New on Netflix: God’s Own Country

Netflix is upping its array of indie delights and its most recent addition – God’s Own Country – is not to be missed. Released in October 2017, Francis Lee’s debut follows the relationship between two men. Quietly tender and arrestingly urgent, this moving story will have you bleary-eyed and seeking out more indie gems on the platform.

A great example of what people mean when they say ‘Very British Cinema’, God’s Own Country is set on a Yorkshire farm during a cold, dirt-strewn spring. Director Lee celebrates the beauty of this county while showcasing the inherent loneliness of farm life, while the central theme of the film focuses on the relationship between farmer Johnny Saxby (a fantastic Josh O’Connor who you’ll know from ITV’s lavish period dramedy The Durrells) and migrant worker Gheorghe (Alec Secareanu). The success of Lee’s film can’t just be seen in the silently arresting performances of these two actors, but also in the way it tackles two vital themes: masculinity and Britishness. And more specifically, the pressure of upholding a family tradition that is founded on very British values.

Alec Secareanu and Josh O’Connor in God’s Own Country

We aren’t exactly a nation known for wearing our hearts on our sleeve, irritatingly stoic when it comes to talking about our feelings, the struggle to say how we feel is explored throughout the 105 minute run-time, and predominantly through silence. Director Lee masterfully tells the story of Johnny and how he breaks free of his own emotional prison with the tender, sentimental support of Gheorghe in a story that transcends the specifics of gender. Centrally about loneliness, rumination and how, without real, meaningful relationships, men can and will break down, the tale is refreshingly honest, and quite bittersweet too.

From start to finish the flick runs with little dialogue or music, placing us in the literal and metaphorical silence that Johnny lives with. What begins as a seemingly bleak British farm drama evolves into a hopeful story of love and friendship, responsibility and hardship, and the ability to begin again. God’s Own Country isn’t only a great film, it’s thematically relevant and undeniably important.

Next time you turn to Netflix, take a trip to God’s Own Country.

Lady Bird review

In Lady Bird we meet Christine, a 17 year old high school senior frustrated with adolescent life and bored of her Sacramento upbringing. We follow Christine, who now demands to be called Lady Bird, during her senior year of school as she embarks on first relationships, applies to colleges and discovers the importance of true friendship. The central theme of the film is Lady Bird‘s relationship with her mum, played beautifully by Laurie Metcalf. It’s a seemingly simple story of every day life that brims with heart.

Greta Gerwig’s first feature length film has had critics and audiences raving. It even holds the highest rating to ever have been handed out by Rotten Tomatoes, certifying it as one of the most applauded releases of the year. Gerwig handles every relationship Lady Bird experiences with a unique realism that is often missing in coming-of-age films and entries into the genre are usually quirky indie films with small budgets but big ambitions. Recent notable examples are The Perks of Being a Wallflower and James Pondsolt’s exceptional The Spectacular Now. Greta Gerwig explores similar themes to those films but here focuses in on the tumultuous love shared between a mother and her daughter, and it’s told with an inimitable caring eye and loving touch, one that hasn’t been seen on film in a long while. Seemingly throwaway moments, like when Lady Bird turns 18 and buys a pack of camels, a scratch card and Playgirl – just to celebrate the freedom of her new age – perfectly showcases how it feels to be on the cusp of adulthood.

Saoirse Ronan plays Lady Bird with ease, channeling the complexity of being 17 with such severe talent. Metcalf is similarly fantastic, and it’s astonishing that these women, and this film, didn’t clean up at the awards. But it doesn’t matter, not really. Everyone who has seen Lady Bird knows just how remarkable it is, a once-every-few-years gem. It’s a feature that reminds you why film is important. It’s a film that lifts you up, and makes life feel better. It’s a film that celebrates our idiosyncrasies. And most importantly, it’s a film that joyously revels in not fitting in, and embracing your quirky, eccentric, individual self.

Gerwig’s main focus is on Lady Bird‘s relationship with her mum, and there are several notable scenes that give this film real heart. Metcalf’s turn as Marion is a stunning performance, incredibly dynamic yet understated and drawn from life. There’s no unnecessary dramatics here just simple, effective storytelling, with characters played by some of Hollywood’s most talented. Lucas Hedges also gives a moving performance, leading a sub-plot that is achingly poignant.

