I, Tonya (2017)

For a lot of biopics, my main problem is that because it’s restrained by sticking to reality, it occasionally hampers its creativity. This definitely isn’t the case here. This takes the same approach to reality as “The Big Short” did (Wait a minute, that film also featured Margot Robbie speaking directly to the camera, hmmm, interesting) and is all the better for it. By that I mean it admits that human recollection is flawed, so some scenes/revelations are completely contradictory. Sometimes this happens mid-scene. At one point Margot’s character just turns towards the camera and says “I never did this”. I liked this approach to The Big Short, and I loved it here. Before this film, the only thing I knew about Tonya Harding was The Incident. I actually assumed she was a lot more involved in the incident than she actually was, so I was kind of annoyed when the film was announced as it seemed like they were glorifying someone who didn’t deserve it. Yeah, I was wrong. I mean, she was not exactly the nicest person in the world, but she was not the villain that popular culture has made her out to be. I also knew that after that she was a boxer, and there’s a sex tape of her available. This film touches upon two of those things, which I like. It shows us the effect the incident had on her life as well, it’s good to know that the film-makers had the bravery to do that as most wouldn’t. The fight itself is actually pretty well done as well, not on “Creed” level, but then again few fights are.

The skating itself was really well done as well, to the point where you completely forgot you were watching actors doing it, and instead focused on the scenes themselves. A lot of that is obviously due to Margot Robbie’s performance, she’s just phenomenal in this (would explain the Academy Award nomination), as is the rest of the cast. Whilst we’re on the subject can I just point out how strange it is that Sebastian Stan, who is best known to a lot of people for his role as the Winter Soldier in the Marvel films, is in a film written by someone called Steve Rogers? Am I the only one who finds that funny? Yeah, probably, but meh.

I mentioned earlier how I liked how it played with truth and reality, there’s one exception, one where it made me feel kind of uneasy. Most of the characters are portrayed as somewhat sympathetic, with one exception. Most of the characters are portrayed as somewhat intelligent, with one exception. Most of the characters are portrayed as being slightly blameless, with one exception. And it’s all the same exception: Shawn Eckhardt, who is played BRILLIANTLY by Paul Walter Hauser by the way. I mean, truly brilliant, he adds a lot of character tics that make him really stand out. Anyway, so back on track. Why did I feel slightly uneasy about this character being the main idiot, the main villain really? Because he’s the only one of the main characters who is dead. That feels a bit weird to me. Now, this might be a case of reality being unrealistic. Maybe it was all his fault and he was the dumbest person alive, and a massive prick. But considering how the film itself admits the lies that a lot of the main people involved tell, it feels a bit weird that they seem focused on attacking the one guy who can’t defend himself. It’s very easy to make Jeff Gillooly out to be the idiot villain, I mean he’s been arrested for driving under the influence, and sold his honeymoon sex tape. Although he did save the life of an 81-year woman, so he’s not all bad. That’s the main message of this film; people are complex and truth is subjective. Also, telling a group of judges “suck my dick” is never not funny. Go see this whilst you have the chance.

Baby Driver/Spiderman: Homecoming

There’s something to be said for the accidental double bill. Films that have nothing to do with each other but seem like they belong together anyway. The best example of this lately I feel is Spotlight and The Big Short. They came out at different times, and were about completely different topics, but tonally they felt very similar. There’s a similar feeling with these two films, only this time it’s actually a lot easier to quantify; they’re both modern films containing a slight throwback feel to them. Baby Driver is basically a modern car chase film, a twenty-first century Bullitt, whereas Spiderman: Homecoming is basically a John Hughes movie with superpowers. Both of them are throwback films for the modern age, you don’t lose anything going into them without knowing the history of their respective genre-homages, but you do gain if you’re aware of them.

So what were they like? I’ll start with Spiderman. I actually liked it. The plot was simplistic but it was still better than at least 50% of MCU films purely because it had a compelling villain. Michael Keaton’s character (he plays some sort of Birdman) makes sense. You’re not watching it thinking “what a terrible person, glad he’s not real”, you’re thinking “he’s actually making a lot of sense. I see where he’s coming from, and in a way, I agree with him”. He’s the most compelling villain in the MCU so far, and the performance matches the writing. A lot of comic book fans were disappointed that they changed his appearance for the films, I don’t particularly care about it to be honest, mainly because it would be really hard to take THIS seriously.

