2018 Film Awards

The “Well I Liked It” Award

Gringo

I don’t get the hatred for this. The story was solid and the performances were great. It also looked fantastic. I could understand people thinking this film is just “okay”, but to score as low as it has genuinely confuses me and I don’t get it. I feel part of it is due to the (lack of) marketing which put the idea that this isn’t a good film in peoples heads.

Rotten Tomatoes Score: 38%

0_TIwaB4oIy2zVoDmF

Best Scene/Moment

Blackkklansman – The Montage

I’ve touched upon it before but the closing montage is amazing and is one of the most devastating moments of the year. It really puts forward the idea that we, as a species, are kind of fucked up.

Deadpool 2 – Deadpool “fixes” things

That was hilarious and wrong and I loved it. It proved why Ryan Reynolds is the correct choice for Deadpool (as if there’s any doubt of that now) because he’s that willing to make fun of himself and admit his past superhero film mis-steps.

Game Night – Egg Keepaway

Was pretty much done as a one-shot, very well done and the scene made geographical sense in terms of what you saw about the layout of the house.

Creed II – The Of The Fight

It made me feel emotion for a complete bastard. I loved it.

Infinity War – The Snap

Possibly. I didn’t think they’d be crazy enough to actually fucking do it. Now let’s see how they handle the next step.

Hereditary – Charlie’s Death

Mainly because it came out of left-field and was so brutal and unexpected it literally inspired the words “what the cocking shit-fuck was that?” to be put in a blog. It side-footed almost everybody who saw it.

Winner

Halloween – Michael Myers Goes Through Houses

A brilliant piece of film-making. He just goes through houses killing people. He doesn’t do it in a flashy way, with lots of jump cuts and scary sound effects. He just casually walks in, stabs, walks on to the next house. It’s a great display of a serial killer being effective as you could hope for in cinema. It’s like he’s not killing out of hatred, but because he just feels like it.

halloween-2018-trailer

Worst Scene/Moment

Co-Winners

Truth Or Dare – The Ending

Obvious sequel hook is obvious. And it made the main characters seem like completely selfish dicks. Effectively the ending is “I will massacre millions of innocent people” and this is seen as “sweet”. Nah, it’s sociopathic.

Show Dogs – The grooming scene

The only film in this blog that i haven’t actually seen. But it has a scene which features someone telling the main character that if someone in authority is fondling his genitals he should just be quiet and go to his happy place until it’s over. Not to escape it, or to stop it, but simply to put up with it. What a fantastic message to send to children.

Biggest Disappointment

Downsizing

Okay, I don’t know exactly what I expect from this film but I know one thing, I expected SOMETHING. This was just really dull. It’s over two hours long and every minute of it drags like someone learning to swim through treacle. Important characters are just forgotten about. It has moments where it looks like it’s going to tell an interesting story but then backs away. There are a hundred different stories you could tell with this scenario, and this decides to tell none of them.

Red Sparrow

I like a great spy drama as they usually have great plotting and look amazing. They also usually are technically brilliant, a chance for directors to really show what they can do. This didn’t do any of that. It did nothing. It was flat, lifeless, and worst of all, dull. I never cared for the characters (which is a minor problem), and I didn’t care for the plot (which is a major problem). How disappointing was it? Put it this way; if I fell asleep half way through, I wouldn’t have checked wikipedia to see what I missed.

Winchester

It’s a horror movie with Helen Mirren, how could this not be great? *watches it* oh, that’s how.

Truth Or Dare

I do love a good teen horror as they’re usually pretty funny and well-done. This was not. The story was so boring and the characters were so annoying I was actively rooting for them to die. Most of them did, but you couldn’t get any satisfaction from their deaths as they were so heavily sanitised there was catharsis. Also, the ending reveals one of the characters to be a selfish bitch, and obviously sets up for the sequel. Ultimately this is one of the worst films I’ve seen of the year.

The Cloverfield Paradox

I don’t know why I was surprised by this. The second one was a disappointment too. But I thought this one would be different. It had a more obvious connection and had Chris O Dowd. But nope, still made a bland story that isn’t as smart as they think it is.

Winner

The Happytime Murders

I wanted this to be incredibly funny, crude, and, most importantly, made with love. This was just really dull. They didn’t even really make the most of the gimmick. They just used it really to make “puppets swearing is funny” jokes. It’s not just that this film is not great, or that it’s not even good, it’s actively bad and I genuinely didn’t expect that. A crushing wave of disappointment hit me relatively early on and never stopped. It’s a shame as a puppet-noir comedy would be great. It it was done well.

Funniest Film

Nominated

Game Night

I expected this to be thoroughly okay, yet I loved it. Yes, some of the laughs are in the trailer, but most of them that are then lead to something even funnier, or are funnier in context. I was laughing my ass off through some of the dialogue in this, and the physical comedy. It’s a great comedy of errors which can be difficult to pull off without annoying the audience.

I Kill Giants

It’s not funny continuously, but when it is funny it’s HILARIOUS (see also, Lady Bird).

Blockers

This film was filthy! And all the better for it. This would not have worked if it was heavily sanitised for a younger audience, the crudeness makes it. Plus, I’ve said it before and I WILL say it again, it’s refreshing to see a gynocentric teen sex comedy. It helps that it is REALLY funny with dialogue that’s endlessly quotable dialogue. This could have been forgettable, in the end it was memorable.

Winner

Deadpool-2-Banner-Cable-Banned-Disneyland-Photo

Deadpool 2

This film could be 90 minutes of somebody punching a kitten in the face, and the ending tag will still cause me to list it in one of the funniest films of the year. Okay, I am a sociopath but the point still stands. You spend so much time laughing here you miss jokes, which you then get the second time.

Scariest Film

Blackkklansman

Not a horror film, no, but that closing montage is fucking terrifying.

Halloween

This film made Michael Myers scary again. And showed why Jamie Lee Curtis is awesome. But it would have been for naught if it wasn’t actually a scary film itself. And it is. Everything about it works to create a classic horror film.

The Cloverfield Paradox

I’m a big fan of body horror when it’s done right, very few things can beat it. There are a few moments in here which are incredibly creepy and disturbing. It would have been creepier on a big screen though.

Ghost Stories

This wasn’t “something’s coming to get you!” scary. This was more “unending dread and feeling that something is not quite right” scary. It’s just so damn, “off” throughout. You constantly have the feeling that something weird is happening and you’re not entirely sure what. It keeps you on edge throughout and means you can never really get comfortable.

Winner

1785

A Quiet Place

Now this is “something’s coming to get you” scary. This wins this award for the effect it had on the audience. Everybody watching it is too scared to make any noise. The thing is, I’m not entirely sure the audience is aware of it. They just know not to make any noise during the screening. It’s a horror film which affects behaviour. Much like how Jaws made people scared of sharks, Psycho made people scared of showers, and Truth Or Dare made people scared of spending money on cinema tickets in case they see a film as bad as that again.

Best Animated/Children’s Film

Nominated

Early Man

By the team behind Wallace and Gromit, so you know you’re not going to get something bad. Aardman rarely make anything that’s not a lot of fun. They may lack the emotion of Pixar, but they’re more enjoyable a lot of the time. Not as good a film as Coco, but probably a better kids film.

Goosebumps 2

Horror is a genre which is difficult to aim towards kids, yet when it works it’s absolutely wonderful. Kids don’t mind being slightly scared, it’s why Scooby Doo works (and is probably most kids introduction to most of the staple horror movie icons; Frankenstein, Dracula etc). So I’m glad this film worked as it shows there’s life in the genre and will hopefully inspire more.

Isle Of Dogs

This one is here purely based on the animation. If I found out a kid liked this I’d assume that they’re actually an adult pretending to be a kid. It’s just too, I dunno, Wes Anderson-ey for kids I think. The animation is f*cking superb though. It looks absolutely breathtaking.