Lady Bird is a fiercly unique character who, at times, is desperate to fit in and experience as much as possible. As an audience, we’ve all been there and it’s the relatability of this narrative aspect that gives the film its universal appeal.The soundtrack is a nostalgic dream too, and the 2002 setting is equally enjoyable. Special mention must go to April Napier’s costume design; there’s a lot of humour in seeing certain fashions come full circle.

Lady Bird is so supremely special. Greta Gerwig has created something that brims with warmth and wit, that at its core runs on an emotional depth that will seep into your soul and refuse to let go. I left the cinema with joy, smiling at the story I’d just seen, feeling as though I was now part of a secret club that got to see this mega piece of cinema. But, of course, it’s not a secret club, because Lady Bird has received worldwide recognition. I reveled in every second of pleasure the film offers, and I can’t wait to show this film to every person I love, so they can fall for it just as I have.

Murder on the Orient Express Review

Kenneth Branagh directs a star-studded big-screen adaptation of Agatha Christie’s famed murder mystery in this fun, paired-back thriller.

Branagh’s Murder on the Orient Express features lavish set pieces and creates atmosphere with snowy motifs and a brooding, genre-specific score. It’s not perfect, and it certainly doesn’t present anything out of the ordinary, but it’s a fun ode to a bygone style of filmmaking and is impressively extravagant in scale. Perhaps most enjoyable is the ensemble the director has managed to unite; Academy Award winners Penelope Cruz and Judi Dench, alongside nominees such as Michelle Pfeiffer and Johnny Depp, featuring stage veteran and Branagh favourite Derek Jacobi. There’s a bunch of relative newcomers too in the shape of Daisy Ridley, Sergei Polunin and Lucy Boynton. It’s a who’s who of the industry and benefits hugely because of it.

The story itself is familiar; a murder happens on board the Orient Express, a train packed with the wealthy and powerful. The ‘best’ detective in the world, Hercule Poirot (Branagh), must solve the crime before they arrive at their destination and it’s left to the authorities to handle. The joy in the whodunit genre is in us, the audience, working out who is the criminal and who is innocent. But in this unique tale it’s a lot harder to figure it out than one might first have thought. Michael Green was in charge of adapting the screenplay from Christie’s story and has done so with what one would assume is fierce loyalty for the source material. Branagh injects wit where neccessary and despite the dark nature of the genre, the film itself isn’t bulked down by it.

Murder on the Orient Express is in no way exceptional but it’s entirely watchable, and serves as a real treat to see such Hollywood heavy’s all lined up together (quite literally, in one scene).

 

 

Blade Runner 2049

I recently read an article that claimed ‘Blade Runner 2049 is a misogynistic mess’. As an avid film fan – and as a woman – this bold statement made me feel uneasy. And despite being a less than avid science fiction fan, but a feminist, I instantly disagreed. Here’s why:

  • The majority of the film’s supporting characters are women who are fierce, brave, intelligent and in control, including Robin Wright who is quite literally the superior to Ryan Gosling’s K. Wright’s character meets a fate that is certainly dark and grisly but it feels, significantly, under her own terms as she works to protect a secret.
  • The fundamental narrative for the film is based on a startling discovery by the renamed Tyrell Corporation described as a ‘miracle’ which a character from the first film, Rachael – basically the answer to the development of a decaying civilisation – , is responsible for.
  • Jared Leto’s Niander Wallace has a female replicant assistant known as Luv (Sylvia Hoeks). Luv is way beyond average in combat and fiercely loyal. She is also the most feared character in the film and makes for a terrifying opponent to K and Deckard. Like legit, she is mega scary. Luv‘s character is also much more developed than Leto’s Wallace, and the real antagonist of the film.
  • There is a pending replicant uprising against the humans and, you guessed it, it’s being helmed by a woman who commands respect and holds authority.

Women do play roles in Blade Runner 2049 which are challenging, and the film delivers a bleak and unpleasant look at the future, but for both sexes. And isn’t a bleak and unsettling dystopian future the point of Blade Runner? This new world is shown with such visual mastery at such an involving level you can’t help but believe it’s all real. I think to call this sequel misogynistic is to do the film, and the point of the role women play within the film, a disservice. Also, Robin Wright, Ana de Armas, Mackenzie Davis and Carla Juri are all exceptional. There is obvious imagery of the female body as spectacle, but it’s not gratuitous, and the sheer scale of the visuals are placed to make you gasp in awe rather than horror.