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I know that this talk about “taking it seriously” makes this sound like it’s attempting to be super serious and gritty, thank God they didn’t do that, this film is fun as hell. Even the colours are better than lots of superhero films. A lot of films have orange and blue as the main colours, but use them against dark backdrops, this uses those colours but uses them against light. It’s very summer-ey in appearance. It’s also really funny. The characters are well written and have great lines, Zendeya’s character in particular is a great collection of sarcasm and apathy which I really identify with for some reason. She has the best lines throughout and is one of the films many comedic highlights. In terms of comedy though, most of the best moments from the non-main characters belong to Jacob Batalon’s Ned, who absolutely owns his role as “guy in a chair”. He also helps provide an audience surrogate, since the film starts with him already as hero, many people expected the origin to either be ignored, or told in flashbacks. It did neither, it had Ned ask questions and we found out small details from that, not so much that we were re-covering old ground, and not so little that people new to the franchise were confused. So in summary; very good, very fun, and I think it’s safe to say that Tom Holland is the best Spider-Man, although part of that is due to the way he’s written, he’s actually written as an adolescent, the villains he faces aren’t ones who are going to destroy the world, the main villain is basically an unfriendly neighbourhood villain.

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This scene is genuinely one of the best written scenes so far this year

So, onto Baby Driver. If you’re interested in film you need to see this, a true masterpiece of film-making. Almost the entire film has music alongside it, it’s a film which you could put on in the background at a party and just listen to it, and it would work (I will prove that one day). Yes, the plot is wafer thin, but it’s so fun you don’t notice. You don’t sit there thinking “well I know how this story is going to end”, you think “oh my God! Did you see that?”. It’s a non-blockbuster version of spectacle cinema. Everything about the way it’s made just works, the way the music complements the action and vice versa, the way the car chases are impressive without being unrealistic, the fact that Jon Hamm and Kevin Spacey continue to exist.

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Even Jamie Foxx agrees

The most annoying thing about this film is that you will never see anything else like it, but lots films will claim to be like it. The love and dedication that goes into this is obvious. This was not “film by committee”, this was a true passion project, and it shows through every inch of the screen. It’s also surprisingly American. The open road, the American dream, diners with endless coffee are all essential to the story, so it’s weird that such an American film was made by a Brit, this feels like the film where Edgar Wright has finally stepped away from under the shadow of Simon Pegg and Nick Frost. In an ideal world Scott Pilgrim would have done that, but at least it has finally happened. One of the best films I’ve seen this year on a technical level, from the opening scene right through to the closing credits it never stops impressing, never slows down, which considering it’s almost 2 hours long is incredibly impressive.

So that’s Baby Driver and Spiderman:Homecoming. Both flawed but worth a watch. Both destined to be movies people put on and watch in large groups. Both have been put on my “buy on dvd” list. So how can I end this? The same way I end everything; cover song! Here’s an acoustic cover of the Spider-Man theme song, enjoy, then check out their other stuff on the youtube and their twitter.