Spider-man: Into The Spider-Verse

Weirdly animated, there’s been nothing else which looks like this in a while. It’s not quite a comic book come to life, but it’s very reminiscent of the style. The story is also great, teaching kids about multi-verse theory is not something a lot of films do. The voice acting is also great with some weirdly a-list cast members in somewhat minor roles (although I am disappointed Spider-Ham wasn’t voiced by Jon Hamm).

The Incredibles 2

I watched this on a plane and still loved it (most of it anyway, the guy sitting next to me was about 40 seconds ahead of me watching the same film and it annoyed me as I’d never win that race). A great mix of satire, slapstick, and superhero greatness. And it looks amazing.

Winner

Coco-Movie-Banner

Coco

Obviously, I was going to mention this. It’s Pixar, and I love Pixar. They’re seemingly incapable of making non-great films (when they don’t involve cars). This film is so great that it almost seems like an insult putting it in this category. This is not just great for animated film, this is a great film full stop. Emotionally engaging, funny, and beautiful to look at.

Best Film To Look At

Nominees

Game Night

Only for the moments where they made real houses look like game pieces. A subtle touch that was not necessary, but I loved it, it showed dedication to the craft.

Coco

The colours! Never has death looked so pretty. It’s the cinematic equivalent of looking through a kaleidoscope. I’m not 100% certain but I think you could enjoy this film with the sound off, just enjoying the visuals of the whole thing.

Mortal Engines

Purely for the genius in the set design.

Hotel Artemis

This film was beautiful in its ugly nature. It was dirty and grimy and felt like if you touched it you could catch something. It was brilliant.

Ready Player One

Not so much for the quality of the visuals, but for the amount of shout-outs and hidden references they crammed in in the background and didn’t draw your attention to.

Shape Of Water

A film you don’t so much watch, as absorb. A simply beautiful piece of cinema.

Spider-man: Into The Spiderverse

The animation for this made my eyes water with joy. So smooth, so distinct, and so…..right.

Winner

black-panther-marvel-hannah-beachler-set-design-feature-interview_dezeen_2364_col_99-1704x899

Black Panther

The Afrofuturism look to Wakanda was SUPERB. I don’t think I’ve seen anything like this before. Marvel have had some criticism for their films but they seem to have a knack for picking the right director for a lot of their stuff lately. The film Ryan Coogler directed before this? Creed. Which, yeah, was GREAT, but in a completely different universe from this one, needed a different skill set so it was a risky move, but one that paid off.

Best Actor

Nominees

John Krasinski – A Quiet Place

“I love you, I have always loved you” scene alone would get him nominated for this. This film proves he’s more than just “Jim from The Office”. I think viewers of that show knew he was good, as that had a lot of emotional moments that reduced people to tears. But I don’t think many people expected him to be THIS good. A great performance, in a film that deserves it.

Rami Malek – Bohemian Rhapsody

Playing Freddy Mercury is not something that’s easy to do. He had a certain other-worldness to him that a lot of people can’t pull off. You need to have the charisma so that if someone saw you walking through the street they’d know they are somebody. He doesn’t quite manage it all the time but gets so damn close you can’t help but admire it.

Woody Harrelson – Three Billboards Outside Ebbing, Missouri

He got nominated for a lot of awards because of this, and there’s a good reason for that, he was great in it. Playing the role with a great mix of sadness and anger that won’t be a surprise to anybody who saw his work in War For The Planet Of The Apes. In the last few years, he really seems to have found his niche as an emotionally conflicted actor, and this is one of the best examples of it you’re likely to see.

Michael B.Jordan – Creed 2

I was tempted to put him in for Black Panther instead, his performance in that almost overshadowed the main character, but a lot of that was also down to superb writing. A lot of performers I feel could have done that and made the character work. This, this had to be him. His facial acting is great. There’s one moment in particular which stands out. He’s arguing with Rocky and says something incredibly harsh, just by his facial performance you can tell that he regrets saying it but is too proud to apologise.

Sam Rockwell – Three Billboards Outside Ebbing, Missouri

It must have been so easy to play this for laughs. To make this character a one-note joke. For him to turn this character into one of the most compelling characters of the year deserves acclaim, luckily he achieved that with the number of awards he got nominated for/won for this role. It’s odd to me how when discussions of great actors are bought up, people don’t mention Sam Rockwell anywhere near as much as they should. Seriously, watch Moon, that film is basically him acting alongside himself for the entire duration, and it works wonderfully.

Paul Whitehouse – Ghost Stories

I’m not saying this is the best performance of the year, but it’s so notable that I felt it needed to be mentioned. I mainly know him from comedies, yet seeing him in this makes me wish he did a lot more drama. I could definitely see him doing work in the theatre.

Winner

Doug Jones – The Shape Of Water

There are two things which make it hard to give a great performance: 1) not being able to speak. 2) being under heavy makeup. Imagine how hard it must be if you do both? How he managed to do this I have no idea, but he created an absolutely compelling character with his performance here. Turning someone who visually is like the creature from the black lagoon into something lovable. Humans are essentially sociopaths who find it hard to feel empathy for those who aren’t like “them”, this is why it’s so easy for the press to demonise immigrants and people they deem “others”, because of a complete lack of empathy. So for us to feel this much for something that we know isn’t even of the same species is something truly incredible. Now all we need to do is get The S*n to go fuck itself.

030418-shape-water-creature-lead.jpg

Best Actress

Nominees

Frances McDormand – Three Billboards Outside Ebbing, Missouri

She is amazing in this. Turns what could be a hateful character into one you can’t help but root for, even when she’s doing terrible things. Nominated for Academy Award, and it’s almost impossible to argue with that. A great mix of fantastic storytelling, and simply superb performance.

Jodie Foster – Hotel Artemis

Because she’s Jodie Foster and you almost forget just how incredibly she is when she wants to be, and she clearly wants to be in this. Every part of her body is acting in this, even the way she walks tells a story. She knows her stuff, and it show.

Millicent Simmonds – A Quiet Place

A great performance, and hopefully leads to more deaf people being cast in films. Acting is a decidedly able-bodied job for some reason, casting directors would rather cast an able-bodied actor and put them in a wheelchair, than cast someone who’s in a wheelchair. It’s odd and makes no sense. But what does make sense is the sentence “Millicent Simmonds was AMAZING in A Quiet Place, I wonder what she’ll do next” (not the most subtle segue back, but meh, I’m taking it). The emotion she portrays in this film can bring tears to your eyes. She doesn’t have the easiest job this year, but she does it, and does it well.

Sally Hawkins – The Shape Of Water

Yet another strong performance by someone whose character could not speak. As such you lose all vocal nuance and subtleties, yet she still provides one of the most emotional performances you’re likely to see. I don’t often agree with film awards (I still maintain that Shakespeare In Love is not an Oscar-worthy movie in any aspect), but the plaudits and acclaim she got for this have been well deserved.

Hong Chau – Downsizing

Yeah, I was not a fan of the film. But her acting in this was brilliant and it’s criminal that she wasn’t even nominated for an Academy Award. The best way to describe her performance is she’s like a flower made of iron. You feel an urge to protect it despite how strong it obviously must be.

Winner

Toni Collette – Hereditary

Obviously this was going to be mentioned. And with good reason. Her performance is potentially game-changing for horror films as it means “well it’s just a horror” isn’t going to be an acceptable defence of bad performances. This is one of the only horror films I’ve seen lately where I’m genuinely surprised it didn’t get Oscar nomination. It definitely deserved it.

ered5

Best Character

Lady Bird (played by Saoirse Ronan) – Lady Bird

Some people will find her annoying, I found her endearing. Yes her dialogue was a bit too “written” at times but I didn’t care, I enjoyed her that much.

Barbara Thorson (played by Madison Wolfe) – I Kill Giants

Spiteful, bitter, and sarcastic. What’s not to love? Also she gave me some of my favourite bits of dialogue of the year. It’s great because she started of as a real force to be reckoned with but as the film went on you saw her vulnerabilities and sadness. Most adult characters aren’t written as well as this.

