet it is one of the most enthralling cinematic experiences of the year. Through sharp, engaging dialogue and perfect performances from the entire cast that capture the full array of human emotion- it is a film that never lets you go. It is a film that calls to attention so many societal complexities and the dangers of generalisation; how labelling things as black and white or with one-word definitions leads to dangerous and misguided ideas of the world around us. While the subject matter may appear bleak and unapproachable, it is a film that shows us the process of pain, but is ultimately about forgives and even the hope that can be found in each other. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/a6c0a715-46bd-4af5-baef-3eac1cefdebd/fid21437.jpg Articles/Reviews - The Top 22 Films of 2022 - 3. The Worst Person in the World – Joachim Trier’s story of Julie’s quarter-life crisis packs it all. Set across twelve chapters, Trier captures the vast qualities of human existence. Ranging from quirky comedy to hefty tragedy, Trier manages to keep his film tonally consistent, as well as boldly creative. It is quite staggering how grand and yet completely focussed Trier’s film is. His character writing is second to none, with Julie being both an inherently flawed yet entirely relatable individual, whose journey of lust and love lead to an incredibly moving finale. In many ways, The Worst Person in the World, proves the versatility of cinema and in doing so highlights the mercuriality of life itself. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/ef893732-23e2-46a2-81a6-57d9bda5909b/MV5BZWYzOGEwNTgtNWU3NS00ZTQ0LWJkODUtMmVhMjIwMjA1ZmQwXkEyXkFqcGdeQXVyMjkwOTAyMDU%40._V1_.jpg Articles/Reviews - The Top 22 Films of 2022 - 2. Top Gun: Maverick: Nope may have deconstructed the problems with spectacle, but Top Gun: Maverick proves how spectacle is done right. This is a blockbuster from days passed, something long missed, yet simultaneously pioneering on a cinematic front. This not just the best blockbuster of the year, this is the best blockbuster in many years, one that demonstrates the power of the big screen. Is it cheesy? Yes. Predictable? Perhaps. But somehow, none of it seems to matter, this is a film in which the sum is greater than its parts. It works on a visceral and emotional level, with a tight, impactful story that reaches an astounding crescendo. Leave your cynicism at the door and embrace the cheese, for it cannot be denied that Top Gun: Maverick is an astonishing cinematic achievement. https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/9dcf2e7c-e2c6-4db8-a48b-fa7f62427f22/25080792.jpg Articles/Reviews - The Top 22 Films of 2022 - 1. After Sun – Charlotte Wells’ directorial debut is nothing short of astonishing. From its opening, Well’s creates an air of both tenderness and mystery around the film. There is a duality that is present here, an idea that is cleverly shown in the cinematography, as the camera is positioned to depict two different realities, either through door frames or reflections. This duality is most accentuated by the wonderful Paul Mescal, whose naturalistic performance brings realism and nuance to this story of a man’s struggling mental state. Corio is also staggeringly excellent here, with the two stars coming together to provide a richly authentic father and daughter dynamic. The performances, along with Well’s script and brilliant direction, all weave together with such subtlety, that when the final act comes you are hit with a wave of emotional profundity that very few films can achieve. While this is a film about duality, secrets and reflection, it flows like a dream and one that will remain with you for days, or even months after. After Sun is Unwanted Opinions best film of 2022. https://unwantedopinion.net/articles/november-review-roundup monthly 0.5 2022-12-06 https://unwantedopinion.net/articles/october-review-roundup-up monthly 0.5 2022-12-31 https://unwantedopinion.net/articles/blonde-review monthly 0.5 2022-10-24 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/90d23028-b7d2-4e72-8f86-0ce48f21f045/MV5BNDk2YTA1MGYtMGNjMi00YTJlLWI1YjItMjBjOGJlZGIwZmYzXkEyXkFqcGdeQXVyODA0MjgyNzM%40._V1_FMjpg_UX1000_.jpg Articles/Reviews - Blonde Review - There is a darkness that permeates and follows Norma throughout the story, where her childhood trauma sticks with her on a daily basis. In depicting this trauma, Dominik’s film does not harm the image of Monroe, but instead makes her achievements all the more astounding. The tragedy of Blonde acts as an impactful companion to Marilyn’s real body of work, revealing the pain behind her staggering career. This tragedy and melancholic atmosphere are aided by the ethereal Nick Cave and Warren Ellis score, which is undoubtedly the best of the year so far. It is a visceral piece of music and one which elevates the film, accentuating the beauty and sadness at the heart of this story. At times Dominik’s style can be too overbearing, however. While many of his creative decisions are visually arresting, he does take it too far at points, with certain POV shots and talking foetuses ruining the immersion. These decisions were unnecessary and perhaps more consistency with the visual language could have bolstered the film. https://unwantedopinion.net/articles/september-review-roundup monthly 0.5 2022-10-05 https://unwantedopinion.net/articles/thor-love-and-thunder-review monthly 0.5 2022-07-08 