2016 In Film (Part Four: The Amazeballs)

Contains possibly my favourite scene of the year, I’ll be doing a “end of year” awards blog soon so will go into it in more detail there. The film is worth seeing for that scene alone. A truly astounding piece of cinema that deserves it’s place alongside the true greats of the genre.
The BFG
This film is like milkshake made of magic. Bright, colourful, sweet and so lovely.
The Big Short/Spotlight
I’m including both of these as one as to me they’re both very similar. For some reason I’d get the feeling they’d make a brilliant double feature. Both deal with social responsibility and how to cope when your world collapses around you, how you deal with knowing that something that is supposed to be a saviour for the masses is actually responsible for ruining so many peoples lives. Not just good films, but also very important.
Captain America: Civil War
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It’s……amazing. Pre-hype for this was pretty intense, until Batman Vs. Superman: Dawn’t Stop Twice It’s Alright, then people started to get concerned. Was easy to see why, it seemed like Civil War was following a lot of of BvS mistakes: they released a trailer that seemed to give away the plot, then another one which introduced a character people weren’t certain if was going to be in it, and they seemed to be introducing a lot of new characters in one film. I’ll admit, I was really disappointed that they put Spider-Man in the trailer. I thought “but it would have worked better if it was a shock, stupid idiots. I hate them all! Burn them!” But here’s the thing: I was wrong. Spider-Man came in waaaaaay too early in this film for him to be a surprise character. Besides, if that happened then people would walk out talking about “Oh my God, I can’t believe Spider-Man was in that!” as opposed to how good the film is. Plus that information would have leaked in the first screenings, even if you tried to avoid it you’d see it everywhere on facebook when you woke up on release day. So in the end it made sense, so so much sense. God damn I loved this movie, probably my favourite Marvel film so far, had everything: sensible plotting, good characterisation, good action sequences, just, everything you want.
Let’s take you back to a dark time: July 2014. ISIS were causing a major kerfuffle in Iraq, Lucy made film watchers brains explode (at least; viewers with the scientific knowledge of at least a toddler), and S Club 7 reformed. A time before Deadpool. The chances of a film made featuring the character were astronomically low, then test footage was leaked. The reaction to this is solely responsible for the film being completed. This film wasn’t made to cash in on something popular, it was made because people were excited and really wanted to see it. The leaking of the video turned the film from “it would be nice but will never happen” to “release date announced”. This characterised the entire film really, it was really made for the fans. You can tell this even down to the rating, this film really earns it’s rating, it’s violent and brilliant. And let’s face it, we wouldn’t have it any other way.
A film I nearly put in the “good”, but the visuals were just about good enough to push it into this one instead. Directed by a guy who’s mainly known for horror, he’s really allowed to showcase his visual skills here. Kind of makes sense really, horror is definitely a visual director’s medium, you can have a great script, great soundtrack and great actors, but something as simple as making a shot a little bit too light or too dark can kill the entire scare. As such it really shouldn’t be much of a surprise that he pulled it off as well as he did. I know I’m going on about it but I really can’t put over how magnificent this film looks.
Edge Of Seventeen
A very enjoyable film, it’s a bit like listening to a REALLY good cover song, whilst it’s not completely original, and you won’t be surprised by it, you still have to be impressed with how they’ve done it, and you still love it.
Finding Dory
It’s Pixar, does anything else need to be said? It will make you squee and it will make you cry. Not quite as good as Inside Out, but then again very few films are.
Kubo And The Two Strings
A very very unique look, almost origami cinema. A film so strong and confident I just automatically assumed it was based on something. Genuinely heartfelt and a fantastic story. Not just a great kids film, but a great film all round.
Holy crap kids films were good this year. This film is so good it almost seems like Pixar made it. Moving, well told story, brilliant visuals, and the music is beyond fantastic. It also features what is without a doubt the best pee-joke of the year. So there’s that.
Nocturnal Animals
A very good film, but not a very nice one. You can go into this film having the best day ever and this will make you feel awful. This is the cinematic equivalent of a Dementor’s kiss.
Pride And Prejudice And Zombies
This film has a really unique look, actually it’s kind of beautiful. The costumes look amazing, as does the actual look of the film. You see POV shots of zombies when they get their heads cut off. It’s an odd mix of brutality and elegance that you don’t see often enough. Not just that, it’s a well told story that is genuinely laugh out loud funny. The opening narration points out that at the first sign of the zombie invasion, we blamed the French, which is pretty darn funny.
Just absolutely brutal, Gleeson is quietly building up a quite impressive CV. DiCaprio was good, but Tom Hardy was better. I don’t think it’s a stretch to say that Tom Hardy might be the best actor of this generation, great versatility, amazing abilities, and a proven box office draw, adored by both indie snobs, and the casual film-goer.
Room
If you, dear reader, were in the room with me I wouldn’t grab you by the lapels. I would grab you by the ankles and drag you to the cinema and force you to watch this film, even if I had to pay your ticket. This is definitely a “buy the DVD on release day” kind of film. The kind which remind you of just how fantastic films are. It’s definitely a cinema film too. Certain films just work better at the cinema, horrors for example because they rely on audience feedback, comedy too as it means that (if the film is good) it will create its own laugh track. The other type of good cinema films are ones that just look stunning, films that need you to just sit there and go “wow”. This film was good in the cinema for a different reason, you could hear people cry around you. So much raw emotion on screen. It won so many awards, yet it could have won every award ever and it still would be less than it deserved.
I will judge people who don’t like this film. Actually, God will judge them. How can someone not like this? It’s smart, funny, and just brilliant. One of the finest films of the year and a true piece of brilliance.

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

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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.

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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.

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Room

THIS FILM IS AMAZING!

What? What the hell are you doing? You don’t start a blog about a film like that, you do an introduction, you lure the reader in, seduce them with a finely written introduction before inserting the penis of opinion. You don’t just go in dry. What the f*ck? You done goofed. I know, I’m a terrible person (oh like you’re surprised), but that’s my first thought when I think of this, I think of how amazing it was and how much I enjoyed it.