Harold Soyinka (played by David Oyelowo) – Gringo

A film which nobody seemed to see last year, which is a shame as it’s a real hidden gem of 2018. Some of that is down to the MASTERFUL plotting, but most of it is down to just how damn likeable the main character is. A character who is shaped by his events with a definitive arc that seems real and human. A lesser actor would have made you pity him and view him as kind of pathetic. The way Oyelowo plays him, however, you’re with him all the way, it’s brilliant to watch.

Winner

killmonger-1549480395

Killmonger (played by Michael B. Jordan) – Black Panther

It’s no secret that Marvel has struggled to make compelling villains. Most of the time they’ve just gone with “The hero, but bad!”. They’ve got slightly better lately; Vulture and Ego, in particular, were impressive, Hela, not so much. Killmonger, however, was utterly compelling. A great villain is one that you kind of agree with. Ones that you listen to them and you can see why they have people follow them. It makes them seem better characters so they have a bigger impact. This character is so compelling, and so, well, right, in his believes that you sort of feel like joining him yourself. You know who he reminded me of? Steve “Leopard” Leonard from The Saga Of Darren Shan books. A character motivated by hate who has done awful things, but his death still shocks you and makes you tearful as you feel he was never really in control of his own destiny.

Best Film

Nominees

Three Billboards Outside Ebbing, Missouri

Not a nice story, but a very, very good one. Everything about this film just works. The script, the performances, everything. It’s not perfect, but the things I didn’t like about it are mainly just personal preferences. This is not an easy film to criticise, it’s the kind of film that could change you when you watch it. It’s ugly, but beautiful.

Coco

One of the first films I saw this year, and as soon as I saw it I thought “I should just stop going to the cinema now”, I feared that everything else would seem mediocre after watching this. This is Pixar at their emotionally devastating best.

Halloween

It stopped Michael Myers being considered a lumbering idiot. It essentially had to redo decades of mistakes. It did that, and then some.

A Quiet Place

A masterpiece of film-making. Scary, heartwarming and with great performances. Oddly enough the sound design is great too. I went in expecting to like this, and ended up loving it.

Winner

Searching

As much as I loved the other films on this list. NOTHING came close to this. Nothing. I’m aware there’s a difference between films I love, films which are good, and films which are impressive. This is all three. Not just one of the best films of 2018, genuinely in my top 10 movies of all time.

1538406584-2303688667_n

 

So, that’s it, I’ll see you next time.

2017 Golden Raspberry Awards

*indicates winner

Worst Screenplay

Nominations

 

Baywatch

Fifty Shades Darker

The Emoji Movie*

The Mummy

Transformers: The Last Knight

Did it deserve it?

Hard to say really. The issues with it are ones which you could easily imagine being ones which were mandated by the studio. So I wonder whether the actual scriptwriters are to blame or whether it was mandated from up above. There were A LOT of issues with this film, but the plot was actually relatively consistent. Out of the films nominated I’d say The Mummy had the worst script in terms of consistency and storytelling, with at least the opening 20% being completely worthless, repetition of the origin (they must go over it at least 3 times during it), and WAY too much narration. If I include films which weren’t nominated I’d go with either Geostorm (because I’m pretty sure the script for that was just “Science! Explosions! Romance!”), or The Dark Tower, for being an incomprehensible mess.

Worst Prequel, Remake, Rip-off or Sequel

Nominations

Baywatch

Boo 2! A Madea Halloween

Fifty Shades Darker*

The Mummy

Transformers: The Last Knight

Did it deserve it?

No idea. I try to see as many films as possible, but if I know a film will be diabolically awful, I will avoid it, doubly so if it’s a sequel to a film I haven’t seen/disliked. As such, I didn’t watch 50 Shades (or Transformers for that matter). In terms of films that were nominated: The Mummy was a much worse film, but Baywatch was a more confusing film in terms of brand identity. Fans of the original would not like it, so why bother making it? So I’d say Baywatch should have won, for that reason, and because I get the feeling The Mummy is going to be winning a lot more before this blog’s out, and if I say it should win any more I’m going to begin to feel like I’m kicking a wounded dog. If it was extended to films not nominated, I’d go with Rings. A film so bland I’ve almost forgotten it existed.

Worst Screen Combo

Nominations

Any combination of two characters, two sex toys, or two sexual positions – Fifty Shades Darker

Any combination of two humans, two robots, or two explosions: Transformers: The Last Knight

Any Two Obnoxious Emoji’s – The Emoji Movie*

Johnny Depp & his worn-out drunk routine – Pirates Of The Carribean: Dead Men Tell No Tales

Tyler Perry and either the ratty old dress or worn out wig – Boo 2: A Madea Halloween

Did it deserve it?

As the only one of those films I’ve actually seen, I can’t say I entirely disagree with it. Although I’m not really sure it counts as a combo, I feel this award isn’t being taken seriously (weird, I know). but in terms of actors who had absolutely zero chemistry, I’d have to consider Power Rangers. This film is dependent on their being tremendous chemistry between the group, and that’s not there. Which is a shame, I’m not saying it would make the film brilliant, but it would improve it. But the winner, by a country mile (or a city mile, whichever is longer), is Cara Delevingne and Dane DeHaan in Valerian And The City Of A Thousand Planets. If you were somehow able to witness a complete vacuum, where nothing existed inside it, there’d still be more chemistry in that than between these two actors.

Worst Supporting Actress

Goldie Hawn – Snatched

Kim Basinger – Fifty Shades Darker*

Laura Haddock – Transformers: The Last Knight

Sofia Boutella – The Mummy

Susan Sarandon – A Bad Mom’s Christmas

Did It Deserve It?

Again, no idea as didn’t see it. This category represents a problem I have with these awards in general, they don’t distinguish between a bad performance and a bad film. The Mummy was not a good film, but Sofia Boutella is not the reason for that. They weren’t great performances, but they weren’t noticeably bad, the problems were with the films themselves, or the way the characters are written, not the performances. Plus, considering she’s the title character, is Sofia Boutella really a “supporting” character in that movie? If anything, Annabelle Wallis’s character is the supporting one. For sake of clarity, I’d suppose I’d give this to Kate McKinnon for Rough Night, mainly because of her accent.

Worst Supporting Actor

Nominations

Anthony Hopkins: Collide, and Transformers The Last Knight

Javier Bardem – Mother, Pirates Of The Carribean

Josh Duhamel – Transformers: The Last Knight

Mel Gibson – Daddy’s Home 2*

Russell Crowe – The Mummy

Did It Deserve It?

No. Russell Crowe did. His performance was over-exaggerated and not in a good way. It was so hard to take seriously as a performance that it was almost laughable. I didn’t see Daddy’s Home, but I cannot believe the performance was worse. If it was down to any film: Matt Passmore from Jigsaw. A performance so flat it’s almost 2-dimensional.

Worst Actress

Nominations

Dakota Johnson – Fifty Shades Darker

Emma Watson – The Circle

Jennifer Lawrence – Mother!

Katherine Heigl – Unforgettable

Tyler Perry – Boo 2! A Madea Halloween*

Did it deserve it?

I didn’t watch any of these (luckily). But I’m going to say yes, purely because I’m bored of typing that title out again and again. Find it hard to believe Jennifer Lawrence was nominated for this, I’d heard her performance was really impressive, albeit in a divisive film. If it was down to any film: Cara Delevingne in Valerian. I defended her performance in Suicide Squad (the first half of it anyway), but I won’t in this.

 

Worst Actor

Nominations

Jamie Dornan – Fifty Shades Darker

Johnny Depp – Pirates Of The Carribean

Mark Whalberg – Daddy’s Home 2, Transformers: The Last Night

Tom Cruise – The Mummy*

Zac Efron – Baywatch

Did it deserve it?

