Review: Mank

It's been six years since the last David Fincher film. The longest gap between any Fincher project since his debut in 1992.

Almost all of his films have become either cults favourites, timeless classics or major awards contenders.

With this latest feature covering how one of the greatest films ever made was written, cinephile's like myself would naturally be intrigued by something like this.

I think going into this appreciating or at least watching Citizen Kane will help as I cannot see this being marketable to the masses. So for me, there was a lot to like for me.

It is most certainly a well made film. It has that perfect mix of showing similar imagery to Citizen Kane whilst also having that Fincher touch. I also liked some of the nods to certain filming techniques that were used from the time period. From the cigarette burns, to the style of music by Trent Raznor and Atticus Ross, to the way it is edited at times. It felt very much of the 30's and 40's. There was even a drunk/drowsy sequence that copied the style of certain late 20's early 30's filming techniques which was nice to see.

The screenplay by Fincher's late father Jack is very well written. There's lot of strong back-and-forth sequences that Aaron Sorkin would be proof. It gives solid development to many characters to at least have one memorable moment on screen. It also covers certain stories that would intrigue film historians.

While there are several theories on certain aspects that the film covers, I think because it is executed in an effective and dramatic way, I don't think it mattered too much whether what they portray on screen is the cold hard facts as this is a drama rather than a documentary.

The performances were pretty good on the whole. Gary Oldman is great in the lead and I wouldn't be surprised if he has another year as an Oscar contender. Amanda Seyfried surprised me and had great moments in here and could also sneak a major awards push. Lily Collins fitted the role perfectly and had memorable chemistry with Oldman. Charles Dance was a nice surprise and had real presence whenever he was on screen.

It's biggest drawback is sadly the lack of emotional drive with the story. While the story was very interesting, I could not see myself wanting to watch it again straight away or anytime soon expect for maybe doing some analysis of the techniques involved.

That for me is where it will be seen by general audiences as slow, dull and boring which is entirely understandable.

It's gorgeously made and that is probably why I highly appreciate this film. But I would fit this under style over substance unfortunatly. I love how it looks, how it was made and the topics it cover and for that reason I have to give it an outstanding rating. But missing that impact with my emotions and not having the pacing that gives it steady flow makes more of a prestige film than a one for the masses.

I can see this being nominated for a lot of Oscars. But I feel unless you love the art of film-making, go to a media studies class or you love Citizen Kane, I can't see anyone else being interested or engaged by this.

Rating: 8/10

Review: Wonder Woman 1984

After the success of Patty Jenkins' 2017 first outing. I was intrigued to see how the sequel would fare, as the original was one of the few films within the DCEU that I would happily own a copy of or watch again.

After the pretty cool prologue, the start did have me fearing the worst. While it was cool seeing the mid 80's portrayed on a cinema screen in 2020, the campy tone did have me getting similar vibes of 'The Amazing Spider-Man 2'.

But it did also feel like it was paying homage to those silly 80's comedies. So I remained hopeful that there would be a payoff.

I felt I eventually got something that was worth watching. The narrative and its themes is definitely something we've all experienced on another film or TV show. But I felt the execution was solid enough and the timing of this film made it somewhat refreshing and welcoming.

What made it work for me was that I could feel the stakes and threats involved and able to accept most of its moments of quirkiness and disbelief.

Gal Gadot still proves how great of a casting choice she was as Wonder Woman. Her perfect mix of beauty and strength continues to be ideal. Seeing Chris Pine reprise his role will have many questioning the reasoning for this despite how his character ends in the first film. But I felt it eventually made sense and again paid homage to those hammy comedies of the time period. Pine might have partly lacked that charisma you usually get from him. But it was perfectly function for what his character had to do in this one. Kristen Wiig is basically playing a role we've seen Jamie Foxx, Jim Carrey and Uma Thurman do in similar superhero films. But I felt Wiig did well with what she was given. Her development was solid, there were moments where I felt she was a good match for Gadot until at the very end when her transformation felt sudden and almost undeserving and incoherent. Pedro Pascal was a nice surprise given his character is over-the-top. His transformation was well executed and I think he eventually fitted the tone rather well.

There is a nice little touch to end on during the mid-credits scene. It certainly put a smile on my face and I can see a certain chunk of audience enjoying it.

From the technical side, the production, costumes and make-up are as high-quality as you would expect. The 80's period setting was right on the money. However, the pacing felt uneven for the most part and I  would say its 2hrs 31mins is far too long for what it was trying to say.

As for the script, while it wasn't anything spectacular, it was perfectly fine for the vibe Jenkins seemed to be going for.

So to conclude, yes the type of story and its themes is something we've seen done by several films of TV shows and people will see this plot device as lazy. But I still felt fairly entertained by it. The characters felt well developed. I could feel the stakes involved and some iconic parts of Wonder Woman that were introduced on the big screen for the first time were great moments.

I agree that it is nowhere near as thrilling or meaningful as the first Wonder Woman and it doesn't reach the same heights of emotion. But sometimes, films don't need to match those heights and I still felt entertained by this.