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/649cd6cf-0bb4-4ff0-815c-0e28cad32999/MV5BYmMxZWRiMTgtZjM0Ny00NDQxLWIxYWQtZDdlNDNkOTEzYTdlXkEyXkFqcGdeQXVyMTkxNjUyNQ%40%40._V1_.jpg Articles/Reviews - Thor: Love and Thunder Review Hemsworth is predictably solid as Thor, with this being his seventh turn as the God of thunder. Yet, the faults with his character mainly come down to his writing, dialling up the dumb that people grew to enjoy in Thor: Ragnarök, but now leaning too far in that direction that it just feels inconsistent with the Thor we saw in the last two Avengers film. At times his behaviour even comes across as ignorant, seemingly disinterested in his own people’s plight. Natalie Portman’s Jane Foster is definitely more likeable than her previous incarnations; Tessa Thompson’s Valkyrie adds a fun dynamic to the team and Taika Waititi’s Korg is always a delight. Christian Bale is undoubtedly the standout here, however. His menacing demeanour and demonic design are captivating, while Bale himself is clearly having a blast in the role. Along with a convincing motivation, you will wish Gorr was a larger part of the feature, as he too brings with him a distinct visual flare that film lacks without him. https://unwantedopinion.net/articles/top-gun-maverick-review monthly 0.5 2022-07-18 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/1086809e-c304-4ac0-8aec-657b660ec1f7/FR2T-sKVEAAtkXR.jpeg Articles/Reviews - Top Gun: Maverick Review - But of course, the big selling point of Top Gun: Maverick are the aerial sequences, with Tom Cruise refusing to do the film unless all aerial stunts were practical, having all the actors fly in the jets and utilising practically no CGI whatsoever. Cruise’s ambitions result in some of the most breath-taking action sequences ever made, even outdoing his own work in the Mission Impossible franchise. What makes the flight sequences so effective is the use of the cock pit cameras that puts the audience in the pilot’s chair along with the actors, so we too experience the high-octane ride of the F-18 jets. Not since Mad Max: Fury Road has there been an action film so ferociously kinetic. What Kosinski and co have achieved when it comes to filmmaking cannot be praised enough, especially in the film’s unparalleled, heart stopping final act that demands to be seen on the biggest screen possible. In its very DNA Top Gun: Maverick feels like an old school blockbuster, drenched in an American sun-soaked summer haze. The score is triumphant, the love story is overtly cutesy, Lady Gaga performs an 80s inspired power ballad and, of course, there is a topless American Football game with jean shorts galore! Top Gun: Maverick is bursting to the brim with charisma and so unapologetically cheesy at times that you cannot help but smile. They simply do not make them like this anymore and they may never make them like this again. https://unwantedopinion.net/articles/everything-everywhere-all-at-once-review monthly 0.5 2022-05-16 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/42e08149-e053-4722-bd9f-ea3fa418918f/a81641Q_460s.jpg Articles/Reviews - Everything Everywhere All at Once Review - Michelle Yeoh is phenomenal as Evelyn, leading the film with a fabulous display of talent, juggling the emotional weight of Evelyn’s journey, as well spearheading the action and comedy sequences alike. Yeoh is a veteran when it comes to fight choreography and here, she manages to flaunt those skills yet again in delightful fashion. Yeoh gives it all and packs in one of the best performances so far this year. Ke Huy Quan (most well known for playing Short Round in Indiana Jones and the Temple of Doom) gives his first on screen performance in 20 years and it is as if he never stopped. Quan manages to be as mercurial as the Daniels’ direction, swaying from adorable and harmless, to decisive and cool, while also boasting some of the most heart-warming moments of the film. The rest of cast from Stephanie Hsu, James Hong and Jaimee Lee Curtis especially, all fully commit to the absurdity, bringing their own zany flare to the whacky wonderment. On a technical level, Everything Everywhere All at Once is near perfect. The editing is sharp and snappy (akin to Edgar Wright), whipping us between worlds that feels quick, yet clear. The fight scenes are also handled with real technical prowess, rich with energy, creativity and clarity. On a 25-million-dollar budget the Daniels and crew manage to put most big blockbusters to shame, looking and sounding even better than most 200-million-dollar features. https://unwantedopinion.net/articles/april-review-roundup monthly 0.5 2022-05-03 https://unwantedopinion.net/articles/the-batman-review monthly 0.5 2022-03-09 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/1603e37c-a13b-411e-ae9d-c1578ce4f65d/MV5BYTExZTdhY2ItNGQ1YS00NjJlLWIxMjYtZTI1MzNlMzY0OTk4XkEyXkFqcGdeQXVyMTEyMjM2NDc2._V1_.jpg Articles/Reviews - The Batman Review - Throughout his hunt for the Riddler, Batman is helped by the honourable Jim Gordan (Jeffery Wright) and cat burglar, Selina Kyle (Zoe Kravitz). Wright and Kravitz give perhaps the best on screen depictions of their given roles; with Wright acting as not only mediator between Batman and the distrusting police force, but as his more level-headed partner too. Kravitz plays Catwoman with a sense of drive and sensuality that makes her own journey and her romantic dynamic with Batman all the more alluring. Paul Dano’s Riddler has his moments, but at times goes a bit too over the