Yes. Although I think the choice to cast him was worse than any performance choices he made in this film. He is completely the wrong actor for this type of role at this stage in his career. If I included films that weren’t nominated: Jamie Foxx in Sleepless. As a fan of professional wrestling, I understand the importance of selling when it comes to performances. For example; if a character gets hit in the leg, acts hurt for a few seconds, but then in the next scene is running and jumping perfectly normally, it ruins the illusion of what happened. It doesn’t matter if in the next scene you show his leg hurting again, that moment where the audience realised it was fine completely ruins it, even on a subconscious level. That was the issue with this film; Jamie Foxx plays the character as a normal action hero, as opposed to one who is tired, oh, and GOT STABBED IN THE ABDOMEN IN THE SAME DAY! If you don’t watch the opening scenes, you wouldn’t notice the character is in pain. Completely takes you out of the film. I’m not sure if that’s down to him, or the director, but either way it’s a terrible decision.

Worst Director

Nominations

Alex Kurtzman – The Mummy

Darren Aronofsky – Mother!

James Foley – Fifty Shades Darker

Michael Bay – Transformers: The Last Knight

Tony Leondis – The Emoji Movie*

Did it deserve it?

Fuck it, I’m going with The Mummy again. For how they made the villain look ridiculous, and for the length of the opening narration. As a director, he should have questioned that moment in the script and refused to do it. If it came down to any film, The Bye Bye Man. The script let it down for sure, but the directing choices didn’t help. Completely ineffective at building any tension at all. As such it didn’t work as a horror movie, actually, I’m not entirely sure it worked as a movie either.

Worst Picture

Nominated

Baywatch

Fifty Shades Darker

The Emoji Movie*

The Mummy

Transformers: The Last Knight

Did it deserve it?

No. It was not as terrible as it seemed. Although to be fair, nothing could be as bad as the reviews made this seem. And I’m really surprised Baywatch was nominated, there was nothing terribly notable about it in terms of terrible films, and if that was nominated, why not CHiPS? That was far worse in every way and had an extremely problematic approach to its female characters. Out of the nominees, again, The Mummy is the (un)lucky winner. In terms of any film: Wish Upon, for reasons I go into here.

So there it is, the best of the worst. Surprised that The Book Of Henry wasn’t nominated, neither was The Space Between Us, The Mountain Between Us, or Shut In. They were notable in how bad they were. The worst you can say about a lot of the nominees this year is that they were bland.

End Of 2017 Film Awards

Our final look back at 2017, after this it’s onwards and upwards as we look forward to the wonders of 2018 (by which I mean, Coco, Ghost Stories, and Three Billboards, two of which I’ve already seen, so really the year is all downhill from here)

Best Actor

Winner

Daniel Kaluuya – Get Out

The entire film sinks or swims on his performance. If he doesn’t give a good performance then this entire film sinks. The writing, the directing, it’s all for nothing if you don’t buy the central performance. Fortunately, he’s superb. Not just vocally, visually he just owns this performance. Starting off seeming really cocky and arrogant, then ending up terrified. If this doesn’t lead to him leading more films then I officially give up on Hollywood.

Screen-Shot-2016-10-04-at-5.40.57-PM
I know, the film that had this in the trailer ended up being creepy, who’d have guessed?

Other Nominees

Jason Sudeikis. – Colossal

Genuinely creepy and unsettling. Brilliant. I expected his performance to be comedic and one-note but he managed to turn in a magnificent performance that made him seem like the creepiest person on the planet, but believable. You could see his thought processes in play and knew why he was thinking like that. The revelation about his creepy persona makes sense because of how well it’s been set up. A sign of not only a great performance, but also great writing.

Hugh Jackman – Logan

This is a personal choice, because I didn’t think he could do as much as he did in this. The way he carries the character contains a lot of backstory. He’s no longer the invincible hero, he’s playing him as someone who knows his time is up. Someone who knows he’s not long for this world and is struggling to face his own mortality. It’s a depressing performance for a comic book film, but works wonderfully.

Best Actress

Winner

McKenna Grace – Gifted

Want to know how good this performance was? It was a performance by a child actor that I didn’t hate. The character is a know-it-all smartass. So it would be incredibly easy for her character to come off as annoying and pretentious. The way McKenna plays her, however, is great. She’s played as someone who knows the downside of her intelligence, someone who knows that whilst she is much smarter than her uncle/caregiver, that doesn’t necessarily mean she knows more than him. It’s played with a slight vulnerability to her which renders her incredibly easy to root for and support. No idea where she, as an actress goes from here but I’m intrigued.

mckenna_grace_and_chris_evans_in_gifted
And she had great chemistry with Chris Evans

Other Nominees

Anne Hathaway – Colossal

I do love Anne Hathaway. She’s most known for romantic comedies sadly but has a phenomenal range. For proof of this watch Rachel Getting Married, she gives an amazing performance as a recovering addict haunted by her past choices. She’s just as good in this. Some of that is obviously down to the script, but a lot of it is down to the performance. She plays someone who is broken incredibly well, I’d like to see her as a psychopathic killer in a film.

Mandy Moore – 47 Meters Down

Yes, THAT Mandy Moore. What do you mean, who’s that and what’s that song? Do you people have no respect for late 90’s pop? Damn kids, get off my lawn! Anyway, in this, she was very, very, good. So good that I forgot I was watching a former pop star and just got heavily invested in the story. I kind of forgot I was an actress and felt I was watching actual people. That’s not the easiest thing to do.

Worst Film

Winner

Wish Upon

Very bad, but all the worst because it had a good concept. If a film is just bad, that’s okay, if a film is bad but has the potential to be good, I find that a lot harder to forgive. Even the good parts of the film seem to have come from other, better films.

Other Nominees

Sleepless

Dull, dull, dull. So boring. I’ve suffered from insomnia for years and this film almost put me to sleep. It almost feels like it would take effort to make an action film this dull, so in some ways, it’s actually quite impressive.

The Belko experiment

It runs out of ideas before the trailer has even finished. Would be a great short, but as a feature-length film, it’s an abomination.

The Dark Tower

“surely this isn’t as bad as everybody says?” It is. It really is. And serves as more proof that Idris Elba really needs to fire his agent.

Best Film Moment

Winner

Atomic Blonde: The Stairwell Fight

I am a sucker for a good really long shot. Especially in action sequences. I love nothing better than a fight scene where you can almost feel the impact of every hit, where’s there no cutaway before every impact. If one of those goes on for a minute I’m in heaven. I know that doesn’t seem long, but sit back and time that out, and picture a fight scene with no cuts lasting that long. Bit difficult isn’t it? This was NEARLY 10 MINUTES! Now this isn’t actually, one shot, it’s just edited like that, but it’s still a really impressive feat and is visually magnificent. The seemingly unedited nature of it means when the character hits someone, you really feel it. It feels like a fight, rather than a fight scene. It’s actually really great character work too. It means you don’t view Charlize Theron’s character as some kind of invincible hero, you view her as a human who is potentially one mistake away from being severely injured.

Other Nominees

Wonder Woman: No Mans Land

No Mans Land. If you want to explain Wonder Woman as a character, and as a feminist icon, show this scene. Without a doubt the best moment in the DC cinematic universe, by a long shot. This film may have been underappreciated when it comes to the oscars (which is something I don’t agree with, but I get why), but this scene is something that I feel deserves to be seen by everybody.

Spiderman Homecoming: The Car Scene

You know the one, where Michael Keaton’s character is taking Peter Parker to the school dance and slowly comes to the realisation of who he is. Marvel films have had great action set pieces in films lately, but this is a great character piece. It’s a testament to both the script and the performances that what could have been dull turned into one of the tensest scenes of the year.