Villeneuve has created a superior modern day movie that looks not too far into the future in intricate detail, provided by master cinematographer Roger Deakins. From giant set pieces to revolutionary visual effects, the Californian landscape created in Blade Runner 2049 is an absolute vision to behold. Looks aside, there’s a hair-raising score of dreams provided by Hans Zimmer and Benjamin Wallfisch and genre fans will revel in it. The film is 163 minutes of gold and must be seen in the cinema. Perhaps too long, but beguiling enough to keep its audience tuned in.

To perceive Blade Runner 2049 as misogynistic is to misunderstand its intentions. And to misunderstand its intentions as a piece of world class cinema would be a shame. Villeneuve has made something so special here from a piece of filmmaking that was already revered so highly, and cemented himself as a true auteur in the process. See it, love it, and don’t overthink it.

Dunkirk

Christopher Nolan’s newest feature shouldn’t be called a film. It should be called an experience. Dunkirk is harrowing, heartbreaking and stunningly shot – and you won’t see a more affecting film this year (or perhaps even in the years to come).

Nolan tells the story of the World War ll Dunkirk evacuation in this, his directorial masterpiece. The director seamlessly weaves together three timelines, bringing together an ensemble cast who’s actions stir more than their words. In a genius creative decision, Nolan follows a set of characters in a week on the beach, an hour as a fighter pilot in the sky and a day on a civilian boat sent to bring home the stranded soldiers. Witnessing events from these three viewpoints allows for a layered look at the complexity of this rescue mission.

Dunkirk is fiercely told through body language, stark and stunning visuals and a pounding, relentless original score by Hans Zimmer. Nolan has united an ensemble cast that sees established talent alongside breakout stars – not one man lets this piece down.

It wouldn’t be enough to say that Dunkirk is a triumph of what cinema can achieve, and it’s unlikely it will be replicated in all of its cinematic genius anytime soon. From the intensity of fighter pilots in the sky to the heart-wrenching depiction of the deaths of young men at war, Nolan grabs his audience from the very first moment and refuses to let go. This is the re-telling of a tragic moment in history and one that is told here with aching intimacy.

Dunkirk is relentlessly paced, never allowing its viewer to take a rest from the stark reality of the situation; much like the men who were trapped there. Claustrophobic spaces are juxtaposed with expansive photography of the beach and the vast sea that separates France and Britain, and when Nolan allows you above water or into an open space you can’t help but breathe a sigh of relief. The word immersive is thrown around a lot, but this piece of cinema might just be the new definition for it.

The war epic, a relatively short 106 minutes in length, is free from the bloody spectacle of most war films and features only one swear word, while dialogue itself is generally scarce – there isn’t a sentimental monologue in-sight. Director and Writer Nolan defies genre expectations and showcases the true impact of carefully crafted cinema without the use of gratuitous violence or offensive language.

Part character study, part inimitable war epic, Dunkirk has reinvented the genre thanks to the bold storytelling and auteur eye of its director. Respectful in its portrayal of the unthinkable horrors of war, it deserves to stay in the cinema way beyond its allotted time and – rather simply – should be seen by all.

Recently Watched: Movie Roundup

From cult cinema to black comedy, this is a roundup of my most recently watched. Just incase you thought this might be a guide to new releases, I should probably point out it’s not. Instead, it’s a look at recent titles that have graced my small screen from various decades and directors – not new, but usually great.

The Neon Demon (2016, Dir. Nicholas Winding Refn)

Synopsis: Jesse, a young model with big dreams, moves to Los Angeles to pursue a career in the fashion industry but soon realises all is not well in the world of modelling.

Verdict: Here’s where my main issue with The Neon Demon begins: with Refn. Oh, Refn. You directed Drive, it was incomparable. You followed it up with Only God Forgives, which was moderate at best. And now this? I went into the film with limited expectations, knowing critical opinion had been mixed and aware of my own response to the director’s most recent works. I was so unengaged with the whole thing that I turned it off about 30 minutes from the final scene. This is rare. Let me explain why.

Elle Fanning in The Neon Demon

Visually, The Neon Demon is somewhat of a triumph. The L.A. setting is really quite clever too. The idea of perfection and the want to attain it is a theme throughout and the startling aesthetic does well to create a brooding tone but, beyond this, there’s little else to explore. The two characters that are semi-interesting (played by Fanning and Glusman) are lost amongst the bizarre plot changes that develop over the near two-hour runtime so we’re left with this small ensemble of actors – who are by all means incredibly talented – playing roles that we don’t care about. This is, you could argue, Refn’s intention, but it affects the film in a largely negative way.