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Much like cake. Mmmmm cake

Yes, there is a difference between the two. I know Mad Max was a finely made film, but I didn’t enjoy it that much. Whereas I know Chappie isn’t technically a good film, but I love it. So far this year I’ve seen The Revenant, Creed and The Big Short. Now whilst I know they are all objectively superb films which are incredibly well made and a brilliant cast, I haven’t loved any of those films. I was beginning to worry that this year could end up with more films I appreciate than love. Films where I feel compelled to be like “yes, well done there” than where I rush out, grab a stranger by the lapels and tell them they NEED to watch this film.

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Quite why I’m wearing a nuns costume I don’t quite want to say

And then I saw Room. If you, dear reader, were in the room with me I wouldn’t grab you by the lapels. I would grab you by the ankles and drag you to the cinema and force you to watch this film, even if I had to pay your ticket. This is definitely a “buy the DVD on release day” kind of film. The kind which remind you of just how fantastic films are. It’s definitely a cinema film too. Certain films just work better at the cinema, horrors for example because they rely on audience feedback, comedy too as it means that (if the film is good) it will create its own laugh track. The other type of good cinema films are ones that just look stunning, films that need you to just sit there and go “wow”. This film was good in the cinema for a different reason, you could hear people cry around you.

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This was pretty much what it felt like, only in a cinema, so much more filthy

So what makes this film so good? Well first off there’s the story, whilst the first half is stuff you’ve seen before, the second half is like the epilogue, the kind of things which you discuss with your friends about what would happen. Like “yeah, it seems happy, but think about what’s going to happen afterwards, it’s going to be hell for them” as if you’re the first person to ever think those thoughts.

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Secondly, the performances. Brie Larson fully deserves her nomination for best actress. She deserves all the awards, yes, even “best documentary short” or “best science fiction monster” etc. That’s how good she is, just park a bus outside her house and deliver all the awards to her there, it’s no less than she deserves. Also, the kid manages to not annoy the hell out of me, which is amazing as I find most kids completely annoying and want to throw them off the nearest roundabout. Although it wasn’t until I saw the film I figured out that the kid was actually male not a female. Ah well, my bad.

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But that’s enough faffing about from me right now. Mainly because I think it’s about time I shut up so you can all go watch this film. I’m not joking, you’re not getting any pudding until you’ve finished this film.

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Do I need to show you the cake again?

 

Films Worth Seeing from 2015: The funny ones

Instead of a normal top ten list of the best films of 2015, here’s a list of film worth a watch from 2015, separated by genre and in now real order.

The Comedies (or the next best thing)

People, Places, Thingspeople-places-things-alternative-poster-2.jpg

A little seen but a very affectionate film that follows a witty but depressed cartoonist trying to be a single father and bounce back from his divorce. Now it doesn’t sound that different from your atypical rom-com shlock, but with a sensitive script that knows how to pluck your heartstrings to make you laugh and feel, and a surprisingly nuanced turn from Jemaine Clement (of Flight of the concords’ fame) and his chemistry with everyone he shares the screen with, People, Places, Things, becomes the movie equivalent of an awkward bear hug and a nice cup of coffee.

 

Mistress America

mistress_america_poster_midnight_marauder_2The second film this year from Indie director superstar Noah Baumbach, after his critically acclaimed While We’re Young, which was…okay. But he makes up for it here in this sharply funny and very earnest film about adult life, facing your limitations, and the fact that the people who act the happiest rarely really are. All as seen from the POV of an introverted university student as she gets to know her new manic pixy hipster step-sister. Again a bit of a plot-less film, but the shear energy Greta Gerwig brings to her role, and the zany dynamic she and every other character has, takes this film and its characters to a whole other level, and then turns the comedy around to look at the tragedy of it all. It’s possibly his best work since The Squid and the Wale.

The Big Short

the-big-short-movie-posters-001.jpg~original.jpgFrom the director of Anchorman of all people comes the other awesome investigative film of the year, and don’t believe the trailers, that is what this film is. Selling itself as some form of Ocean’s 11 but about the 2008 Credit Crunch, what this film actually turned out to be is a very in-depth and detailed look into all the fraud and corruption the Bank’s did to cause the financial crash. And it’s told from three different parties separately looking into it, each group led by an outstanding Christian Bale, Steve Carell, and Brad Pitt. But the trailer didn’t completely lie; this is a comedy (if a thrilling emotional one), with most of the big laughs coming from an enjoyably

Picture1.pngsleazy Ryan Gosling who narrates the film while also having his own place in it, trying to explain to us the inner workings of stock broking, and introduces some ridiculous celebrity cameos. Surprisingly well directed, and masterfully written and acted, it has a few bums and clunks in its tone, but is much more than the fast and funny caper the trailer tried to sell it as.