A Monster Calls: The Stories

This was a great film, super depressing and wonderful. But there were moments throughout the film where it became magnificent. Whilst the Liam Neeson tree was telling stories (it’s an odd film) the art style switches from a normal live-action film to something which can be best described as a living water-colour painting. The images flow through each other like they’re made of water showing off a multitude of colours leaving the viewer gobsmacked at the pure unrelenting beauty of the whole thing. This is the one out of the three that you might not have seen, so here’s the scene in question:

Best Film

Winner

Get Out

Not just a good film, a very very important one too. This is like the fourth time I’ve had to talk about how much I love this film in these end of year blogs. It’s had almost everything you need. Great story, great actors, great script, great directing, not too many cliches. This film will be spoken about for years to come, and hopefully, lead to a resurgence in socio-political horror.

Other nominees

Logan

More than just a superhero film, a great western tale about morality and mortality, with a great performance by Dafne Keen too.

IT

Yes, Get Out is a better horror film. But this was more than that. This was a great coming of age film. Genuinely heartwarming with characters it’s impossible to not to love.

The Big Sick

I’m a sucker for romcoms, and I’m a sucker for depressing bleak films. Who’d have thought they’d be a film that can combine both? Made all the better for the fact it’s based on a true story. Also the winner of the “Most surprising cameo by a cast member of Crazy Ex Girlfriend” award, which doesn’t exist as an award, but if it did, this would win it, and Downsizing would win the award for 2018, and nothing else because it was dull.

The “Well I Liked It” Award

Winner

Murder On The Orient Express (Rotten Tomato Score: 57%)

The visuals alone should have merited a higher score for this. I think part of the dislike for this is just because it’s a remake. Every single remake has had people bitch that it’s different from the original (I bet back in the day people were complaining that DeNiro in Cape Fear wasn’t as good as Robert Mitchum in the original). Yes, the glut of remakes is a problem. Actually, no, strike that, the glut of lazy remakes is a problem. You can remake anything you want as long as you put the effort in. I would much rather watch a remake made with love than an original idea made “just because”.

lead_960

Nominees

Table 19 (Rotten Tomato Score: 26%)

I’d accept a low 50 score for this, but 26 is far far too low. Incredibly funny, great performances and a magnificent script. I’m a sucker for great dialogue, which this had in spades.

The Last Word (Rotten Tomato Score: 37%)

Do people just not appreciate dialogue any more? Yes, the story was cliche at times, but the way it told it was magnificent. Also it should be commended for promising something dark, and then delivering on it rather than just going for the happily ever after ending.

Best Film To Look At

Winner

Blade Runner 2049

Because LOOK AT IT!

https-blueprint-api-production.s3.amazonaws.comuploadscardimage544323446eb31c-fe20-47df-8552-01dd10cd480dDo I actually need to say anything else? It looks so gorgeous I almost made an audible response so many times. Almost every shot could be used as a poster.

Also nominated. 

Kong

Mainly because it proved that spectacle cinema can still work in this day and age. I’m a cynical person so assumed it would have no impression on me. Yet I was amazed when I watched it. Was sucked into the universe completely.

End Of Year Film Awards

Best Actor

6ab71d47a402693339a3734125b04b6d

Aaron Taylor-Johnson – Nocturnal Animals. Better known as “That kid from Kick-Ass”. One of the things about Kick-Ass was that it was about a hero who looked absolutely nothing like a hero, in fact there’s one scene where he threatens somebody and they just laugh at him. Yet in this he’s absolutely terrifying. His despicable nature just oozes out of the screen every second he’s on. Genuinely unsettling, and utterly compelling.

Also:

Bradley Cooper – Joy. If only because he’s responsible for the best moments in the film. His scenes with Jennifer Lawrence almost make her up her game, and it’s a much better film during those all too brief moments.

Best Actress

th2WXYL00S

Brie Larson – Room. Did you watch this film? Then you know why. She was just amazing in this. Everything about her performance was perfect. I saw this in January, which meant I had 11 months of performances which couldn’t even match it.

Also:

Madison Wolfe – The Conjuring 2. A performance beyond her years.

Julia Roberts – Secrets In Their Eyes. The first time I feel I’ve truly “got” her as an actress. Superb.

Best Script

Eye In The Sky: A film which could have been very bad if written differently. Same plot, same actors, same director and this film would not have only been bad, but catastrophically awful. As it was this film was perfectly paced. When doing a film like this you do run the risk of attempting methodical and instead just ending up with it being boring and too slow. You need to slowly crank up the tension through dialogue, if it goes wrong, it’s awful, but when it works it’s phenomenal. A fitting epitaph to Alan Rickman’s career.

eye_in_the_sky-620x412

Worst Film

The Boss: I really want to like Melissa McCarthy, but she keeps making terrible films. Her character in this is extremely unlikeable with almost no character arc that redeems her. In almost any other film she’d be the main villain.

Best Film Moment

arrival-alien-language

Arrival – The meeting scene. There’s a moment in this where Amy Adam’s character first meets the aliens. It’s about ten minutes long and you can’t take your eyes away from the screen the entire time. Everything about it is perfect, the look, the acting, it all builds towards something which if there’s any justice will become as big a part of pop-culture iconography as scenes from Close Encounters, ET, or Alien. A moment full of pure wonder that truly shows what film can do.

Worst Film Moment

Batman Vs Superman: Martha. A moment which almost became shorthand for “awful and nonsensical”. The thing is, it does kind of make sense when you think about it, it could have been very believable that seeing someone as a person with a family will change your outlook on them, but the way it was delivered simply wasn’t good enough.

Best Film

Room: Excellent script, some of the best performances I’ve seen in a long time, and truly beautiful. This isn’t just film, this is emotional spectacle cinema. A film which I saw very early on in the year, and yet almost 12 months later it has still stuck with me.

Best Film To Look At

Arrival: A film shot with the warmth and cosiness of a home video. Science fiction (more than any other genre) seems to define itself by it’s look. And this film does more than enough to join the greats of the genre.

Also:

Pride And Prejudice And Zombies. 

Beautifully shot, the action scenes are brilliantly choreographed, and the costumes are superb. You could watch this on mute and still find things to appreciate.

Most Disappointing Film

Batman Vs. Superman: Dawn Of Justice

suicide-squad

This film had so much riding on it, so for it to fall as much as it did (critically at least) is very disappointing. Especially since the problems in it are easily fixed. Some of them aren’t personal preference, they’re basic storytelling mistakes. I know it sounds awful to say but this film should end somebody’s career, you cannot make some of the mistakes they made in this film and still hope to make films. It had such high potential too, it really needed to be great, but in the end it was merely only “okay”

Also:

10 Cloverfield Lane

A film of three thirds: the first two are really good, matching up and in some ways surpassing the original, tense and claustophobic, just brilliant. Then it’s all thrown away in the final stretch until it dissolves into what William Shakespeare would describe as “a massive pile of wank”

Central Intelligence. It took too long to get to the point of the film, and there weren’t really enough “laugh out loud” moments. Reminds me of Hear No Evil, See No Evil, in that the chemistry between the leads is better than the actual fil.

Most Surprising Film

The 5th Wave

the-5th-wave

I expected this to be just low-grade YA shlock. Yet it had a really really good plot and some excellent moments. Yes it wasn’t the greatest film I saw this year, but it was a lot better than I thought it would be.

Also: Goosebumps.

Very solid and well made kids horror film. I saw some reviews of it which criticised it for “looks like it was made for children”, which, you know, it was. It’s like criticising porn for being aimed at people who want to masturbate. Yeah it means it won’t make much money among people who want something to watch in the evening whilst drinking a glass of red wine in the evening, but it’s not meant to.

The “Well I Liked It” Award

The BFG: Called by some people “one of the biggest box office bombs of 2016” and I truly don’t get why. In a year which was the best one in recent memory for kids films, this one still stood out in a very crowded bunch. I’ve said it before but I’ll say it again; there are many great films, only a select few are “magical”, and this is definitely one.

Best Marketing Campaign

Deadpool: A very violent comic book film, what would be the best way to market this?