Refn doesn’t utilise his cast correctly, either. Reeves is barely there and when he is, he’s stilted by a dry script, while Glusman is shoved out too early on. Stand-out performances do come from Fanning and Jena Malone, the latter of whom is entirely comfortable in alien stories such as these, but the plot falters and it can’t seem to be saved. It leads towards a visually repulsing finale that, if you’re still watching, feels pointless, while the barely there screenplay is average at best.

Get Out (2017, Dir. Jordan Peele)

Synopsis: In Get Out, Chris, played by Daniel Kaluuya, meets his girlfriend’s parents at their remote countryside home as cracks begin to show amongst this seemingly ‘normal’ family.

Verdict: Get Out blew a lot of minds upon its release, not only because it was a fresh take on the formulaic horror genre, but because it actively addressed racial tensions in America in a mainstream film. Director Jordan Peele is bold in his ideas, ideas which he successfully executes throughout the flick.

The originality of the film begins with the narrative. On paper it sounds straightforward, on-screen it plays out via scene after scene of enigma inducing dialogue and slow-creeping tension that lends to an ominous atmosphere and sense of impending dread. And the brilliance of it all is that, despite the dark themes, it’s also incredibly funny. Penned by Peele, the script is very, very witty in all of the right moments. At times you’re terrified and confused, in others laughing along with the films own self-awareness.

Peele’s flick isn’t just funny and scary, though. It’s socially relevant and intelligently written. Critics have agreed that it’s the lingering impact of the narrative that is the obvious victory, for small complexities are unearthed after viewing that have you thinking long into the night. Potentially Oscar-worthy, and I expect, just a small glimpse of the greatness still to come from its director.

Sam Neill and Julian Dennison in Hunt for the Wilderpeople

Hunt for the Wilderpeople (2016, Dir. Taika Waititi)

Synopsis: Ricky Baker, a young boy who is frequently removed from his foster homes, goes on an unexpected adventure when he is placed with a loving couple in the New Zealand bush.

Verdict: The brilliance of Taika Waititi’s coming-of-age comedy drama can be witnessed at every turn and in each scene. Hunt for the Wilderpeople is a genuine slice of cinematic brilliance and indie filmmaking at its beautiful best. At times a stripped-back character study, in others an adventure movie that keeps you on your toes; there’s so much depth to this oddball story, lifted by performances from Sam Neill and Julian Dennison.

The narrative is wonderfully sentimental but not emotionally manipulative, instead director Waititi takes a witty look inside the world of troubled teenager Ricky as he finds happiness in the strangest of situations. Sam Neill demonstrates how diverse he is as an actor, with years of experience under his belt this might just be his best performance yet. The whole picture is a treat, charming and enigmatic, with strange and beguiling characters that propel the story into great depths of movie magic.

Recently Watched: Movie Roundup

From genre-bending horror to indie drama, this is a quick roundup of the films that have recently graced my small screen.

Copenhagen

Mark Raso’s independent flick brings audiences to the stunning streets of Denmark’s capital as two people, brought together by chance, embark on a journey of self-discovery in this quietly touching coming of age drama.

Raso is unafraid to explore the complicated relationship that unravels between Effy (Frederikke Dahl Hansen) and William (Gethen Anthony) as she assists him in finding his grandfather in a city unfamiliar to him. The pair cycle through the sun-strewn streets of Copenhagen while connecting on an emotional level that captures its audience well. The cycling isn’t only a brilliant thematic metaphor for the journey in which our protagonists embark on, but the cinematography in these vignettes display well the beauty of the city and you could be forgiven for seeing Raso’s movie as a love-letter to Denmark’s vibrant capital.

Verdict: charming, genteel indie fare that’s a must for any fan of quaint romance and unforgettable scenery.

The Final Girls

An ode to B movies of the 1980’s, director Todd Strauss-Schulson has created a horror movie with style that pays tribute to the likes of Friday the 13th while openly acknowledging the much-lauded tropes of teen slashers.

Taissa Farmiga leads a small ensemble cast including Nina Dobrev and Alexander Ludwig in Schulson’s movie within a film (not as confusing as it sounds) as a group of school friends take a trip down the rabbit hole into the setting of fictional cult 80’s horror Camp Bloodbath. It’s ludicrous to its core and feels similar to recent comedy-horrors such  as The Scouts Guide to the Zombie Apocalypse, although The Final Girls comes packed with a surprising emotional depth that helps counter-balance moments of crude humour (courtesy of Adam Devine) that would otherwise consume the plot.