There is definitely a homage to quirky 80's comedies. With the added themes, this film felt like a mix of Bruce Almighty, the quirky comedic side to Richard Lester's Superman features, the romantic side of Richard Donner's Superman from 1978 and even one scene that is straight out of Raiders Of The Lost Ark. That last sentence won't work to everyone's tastes. But it certainly will appeal to certain demographics. In an age where people expect seriousness to their superhero films, it was nice to get a reminder of the superhero films of the 80's that were successful and weren't afraid to be quirky at times.

It will be interesting to hear other views of this. Quite a lot of people did give the previous installment a lot of high praise. I can expect some disappointment as the tone is fairly different and its more light-hearted then you might expect. So while it may come across that I'm trying to defend the film. I'm actually saying that there is definitely an audience for this.

Rating: 7/10

Review: Wolfwalkers

Irish animation studio Cartoon Saloon are starting to become a big favourite within its genre and are challenging other studios such as Aardman Animation, Laika, Studio Ghibli, Pixar and Disney in relation to high quality animation and story-telling.

So far, we have had nothing but great features from them such as The Secret Of The Kells and the Oscar nominated films Song Of The Sea and The Breadwinner.

Now, it's back to Ireland with folklore adventure stories for the studios fourth project.

From the first minute I felt instantly at ease, knowing I was in safe hands and ready for an entertaining story. The hand-drawn animation is so pleasing and comforting that the entire duration was an incredibly relaxing experience.

The themes of love and loss and the separation of our connection with nature made it an enchanting and gripping story. As the film went on, the animation almost manages to evolve as well. The shapes and symmetrical look it has as well as the choice of colours really shows you why Cartoon Saloon is standing out from other animation studios.

The voice work is very good all across the board. Honor Kneafsey and Eva Whittaker did a great job as the two main characters and showed great natural chemistry. Sean Bean is instantly recognisable with his voice and supported the story well. Another voice work that was recognisable and done well cast was Simon McBurney, who always fits the bill well as a villain.

Also, the score by Bruno Coulais fits the period perfectly and really soothes you. It will certainly be a score that I'll listen to multiple times over the next few years at least.

But the star of the show is the animation. Every frame was a pure feast for the eyes. The entire animation department should be so proud of themselves as this is probably the best looking film from this studio.

There was only gripe that I was having towards the end and that was not feeling a great deal of threat from the main antagonist. There were moments that reminded me of Claude Frollo from Disney's version of The Hunchback Of Notre Dame. But I rarely felt that character could compete with the protagonists.

Like with all of Cartoon Saloon's previous films, this just warms the heart so well. The story is well structured and developed, the themes are universal and relatable, the characters are engaging, the score is satisfying and the animation is absolutely glorious.

It's a completely satisfying  and reassuring viewing experience for all the family and it is one of those films almost cleanses you of all of your negative vibes which is lovely story.

I don't think it's the complete package that Song Of The Sea was. As mentioned before, I felt the villain wasn't strong enough to be a big of a threat to our protagonists. But it is still a film that I would highly recommend, especially if you're feeling down.

Rating: 8/10

Review: The Whaler Boy

Over the past several years, I have seen a healthy amount of Russian films or films set in Russia to get by in building my culture. But I have never seen a film set in very north east of Russia towards the legendary Bering Strait that separates Russia and America.

Along with seeing a brief synopsis of the plot, I was intrigued to see how this film would go.

On paper it sounded like a road comedy. But it actually ended up being a profound drama with themes that reminded me of British drama God's Own Country. That feeling of isolation and wanting to see what's out there and almost going mad knowing that they don't have the guts to take that step into the unknown.

It was interesting seeing this way of living in that part of the world and the conflict our central character was facing as the story developed. Admittedly, it gets slow at times. But I think what was keeping me going was the metaphors it was presenting.

The final act I think is what sealed it for me. It ends in a very profound and moving way that I was not expecting.

The minimal cast across the board all do a pretty good job. Vladimir Onokhov gave us a highly interesting lead character and the constant innocence he gave off felt both sweet and sympathetic. He was a very effective lead and really made the style work.

Other aspects that I certainly appreciated was the camerawork by Mikhail Khursevich and Yakov Mironichev. Making the film feel both small and grand in its scale was impressive to see.

So even with the aforementioned slow parts of the film, I found this to be an effective and memorable watch. It's intimate in its look. But with the vast landscape, it also manages to be immersive and cinematic. I can certainly see myself liking this film the more I think about it afterwards and this will be a big favourite with fans of arthouse cinema.

Rating: 7/10

Review: Kill It And Leave This Town

We have another film where I have no idea how to review this let alone introduce it.

I think what intrigued me to this was the strange choice of animation and some of the surreal imagery that I saw in small clips beforehand.

After seeing it, I think if I knew I was going have that kind of viewing experience, I wouldn't have checked this out.

It took me a long time before I began feel anything for the film or even work out the story and its themes.

I can tell it's a very personal creation that certainly has an audience for it somewhere in the world. But it is most definitely not a highly accessible feature.