Deadpool-Romance-750x400

That’s actually pretty brilliant. During the run up to the release to this (way way back at the beginning of the year) Ryan Reynolds was on point, uploading almost in character updates on the film. If anybody doubting how well-suited he was to the role hopefully had those doubt squashed like a bug. Actually he continued it past release, doing new adverts to celebrate the film being out for a month in cinemas. A magnificent campaign which worked wonders. If there’s any doubt how successful this campaign was I’ll point this out; it meant people wanted to see the film, despite the fact that most peoples knowledge of the character being X-Men Origins: Wolverine.

The Oscars: who, what, and why

It’s every movie blog’s right of way to write about the Oscars, so a week later and barely still topical, here are our thoughts on the industry circle jerk we call the Academy Awards. (Don’t worry we’ve got some interesting posts coming in the next few weeks, including American Beauty; the secret stoner classic, and a look at possibly the best TV Show of the last ten years, Mad Men.)

Best Actor

Who Won: Leonardo DiCaprio for The Revenantleonardo-dicaprio-revenant-trailer-buried-alive-092915

Who should have Won: Leonardo DiCaprio for The Revenant. Is it his best performance? No. Does it feel a bit more like a career win than anything else? Yes. But in not a very strong year for lead acting performances, his raw and bleeding turn in The Revenant was definitely deserving and definitely won’t be remembered with the same hate other career wins have, like Al Pacino in Scent of a Woman.

ayouth4Who should have been nominated: Surprisingly difficult to pick another great lead performance from 2015, but I’m going with Michael Caine from Youth. Though a very natural role for the old actor to slip into, it was still towering above anything he’s done in the last few years, and maybe even his whole career. Caine brings a real edge and melancholy to the aged composer, and though a very specific character in his own right, manages to cut to the heart of all people old and young, to make us treasure the life we still have to lead, and the life we already have.

Best Actress

Who Won: Brie Lawson for RoomPicture1

Who should have Won: Brie Lawson for Room. No I don’t agree with every choice, but this was another good one. Along with the snubbed Jacob Tremblay, the pair brought the needed heart to what could have been (and in some ways was) an over wrought melodrama with a very topical and timely story. But the performances are what boosted this to an effective and moving drama, and the whole film is worth it for that escape scene alone.

maxresdefaultWho should have been nominated: Bel Powley for The Diary of a Teenage Girl. No actress last year gave more of an emotional, funny, heart-breaking, fun, sincere, and just naked performance than Bel Powley in The Diary of a Teenage Girl. She was the embodiment of the teenager, and her courage to commit to the sexually explicit role added more emotional weight than all of the actual nominations combined.

Best supporting Actor

Who Won: Mark Rylance for Bridge of Spies Bridgeof-Spies-777x437

19-creed-stallone.w600.h600Who should have Won: Sylvester Stallone for Creed. Not that I think his performance is better than Rylance’s (but it is as good), I just think the sentiment of Sylvester Stallone winning an Oscar for Rocky would have been nicer, as we all doubt he’s got another one in him (but who knows). His performance is also genuinely very strong and thoughtful, and I think the main reason he didn’t win in the end was because Creed got too sentimental about itself near the end, and the cancer subplot was a bit much.

Who should have been nominated: Jason Segel for The End of The Tour. I already went into jason-segel-the-end-of-the-tour-trailerdetail about his performance in our year end awards post here. But to say again, Segel shocked everyone with his subtle and quiet turn as the famed writer David Foster Wallace, his performance doing the surprising thing of letting us see his humanity, instead of understanding his genius (like most biopic type films try to do). With the right push I could have seen him getting a nomination, the Academy tend to love when comic actors go serious.

 

Best supporting Actress

Who Won: Alicia Vikander for The Danish Girl

alicia.vikander

leeWho should have Won: Ahhhhh let’s say, Jennifer Jason Leigh for The Hateful Eight. Don’t really have much for any of the nominations, but Leigh’s excellent turn as the vulgar and funny Daisy Domergue was one of the films highlights, having physicality you don’t see enough in female roles, and it was one of the few nominations that didn’t feel Oscar-baity.

this-is-what-a-femiWho should have been nominated: Charlize Theron for Mad Max: Fury Road. Talking of physicality, Charlize Theron has in in buckets as Imperator Furiosa, and gave one of the most intense and physically (and emotionally) raw performances of last year. The fact Rachel McAdams’ got a nomination for her okay work in Spotlight and Charlize Theron didn’t is just an insult, especially with how Oscar friendly the film was treated. Would an acting nomination really just too much for you Academy? Did all the sand and dust confuse you and you thought she was black!

Best Director

Who Won: Alejandro G. Iñárritu for The Revenant.

leo-3-xlarge

Who should have Won: George Miller for Mad Max: Fury Road. Like with the supporting georgemiller2-xlargeactors, this is less a who’s better choice, and more just the context of the win. Both directors worked in insane conditions to produce their fine films and I think the directing shown in both is as good as each other, from the harrowingly naturally lit landscapes of The Revenant, to the perfect mess of explosions and carnage of Fury Road. But with Alejandro G. Iñárritu having already won last year for Birdman I think it would have been better for the Academy to show love for the talent in a genre and style that rarely gets it.

Who should have been nominated: Paolo Sorrentino for Youth. A very underrated film that should have been much more award friendly than it was. Paolo Sorrentino’s funny and heart-warming if also heart shattering meditation on aging and fame was one of the most breath taking films of 2015, and was directed with more abstract beauty than any other, and felt more like art than a film in many ways. Just look at this opening shot!

Would of given this to Pete Docter for Inside Out, but I guess I went with style over practicality.

Best screenplay  

Who Won: Tom McCarthy and Josh Singer for Spotlight.

Tom McCarthy, Josh Singer

d92df7b77dc6506907a694978860da35Who should of Won: Pete Docter, Meg LeFauve, and Josh Cooley for Inside Out. Inside Out is one of the most imaginative, smart, and emotionally resonating films I’ve ever seen, it already stands proud amongst Pixar’s classics and was considered by many to be the pinnacle of 2015’s films. And the idea on paper could have gone soooooo wrong, ‘what if feelings had feelings’, it sounds more like a joke Pixar film than a real one. But with an intelligent script, vivid and mature takes on the ideas, and the most poignant message given to us last year, Inside Out was definitely it’s best original script…that I saw.11202259_ori

Who should have been nominated: 99 Homes, an almost mathematically well written and very emotionally intense film about the housing crises. I’m a fan of stories about the good man’s fall to the dark side (Star Wars prequels withstanding) and this film does this masterfully, shaping a very sympathetic lead with the single father Andrew Garfield and a very compelling antagonist with Michael Shannon’s corrupt estate tycoon, who should really have had his own supporting nod too. With this, on top of The Big Short and Margin Call, you really get a complete picture of the different effects of the 2010 housing crises.   

 

Best Adapted screenplay   the-big-short-movie-poster

Who Won: Adam McKay and Charles Randolph for The Big Short.

Who should have Won: Adam McKay and Charles Randolph for The Big Short. I agree with the Academy again for this one; Adam McKay and Charles Randolph took a highly complex issue and made it not just understandable and relatable to a mass audience, but funny, dramatic, and engaging too. Some people complain that the film fails because even after it they were even more confused by the credit crunch than before, with its use of celebrities using big words, but do you know what I call those people; Americans.

14702-10469-14473-10034-Michael-Fassbender-Steve-Jobs-Movie-2015-l-lWho should have been nominated: Aaron Sorkin for Steve Jobs. Arron Sorkin writing a feature screenplay is like Meryl Streep acting in anything, it should almost automatically get nominated, and Steve Jobs is no exception. His second film about a computer billionaire, Sorkin’s signature dialogue crackles in this very showy and masterfully executed play set in three real time acts, that manage to explore the humanity of Steve Jobs and his co-workers without leaving the confides of the backstage.

Best Score

Who Won: Ennio Morricone for The Hateful Eight.