Verdict: it might be a little daft but in general, The Final Girls is a funny, fun – and occasionally touching – comedy that allows its young cast to shine.

Blair Witch

When Adam Wingard’s Blair Witch begins you can’t help but (mistakenly) think ‘here lies cinematic potential’. The narrative starts strong, as six young adults venture into those same haunted woods that frightened a generation of movie-goers in 1996. But, ultimately, the film is flawed and too familiar to standout as an original entry into the found-footage sub-genre.

This sequel (which reads more like an adaptation) does something to remind its viewer that the impact, and terror, of The Blair Witch Project was a one-off, one that can’t seem to be reimagined effectively. The original had a hazy aesthetic and most of the fear was in the fact you couldn’t really see what was going on at all, this new instalment is just too glossy to pass of as ‘found’ footage – and with not one likeable character, you’re having to pretend to care come the final, re-hashed moments.

Verdict: Adam Wingard certainly tries, but fails, to recreate the thrills and fear of the 1996 original that captured the imaginations of millions of movie fans. Here, he captures very little.

Everybody Wants Some!!

Everybody Wants Some!! (those exclamation points are just representative of my enthusiasm) follows a baseball team at a Texan university in the three days before term begins; friendships are made, romance blossoms and rivalry between men brews.

The ‘spiritual sequel’ to Richard Linklater’s hit coming-of-age Dazed and Confused, Everybody Wants Some!! is set over three days and consists mostly of men sat around drinking beer, smoking weed, talking about woman and sport. Not exactly a feminist dream. If you look deeper, there’s a whole lot more to the director’s newest feature though and the importance of that short time at university before lectures begin is pinpointed so perfectly here, as are the unique friendships that thrive in this environment. Blake Jenner leads a stand out cast and Wyatt Russell is particularly memorable as stoner Charlie. When together, the ensemble come to life and you feel as though you could be one of the gang as Linklater follows the team with a prying lens.

Verdict: This character-led feature is 116 minutes of pure joyous cinema that will evoke nostalgia in its older viewers and bestow excitement in its younger watchers. Glorious to watch and a joy on the ears thanks to a killer score, Everybody Wants Some!! is smile-inducing cinema.

 

Brotherhood Review

Nine years after Adulthood and ten years after Kidulthood comes the final instalment of the franchise, Brotherhood. They bare similar names and follow similar themes but audiences are as interested in the inner-city narrative today as they were upon its original release. Why are we so enthralled by youths behaving badly? Is it Noel Clarke’s determination as actor/director to showcase society’s pitfalls and its effects on the young? Or do middle-class cinema-goers just enjoy watching a glamorised version of those who live just one or two boroughs away? Whatever the reason for this franchise’s continued success is, frankly, irrelevant for it captures the attention of an audience and it showcases the talents of bright British stars on the rise.

In Brotherhood Clarke’s Sam is married with two children, he works several jobs to provide for his family in a nicer neighborhood than we’ve seen him in before and he does what he can to stay clear of trouble. Is he an alien in this world? When his brother is shot in a nightclub and an old enemy returns from prison for revenge Sam must decide whether to acknowledge his violent past or run and suffer the consequences. Neither option being the preferred. It’s a story of change, and accepting that change. Most interesting in this instalment is the realisation that Sam, who murdered a teenager in the first film and somehow found redemption in film two, is not a nice man. He cares about his family and he wants to do right (after years of doing wrong) but he leads with violence and his morals are questionable. Brotherhood and Adulthood are character studies of a leading man who began life as an antagonist but somehow developed into a protagonist through careful writing and the positioning of harder, darker wannabe gangsters.

The narrative is nothing we haven’t seen before and it isn’t particularly lay

Brotherhood Unit Stills

ered but it gets the job done. Brotherhood allows its audience closure and this in itself is enough to please adoring fans of the social drama. In the ten years since Kidulthood came crashing onto our screens shocking parents and affecting adolescents, we’ve seen an array of London estate dramas that focus on angry young men and the women who follow. Kidulthood was gritty and disturbing because we knew it wasn’t far from reality, its soundtrack was a who’s who of UK’s top rap and grime artists and it was undeniably British to the core. Since this time the genre has evolved but its two sequels perhaps haven’t. We’ve become desensitised to the gritty violence, and the continual degradation of young women is as offensive as ever without any take-away commentary behind it. Brotherhood differs from its predecessors in that there are one or two strong female roles but these characters are present because of their entanglement with men and don’t have a whole lot of screen time to themselves.