top, making Riddler’s lunacy feel a bit forced. However, Reeve’s commentary on incel culture and perhaps how it can infect the most isolated in society is rather interesting, adding another layer to the films contemporary ideas. Robert Pattinson’s take on Bruce Wayne/ Batman is unlike any other. Gone is the suave playboy Bruce Wayne of the past, for the persona of Wayne is very much an afterthought in the mind of this Batman. Pattinson is depicting a truly broken man, almost deranged in his quest for Justice and who feels uncomfortable in his own skin. Pattinson needs very few words to convey what he feels as his cold eyes do much of the talking. Pattinson has always managed to fully embody the characters he plays and his bold turn as the Dark Knight only solidifies his status as one of the best actors working today. Composer Michael Giacchino also had no easy feat, having to follow up the likes of Danny Elfman and Hans Zimmer’s iconic scores, but he more than delivers here. Giacchino’s score, and his Batman theme in particular, is grand and truly aids in immersing us in Reeves’ world. https://unwantedopinion.net/articles/february-review-roundup monthly 0.5 2022-07-18 https://unwantedopinion.net/articles/january-review-roundup monthly 0.5 2022-02-01 https://unwantedopinion.net/articles/belfast-review monthly 0.5 2022-01-20 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/14b23e97-7bc6-45d8-8cc7-ebb68d7dd391/MV5BODMwYTYyY2ItOWQ5Yi00OTI1LTllYTQtYTdlNWM4YzJhYTM0XkEyXkFqcGdeQXVyMTA2MDU0NjM5._V1_-2.jpg Articles/Reviews - Belfast Review - Branagh has written these characters based on his own family, which furthers the film’s sentimentality, while adding to the success and reasoning of the film’s brilliant aesthetic. The use of monochrome introduces this idea that we are looking into the past. Characters are placed within literal frames of doors or windows which may be Branagh’s own way of eternalising memories that were never captured. Even images of corner shops, houses and busses are shot as if to resemble still life paintings you might find within a city pub. Cinematographer Harris Zambarloukos, stated, ‘Colour describes people black and white allows you to feel people.’ Indeed, this is where Belfast comes together- in its feeling. While there is a real heart to Belfast, this disengagement with the political portion of the film does in turn lead to some issues. At times it feels as if Branagh forgets about certain characters and conflicts set up earlier in the film. The lack of any plot involvement throughout the middle act does lead to their reappearance feel rather jarring towards the end. This sours some of the film’s climax as it does rely on a key character conflict that does not really feel genuine and is frankly forgotten by closing act of the film. For a film that is so successful in creating believable character relationships, it is odd that one comes across as rather half-baked. https://unwantedopinion.net/articles/sequels-reboots-amp-remakes-are-they-really-the-problem monthly 0.5 2022-01-07 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/c076b346-87b3-4664-9774-b4d996212a97/james-bond-no-time-to-die-i103403.jpg Articles/Reviews - Sequels, Reboots & Remakes!.. Are They Really the Problem? - It is comparative to the news cycle. There are hundreds of news stories written each day and the information is all published for us to read, but very seldom do we. It is all about the main headlines, the talking points, what stories grab the average person’s attention? It is the same for film. The public consciousness moves so fast that what catches the eye tends to be what we already know. It’s not that those original films aren’t being made; we are just not privy to them as they are overshadowed by the bigger stars. Independent films can also be extremely difficult to sell. These films tend to lack a big star and don’t have grand and flashy set pieces that can be shown in a trailer. Some can be too high concept or unusual that it does not appeal to popular demographics – such as young adults and families - and so studios won’t invest in big marketing campaigns for stranger or understated projects. The pandemic may have also led to an increased strain on original films. Last year Ridley Scott blamed the failure of his film, The Last Duel, on millennials’ attachments to their phones and short attention spans. Firstly, millennials are in their thirties now Scott, perhaps you mean Gen Z? Regardless, The Last Duel would regularly be a film that attracts an older audience, but the fear of coronavirus has stopped a lot of older people from returning to the cinema altogether, meaning that some original properties are losing a large chunk of their intended audience. https://unwantedopinion.net/articles/episode-06-staycationing-m52fc monthly 0.5 2022-01-07 https://unwantedopinion.net/articles/category/Travel monthly 0.5 https://unwantedopinion.net/articles/category/Relationships monthly 0.5 https://unwantedopinion.net/articles/category/Health monthly 0.5 https://unwantedopinion.net/articles/category/Culture monthly 0.5 https://unwantedopinion.net/articles/category/Sports monthly 0.5 https://unwantedopinion.net/about daily 0.75 2021-12-31 https://images.squarespace-cdn.com/content/v1/61484cdd02fc314ae8e71571/7d46b345-8c51-45bc-9e5c-c2bf1560868f/2AFEF77F-789B-4408-B7BF-137DB2F51D78.jpg About https://unwantedopinion.net/contact daily 0.75 2021-12-30 https://unwantedopinion.net/donate daily 0.75 2025-05-09