Who should have Won: Ennio Morricone for The Hateful Eight. Not really in love with any of the nominated scores, so I thought I’d go with the consensus, and it’s nice for the Grandfather of western soundtracks to finally bag the award, also it is a damn fine score.

Who should have been nominated: Michael Giacchino for Inside Out, Bundle of Joy. This is legitimately my favourite score of 2015. It’s charming, catchy, and effective. It perfectly captures the bright tone of the film while still resonating for the emotional moments; the ice skating memory scene being a real favourite of mine. It’s magic. What can I say; Inside Out is already a classic, and what classic isn’t complete without its iconic music.

Best Picture

Who Won: Spotlight.index

Who should have Won: Spotlight. Mad Max was close, but out of the nominations I really think Spotlight was the most worthy of them all. Was it the most artsy? No. The most experimental? No. It was a good old fashioned journalism film about a very hard issue, and it taught us all something we should learn, about the power of understating and letting the story and facts speak for themselves. Some people call it boring because it intentionally holds back on the easy drama, and focuses on it like a mystery instead of lampooning Priest and the catholic Church, as it’s smart enough to let the facts do that for it, and not to ‘sex’ it up in anyway like a lot of investigation films do; because that would make it shlock.

Who should have been nominated (and fucking won): Inside Out. I’ve already spoken in insideout8-xlargegreat detail about why this is the best film of 2015, and I was shocked after all it’s critical praising that it wasn’t at least nominated for best picture, because that’s what it was. Hell, back when I first saw it I would have put flesh on it being the first animated film to win best picture. But it’s shameful absence just goes to show that, along with race, sexism, homophobia and everything else, the Academy still have a long way to go before they really look at all films and filmmakers equally.

And that’s that for this year’s Oscars! I know I didn’t even cover half of the awards but I covered the ones I care about, and I know who’s ever reading this doesn’t want to hear me prattle on for pages about what I think should win an arbitrary award that means about as much to the quality of a film as a #1 Dad coffee mug.

q1gyf5uw

End Of Year Film Awards

NOTE: Everything written regularly is written by Producer Mark. While everything in italics is written by Producer Lee.

Best Actor

I’m sure this gets said every year, but every year there are a whole host of great performances, that choosing one is just too hard, but it must be done…Unless you’re a shoddy internet film blog like this one. So I picked two.jason-segel-the-end-of-the-tour-trailer

Jason Segel – End of the Tour. Known primarily for his comedic roles in…well everything else he has done, Jason Segal is revolutionary as David Foster Wallace; bringing a subtle but clearly perpetually uncomfortable nuance to his manner. Even as he runs the gambit of emotions from, funny, angry, confidant, overjoyed, and sad, he never appears at home in his own skin or mind, and is a truly authentic take on the troubled genius. And for such an orgastic turn to come from Jason Segel is the cherry on the cake.

steve-jobs-trailerMichael Fassbinder – Steve Jobs. It’s easy to make a bad guy unlikable but loveable, to play the asshole that treats everyone like shit and make the audience love him. It is an entirely different and much harder task to play a guy you’re meant to like and have complex emotions for, like a complete asshole. But that’s exactly what Michael Fassbinder pulls off in his embodiment of Steve Jobs. He then takes it further as we peel back the layers that make and has made him the way he is; jumping back and forwards in time to see the building blocks of his character all the way to the complete man he becomes; and it’s all perfectly portrayed to us with barely any of his actual life shownmaxresdefault

Al Pacino: Danny Collins. I know, Al Pacino gave a good performance, what are the odds of that? But this is a different Pacino performance than the normal good performance. The usual good Pacino performance makes you want to stand up and applaud, but this is different. You completely buy into his performance in a role which could have been derailed by a lesser actor. The downside is that writing this has made me have the song from the film stuck in my head.

Best Actress

bluntEmily Blunt – Sicario. She’s a badass who’s always in control, but feels constantly out of her depth. She’s tough as nails and takes no shit, but her growing fear of the morality of her job she just can’t quell. Always ready to dive in and fight for what’s right even when faced with an endless darkness, but never shallow enough to not think about and feel the repercussions of what she does. And with all that, she’s never a blank, genderless slate who could be played by anyone, she’s still a woman. Though this may read more like a look at her character than her performance, the fact is you can’t distinguish the two from the other.

Runner-up: Alicia Vikander – Ex Machina2015ExMachina_Press_20_140115.hero

 

 

 

 

 

ct-amy-schumer-of-trainwreck-says-falling-in-l-001

Amy Schumer: Trainwreck. Not the best performance by a long shot, but the film rests so heavily upon her performance that the fact she’s actually really good in it really helps it.

 

Honorable mention: Phyllis Smith in Inside Out as sadness. sadness-phyllis-smith

 

 

 

 

 

 

Best Script

Steve Jobs: It’s an Arron Sorkin film script, so it’s expected that it will be one of the best of the year, stevebut this isn’t just fanfare. Like most Sorkin scripts this is a dialogue driven spectacular that runs the gambit of funny, to thrilling, to heart wrenchingly dramatic, but it is also a complete reinvention for the Biopic genre. Set in three real time acts between the 70s and 90s from behind the scenes at product launches, Steve has to argue his way through his friends, enemies and family to make each launch. What should have been the equivalent of telling a life’s story with both arms tied behind its back is turned into a fascinating character piece that tells us more about Steve Jobs the man than any old cradle to the grave film ever could.

Inside out: It’s the story and ideas that this film tells and so thoughtfully inside outexecutes that made it too amazing for me not to put it here too. Yes I think the plot isn’t as original as it could have been or thinks it is, and the writing while very funny wasn’t too special; but its imagery behind how the mind is put together and how we as people function is just too genius to not step back and applaud. And on top of that I was floored by its very mature message of the importance and the need for the emotion of sadness, and how it helps bring us together and grow-up.

ladyinvanLady In The Van. A film like this rests entirely on script and performance. And luckily both shine through. The script is full of hilarious moments (and a rather odd use for madeira cake). The fact it is a (mostly) true story doesn’t diminish the brilliance. In fact it makes it more impressive as it’s framed in a good way and says a lot about the power of the writer. 

Worst Film

The Big Game. Because it’s the only film I’VE seen this year that had me turnBig-Game-International-Trailer to my fellow Troubled Production’s producer and say, “We should fucking leave.” For more details look further down. I talk more about it in another section. 🙂

 

7133aU1riAL._SY550_The Gallows. There was a lot of bad films this year but this tops the list for absolutely NOTHING about it working. It was badly shot, the actors were shit, the characters were annoying, the “twist” didn’t make sense in terms of plot and seemed to be an asspull, the jump scare ruined what would have actually been an okay ending (seriously, if you have a moment in your film where a character gives a monologue on stage and then the lights go out and the curtain goes down: END THE FILM THERE!), the characters were the most annoying people I’ve seen outside of Twitter.  

 

Best Film Moment (scene, piece of dialogue or shot etc)

3052092-slide-s-3-fictions-in-the-steve-jobs-biopicIt’s an abstract – Steve Jobs. The moment in which, in the middle of a heated argument with his ex-wife, Steve Jobs turns over the Mac and shows her what their daughter had been doing on it, to prove to her (and in many ways the audience) why the computer is important and what people will use it for; and it turns out his daughter has been drawing an abstract painting in Paint. It’s a little moment, but in a film (and year) of great moments this one struck me just right. The combination of my own nostalgia for Paint, combined with the sweet little exchange between them, leads to the first time the character of Steve Jobs is humanised. It may not be the biggest moment, the most dramatic, or even the most important, but it was the moment for me that Steve Jobs went from an awesome film, to a great one.

Runner-up: and the conversation is the best one I ever had – ending scene to End of The Tour. It was a perfectly touching and an up beat way to close this melancholy true life tale.

inside-out-fear-disgust-anger-fightingInside Out control room locks up. The best way to describe depression to idiots who think it’s just “being a bit sad”. A truly iconic moment in a fantastic film. 