Compared to the likes of Channel 4’s superb urban drama Top Boy, Clarke’s film doesn’t compare in style, direction or story but it does serve as a satisfying end to an iconic series of Brit films. A flawed but necessary entry – with a brilliantly unexpected turn from Stormzy – Brotherhood continues to demonstrate the strength of low-budget filmmaking with a cast of relatively unknown stars.

Suicide Squad: First Thoughts

On paper Suicide Squad sounds a dream. Talented cast? Tick. Capable director? Check. Tried and tested Box Office formula? Should be. It was meant to be really good. Since its release last Thursday we’ve quickly come to learn that it’s actually not as good as we had hoped. It is fun though; the type of fun that Tim Burton’s Batman achieved, the so-bad-it’s-good type that we like to loathe. Suicide Squad is far from loathsome but it’s even further from the cinematic perfection that its audience were promised.

In hindsight the film’s woes began with its overwrought marketing campaign. Too many trailers, too much teasing – it made us look forward to a feature we weren’t delivered. We were promised bad guys forced to do good and we expected Christopher Nolan style grit, but grittier.  David Ayer seemed a good choice as director, too. He wrote Training Day, directed Fury, and now was his opportunity to turn comic book antiheroes into cinema’s favourite foes, and he scratches the surface but never attains the greatness he strives for.

The film is driven by an almost constant soundtrack made up of everything from Eminem to Queen and if you are wondering whether the pair should be put together in the same movie, the answer would be no. At times the score is completely effective in setting a particular tone, but more often than not it’s misjudged and poorly timed. Dialogue is written with any lack of realism and the comic book cliches are clear and present. Ayer directs and writes with such force in other instances, even if they aren’t as appreciated as they should be, but as a director o

the cast of suicide squad

the cast of suicide squad

f the DC universe he seems to become a filmmaker without a clear vision.

Thus far the main criticism has been aimed at the clunky nature of the narrative, and the whole run time is a series of episodic scenes that don’t fit together as seamlessly as they could. Predominately set over just one night, there’s potential for a flowing plot-line but it gives way to scene after scene of badly-shot action that doesn’t hold our focus. The finale isn’t easy on the eyes and the main villain (who is only really given real screen time at this point) looks a lot like he belongs in The Cabin in the Woods – only it worked there and it doesn’t here.

It’s not all bad though. The ensemble cast works well together and Margot Robbie, Jared Leto and Jai Courtney are fantastic. Viola Davis is on form, as always, as the sinister government official who is keen to let the bad-guys do her bidding. Leto isn’t featured as much as he should be, but he’s electric as a mob-style Joker who seems to be running a successful criminal empire. For the first time we see the cult foe in love, and it’s a sub-plot that is both intriguing and rather concerning as we see him plunge into an acid bath with his partner-in-crime Harley Quinn. He’s her Puddin’. Robbie is sensational as his female counterpart; she’s cheeky and alluring, yet vulnerable as she quietly portrays emotion, successfully sparking a reaction. There’s a whole Joker/Harley backstory that is captivating in itself and with a little more development it could have been a stellar addition to the narrative. It’s the same for any of the Squad’s stories, the timeline of their imprisonments and abilities are mentioned but never fully acknowledged which would do to lift the story tenfold if time were taken to get to grips with our meta-humans.

Despite its flaws, of which there are too many to state here, Suicide Squad still holds its audience. We rant about how disappointed we are, yet most of us want to run back to the cinema to see it again. There’s a definite style to the antihero flick, David Ayer just isn’t sure what he wants that style to be. Some moments are unintentionally funny, and others are cool as hell, but as one flowing piece of cinema it just doesn’t work. Yet, I want for more.

One thing is for certain: Suicide Squad is entirely captivating, even if it’s for the wrong reasons.