The Voices

This being Troubled Production’s other producer’s favorite film of 2015, I’d8345_poster_iphone of felt bad if I didn’t mention it somewhere, but that’s far from the biggest reason it’s here. The Voices is a delightfully quirky black comedy from the director of Persepolis (because of course), led by a possibly career best Ryan Reynolds as a mentally ill serial killer who talks to his dog and cat. If that doesn’t sell it to you, nothing will. This film revels, revels, in its warped quirky darkness, and manages to be simultaneously, outlandishly funny, disturbingly dramatic, and just plain charmingly odd because of it. It’s a film with a bonafide destiny to be a cult classic, for the people who like their comedy, dark, violent, and silly. And with this, thevoices0002

Mississippi Grind, and a hopefully awesome Deadpool, let’s hope the underrated Mr Reynolds is back on the rise.

 

 

The Diary of a Teenage Girl

8c9eb37b259f536f6381af56983f06baThe oddest but most accurate description I’ve heard for this 70s set coming of age dramedy, is that it’s the spiritual sequel to Inside Out…now they don’t mean that the titular teenage girl has a bunch of voices in her head, but is instead referring to that it follows the growing development of a young soon to be woman. As Inside Out ends with Riley on the cusp of teenhood, The diary of a teenage Girl picks up a few years later with a fifteen year old girl’s sexual awakening (forgive me for using the word sexual in the same sentence as Inside Out), and that’s what the film is about in a nutshell; sex. It’s about the first time and the times after that, it’s about becoming comfortable with yours and other’s bodies; Picture2it’s about experimenting and working out what gets you off, and then finding the limits. And I have SUCH respect for this film, because it’s about a fifteen year old’s sexual awakening and it shows it. There are no cutaways or clever angles, you see all of her, and that adds such authenticity to her and her story; because the fact that the film doesn’t shy away from you, means you don’t shy away from it; through every sweet, funny, and emotional moment, on this journey to the end of innocence and the start of everything else.

Man Up

This is that special romantic comedy large_large_y7C1EQ9zxJ3mlaQeRztw3NVw41Pthat’s the perfect mix of cynicism and cheese ball romance, of those little moments and grand gestures. And is the best non-blockbuster/ Edgar Wright film Simon Pegg has ever done. Following a 30 something woman in a romantic rut, she ends up stealing someone else’s blind date, and going on an amazing date with them instead. Now with that set-up this could have easily turned into a basic liar revealed plot, but I’m happy to say it doesn’t (if it did would it be here), and instead goes off in much sweeter and funnier directions. It’s definitely one of the funniest films of the year, and the perfect date movie for people who hate date movies.

Sleeping with Other people

236272This is just funny. Yeah it’s sweet, raunchy, and romantically mature too at times, but mostly it’s just funny. Jason Sudeikis and Alison Brie make a strong double act, playing two sex addicts who start a platonic friendship to try and help each-other deal with their relationship issues, and of course fall in love along the way. So it does get a bit too cliché at the end, but the journey there is so fun and so tastefully raunchy it’s still definitely worth a watch.

 

 

 

Me, and Earl, and the Dying girl

Along with The Big Short, and The me-and-earl-and-the-dying-girl-poster-olivia-cookeDiary of A Teenage Girl, this is the other film pushing the boundary for ‘comedy’ this year. Not because it isn’t funny, it’s filled to the brim with funny teen angst and witticisms, but it’s also about a girl dying of cancer, and this isn’t no Fault in Our Stars shit (I say actually liking that film), and stays far away from schmaltz, opting for a much bleaker and deadpan look at teen life and death, and has no quorum ramping up the seriousness and heart wrench when the time comes. Now it maybe too self-indulgent and referential for some people and it definitely reeks of 90’s teen dramedy at times, but past that I found a very earnest and true look at teen life on the outside and at dealing with death, that really captures the teenage voice.

Top 5

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Oh and Top 5 was pretty funny. Forgot about that one till I just came to post this.