 

 

Worst Film Moment (scene, piece of dialogue or shot etc)

Picture1Focus- Woo woo. Focus as a whole is fine, it’s an okay caper with a fun return from Will Smith. But it has this one scene that involves conning an over acting Chinese Businessmen at a football game, that is legitimately one of the funnest and most thrilling scenes of the year. It’s so good that the immediate retarded explanation behind the con is such a painful whiplash, it landed itself as the worst moment of the year for me. The process to pulling off the con is sooooo over the top, ridiculous, and silly, it just destroys what was such a bad ass moment and just makes it laughable.

This is very easy for me. It’s a moment that’s so bad it stands out, even in a film film2-1_3-26-15made almost entirely of awful: Get Hard. Against my better judgement I watched this film, and I wish I hadn’t. It was unfunny, badly plotted and just not needed at all. I’d like to think Will Ferrell is at the stage of his career where he has his pick of films to be in, and he chose this. That says a lot either about his judgment or his cocaine addiction which I’ve just made up. So the moment: there’s a scene which is like 5 minutes of making jokes about prison rape. Rape jokes are odd as they’re the only thing that become less offensive if  you put the word “Prison” before it. But this scene was just ugly, and it wasn’t needed. It was just the same joke repeated over and over again “you’re going to get raped”, and the joke wasn’t funny enough to be the focus of a whole scene. 

Honorable mention: a scene in Child 44 where the camera panned to the side to showcase: a wall. 

Best Film

eott_web
Also the best poster of the year

End of the Tour. I have a lot of time for films about writers, that dive into their work, their creative process, and the damage of that; hence why another of my favourite films is Wonder Boys. I also have a lot of time for Linklater-esque stories based around the conversations between characters and their evolving dynamic, instead of heavy plot. So combine those in this true life story of the five day interview of acclaimed writer David Foster Wallace by David Lipsky, played by a typically great Jesse Eisenberg and a revolutionary Jason Segel as Wallace; which cuts deep as it examines the development of their uneasy friendship, the nature of writing and interviewing, and the plights but want of fame, you have my personal favourite film of the 2015.

Runner-up(s): Steve Jobs & Inside Out. Both are great films. Steve Jobs delivering an emotionally charged intellectual punch, while Inside Out delivers an intellectually charged emotional one; and End of the Tour only tops it for me because it does both.

8345_poster_iphoneThe Voices. And I am soooo glad about that as if it was bad it would have destroyed me. Ryan Reynolds actually seems to be redeeming himself for Green Lantern with this, Woman In Gold and next year’s Deadpool. This is the only film I’ve seen at the cinema this year which I now own on DVD. I didn’t want to wait, I knew I had to buy it. The script is hilarious, Reynolds just seems to be having hella fun, and there’s an absolutely BEAUTIFUL shot in the woods after he kills someone. A very good live action directorial debut from Marjane Satrapi. 

 

 

Best Film To Look At (a.k.a: the “Serena”)

Steve Jobs. For a film that predominantly takes place inside behind the scenes jobs.jpg.pngin theatres this may seem like an odd choice. But its Danny Boyal’s dynamite directing, that transforms rows of seats into complex tapestries, wide shots of walls into film screens, and characters staring at computer screens into complex moments of inner turmoil, that make this a clear winner for me. Really it’s here because this film didn’t need and shouldn’t have been such a visual feast, it just needed to let the words and actors stretch, but it still found beautiful ways to elevate those aspects, and keep you as visually enthralled as you are verbally.

Runner-up: Youth. Shot on location in the Swiss Alps and married with plenty of abstract imagery; never has a testament to youth and age ever looked so beautiful and devastating.

THE GOOD DINOSAUR

The Good Dinosaur. Yes the film itself was bland and 90’s Disney-esque and the characters looked, well, wrong, just wrong. But the scenery? Oh my god it was gorgeous. A planet that looked lived in and liveable. The way they animated water in particular made it actually look like water as opposed to just “standard with a blue tinge”. 

Most Disappointing Film

Legend. Far from a terrible film, but with the talent behind and in front of this camera this should have been one of the best films of 20mqdefault15 and a major awards contender. But outside a pretty fun dual performance from one of the best actors today, Tom Hardy, it turned out to be nothing but a decently entertaining, if mostly dull and plotless thing that never found its footing.

ganeThe Big Game. The worst part of this film is it’s easy to fix. You make the kid actually an effective hunter so it’s about the president of the United States being out of his element but helped by somebody who knows how to use the environment. So basically Rambo turned into an escort mission. Instead they made the kid useless, so it was a president being helped by someone who’s shit. 

Honorable mention: The Gallows. Had high hopes for this but in the end was the worst horror film I’ve seen all year. In a year that included Poltergeist remake, Insidious 3 and The Visit. 

Most Surprising Film

The Martian. Surprising doesn’t mean you expected it to be bad and it wasn’t. 17vZ0fzIt mean’s surprising. I went in expecting an existential Sci-fi about survival and the human will. And I got all that, but it also happened to be one of the best comedies of the year, that used the blend of dramatic thrills and comedy to make both more effective. From Matt Damon’s optimistic Martian and his crew, to Jeff Daniels smarmy NASA CEO and his quirky team of scientists. It is not an insult to this film to call it a comedy; it is a complement to comedy that this film is one.

Runner-up: Ant-Man. Who would of thought Ant-Man would have been the best Superhero film of 2015.

John_Wick_TeaserPoster

John Wick. I admit I expected a typical action film and didn’t have high hopes for it. But this film was a revelation. The universe and characters were so well defined it seemed like a comic book adaptation. News there’s a sequel excites me as I want to see more of this world.

 

 

 

 

The “well I liked it” award

Tomorrowland_posterTomorrowland. What’s with the hate on this film? Was it a perfect feat of science fiction? No, but it’s a fun Sci-fi adventure, with an interesting world, fun likable characters, a combo of goofy and deadpan humour, and is a real harken back to classic Sci-Fi adventures. When the future was something to wonder for not fear, and technology looked like technology. Ray guns are big and bright and silly, and jetpacks are sleek and still make no sense but are too awesome. Is the plotting all over the place, yes, is the first act a bit too much like molasses on sandpaper? Also not a complete over-exaggeration, but it’s got way too much heart to let little things like that get in the way of a good time.

Tomorrowland. I really don’t get the hate for this film. It’s odd as EVERYBODY I know who saw it liked it, but outside of my social circle everybody seems to hate it. But why? It’s nice. It’s the kind of film where if I saw it as a child it would have been my favourite film. 

The “I’m obviously not seeing what the reviewers are seeing” award

cWkwQf.jpgThe Big Game. “As spectacular as it is funny” “Samuel L Jackson has his tongue firmly in his cheek”. I wish either of these statements were true about this still born mess, failing to be dumb fun. The concept is great; a wimpy President played by Samuel L Jackson is chased through the mountains by terrorists and is helped by a badass child warrior. This should be as fun and or as campy as Olympus has fallen, or White House down…but instead, the kid isn’t a badass at all and spends most the film trying to find himself and failing; and though all his lines are wimpy, Jackson still plays it like a badass, so it’s just awkward. For a film apparently just going for fun, it takes its story and characters’ much too seriously, and its biggest failure is trying to distil genuine arcs and development on these blocks of wood.hqdefault

Unfriended. Seriously, fuck this film.

 

 

 

 

The “Yeah it’s bad but” award

index.jpgChappie: a perfect example of a hot fucking mess. The plot is all over the place, it’s supporting characters are unlikeable and stupid to the point of being endearing, it’s like a child’s film with hardcore violence…How can you not dig this film. Held up by the sheer adorableness and likability of Chappie himself, and some dark, dark humour, Chappie is one giant mess you don’t want to clear up.

Chappie. Always always Chappie. I know this film is bad, the plot is all over the place, the characters are unlikeable and it’s just bad all over. And yet I love it. No idea why. I just think the film works. It’s funny and kind of brilliant despite itself.