 

 

Five times Leonardo DiCaprio should’ve won an Oscar

After countless performances in extraordinary films it looks as though it could finally be Leonardo DiCaprio’s year for clinching that Academy Award win. The nominations are in and The Revenant leads in 12 categories with DiCaprio up for Best Actor. The thespian is the talk of the town after his win at the Globes recently and his nom announced today, but why are we always so fascinated by this man and his performances during awards season? Simply put, he’s been robbed time and again. DiCaprio isn’t the only actor to of missed out on his deserved trophy but he’s a recent example of a once-in-a-generation talent who should have won more than one Oscar by now. Forever channeling a raw emotion – and never playing the same man twice – here are the characters the actor won us all over with. Don’t worry Leo, in our hearts and minds you’ve had the Oscar plenty of times.

Shutter Island (2010, Martin Scorsese)

Shutter Island was a change in direction for both director Scorsese and actor DiCaprio. A psychological thriller that had moments of horror, the film was a hit with critics and audiences and stayed imprinted in the mind following the atrocities sen on-screen. As the visually disheveled and slowly crumbling detective Teddy Daniels, DiCaprio was as never before seen in an emotionally-draining and physically exhausting role. There is a genuine mastery that DiCaprio deploys as Teddy, an aging man who is slowly but surely losing grip of the reality around him. Despite his character flaws and his total, mental unraveling, you can’t help but still hope it will all be alright in the end. Of course, in a Scorsese film, it never is.

The Basketball Diaries (1995, Scott Kalvert)

The film itself is a bit of a shitter and it didn’t fare so well among critics. Telling the story of poet and ex-junkie Jim Carroll, Kalvert’s feature has one saving grace: Mr DiCaprio. The actor was undergoing the transition of child star to serious adult talent at the time and doing his indie bit, it’s basically a tradition for all big industry names. As Jim, the actor embodied gritty and unlikable character traits while possessing an adolescent naivety as his life becomes consumed by heroin. It’s a tough film and a truly brave role to of undertaken at such a pivotal point in his career. From prostitution to burglary, Carroll went through it all before finally going to prison and getting clean – and the film doesn’t put a glossy cinematic sheen on any of it. DiCaprio showed then what he still shows now: a complete and impenetrable on-screen power.

The Departed (2006, Martin Scorsese)

By this point DiCaprio and Scorsese were serious filmmaking pals. Having previously teamed up on Gangs of New York it was obvious that the duo were on a journey to cinematic perfection together. They found that perfection some-when in 2006 with the utter genius of The Departed. Violent, intelligent and with a claustrophobic city ‘scape that’s still magnificently fresh on the eyes, the feature was the flick to finally nab Scorsese the Best Director Oscar. Unfortunately the same can’t be said for DiCaprio. Of all of the nods the actor has had, many argue it should of been Billy Costigan that clinched it for him. He’s at his best when his characters are experiencing emotional turmoil (sorry, Leo) and that trait is seen in such an inventive and prevalent way here. One minute Billy is beating up mobsters and seemingly untouchable, the next he’s cracking up in a shrinks office talking about his non-existent shaking hand. Every step of the way Leo toys with his source material, surprising his audience at each moment – you are never really sure if you should be concerned; as Billy he is unreadable, a complete closed-book that you constantly want more of.

leonardo dicaprio and ray winstone in the departed

leonardo dicaprio and ray winstone in the departed

Django Unchained (2012, Quentin Tarantino)

Quentin Tarantino’s dive into slavery was pretty much universally beloved. Leonardo DiCaprio as a cotton farm antagonist was universally feared. Now famously remembered for accidentally cutting his hand, continuing to film, and creating the best scene in the entire feature, Calvin Candie was a move to a role he had never previously focused on. As the villain of the piece Leo had fun; he was smarmy, strangely witty and damn-right hated, three characteristics that only DiCpario could encapsulate with such ease. Worryingly, he was also slightly sexy (don’t overthink it).

What’s Eating Gilbert Grape (1993, Lasse Hallstrom)

What’s Eating Gilbert Grape was Leo’s third movie role, and one that saw him play a character who has a developmental disability. There is a thin line between carefully handled and undeniably insensitive with parts like these and DiCaprio never seems to forget that. He works with his source material incredibly tentatively, especially for such a young actor as he portrays Arnie, an innocent adolescent who grabbed the hearts of his audience and wouldn’t let go until 118 minutes later. It’s one of the roles that isn’t widely seen but it deserves recognition; this isn’t the actor that we have all come to know now – you know, the one who stars in thought-provoking and genre busting features. This is a rising star who’s on-screen prowess can truly – and so purely – be seen on-screen for the first time. This is a portrayal of innocence that can’t be tainted.