I'd be lying if I said I was pretty confused by this. I eventually got something out of it in the end. So by the time I got a grasp of what film is portraying, I somewhat appreciated it. The animation and imagery is effectively disturbing, and almost as if I was watching a nightmare.

But I still struggled to be interested or engaged by it. It wasn't helped that it is pretty depressing through out and I felt nothing for the characters.

The animation I think fits the tone of the film. It was almost like watching a Pink Floyd or Beatles video. The vibe felt like a poor man's Fear And Loathing In Las Vegas. So I would definitely put it in the category of 'it's better when you're high watching it'.

To conclude, it's not rubbish. There is something there to talk about and appreciate. But I just did not feel anything for it to give it a pass unfortunately.

Rating: 6/10

Review: Romy's Salon

Dutch cinema is certainly an industry that I have experienced very little of. In fact, it is only one film that I recall watching that was a Dutch production.

That was the great war thriller Black Book.

With this being more of a straight drama set in the present, this was a much different viewing experience.

Thankfully, it was almost as equally enjoyable.

While this film is covering a topic that sounds heavy, the way it is told gives it a heartwarming vibe that manages to make it suitable for family viewing. It helps as the story is told from the perspective of the child.

However, it does not shy away from the distressing moments. But it manages to make it rewarding viewing from an educational point of view for people who don't how to react in this type of situation.

It's also helped by the strong performances of Vita Heijman and Beppie Melissen as well as their chemistry. Heijman showed a great mix of innocence and maturity in her performance, felt authentic and was never annoying which is a great strength to have as a child actor. As for Melissen, she developed her character's mental state really well and showed her characters glowing personality that made her very likable and sympathetic.

I could be cruel and say that its simple in its story-telling, a bit too melodramatic for its own good, you could see how the story will pan out and there's little in its subtlety.

But I still found it a charming and effective watch. The topics covered were well told and the performances and tone gave it emotional weight.

This is great for family viewing and will be a rewarding watch for people of all ages.

Rating: 8/10

Review: Collective

The best experience of watching a film in any genre is seeing something that stays with you and you knew nothing of it beforehand.

That feeling is what keeps us going in the belief that originality is still alive and well.

In the case of film documentaries, it is stories that had little or no coverage at the time. But when made into a film, it's exposure through this medium gives it the best coverage the respective story ever had.

That's exactly how I felt after seeing this Romanian documentary of a story this is not only extraordinary as to how it happened. But also, the coverage that director Alexander Nanau managed to get and was allowed to show.

What's amazing is that there's no real style or added touch to the story being told. It's procedural in its structure and the camerawork is more for just observational purpose. The documentary is all about the story.

The only aspect of film-making to be seen is how it told the story from the viewpoint of the decision makers as well as the journalist that uncovered the story. Seeing their developments throughout and how it mixed and intertwined the two was well edited and constantly engaging.

This entire film documentary is the very definition of 'fly on the wall'. This is certainly a documentary that deserves the widest exposure possible. It has to be seen to be believed. Not just because of the story. But also, the unprecedented coverage that they manage to film. It also shows the every importance of investigative journalism and why it needs to still exist. 

While the lack of style was a noticeable choice that was made, they made it up for it with the shocking content that was presented.

Don't be surprised if you watch this with your mouth open in shock for the majority of the duration.

Rating: 8/10

Review: Dear Comrades

Stories about the Soviet Union are usually cold and grim affairs. But when done right, it can be an impactful watch.

Director Andrey Konchalovskiy manages to give his latest feature some weight and emotion around all the usual Russian bleakness.

It starts as something that I was fearing. A story that should be interesting, but isn't quite captivating me.

But despite the setting usually considered to be dark and bleak, the way the story evolved enhanced virtually every department. The way its shot gave it the bit of scope it needed. The characters became a lot more memorable and really helped the film mean something. Also, the neat editing, cinematography by Andrey Navydenov and the choice of presenting the story in black and white made it quite gripping viewing.

In the middle of all this seriousness, I also noticed a surprising amount of comedy in small portions. This gave it a refreshing edge and a sense of realism. It shows that even in the most darkest of times, people can still bring out a sense of humor to the situation.

One reason for this being a memorable watch, was the great leading performance by Yuliya Vysotskaya. It felt like a true reflection of the minds of citizens from that era. As the character develops, it is her intensity that made her incredibly watchable and fitted the tone perfectly. It made me really care for everything that was happening and gave the tragic sequences a lot more weight and emotion.

So while there were still moments that did not do enough to fully engage me, this managed to produce many memorable sequences to give this solid rewatchability. It tells a story that just isn't mentioned enough in mainstream media anymore and the way it was told made it a lot more relatable to current affairs then I expected. The whole vibe it was giving off managed to hold my attention and I can see it being a lot more accessible then I initially thought.

Rating: 7/10

Review: And Tomorrow The Entire World

There are certain countries that I can usually rely on for high-quality films, and Germany is one of them.

They can tell some really hard-hitting stories and not be afraid to tell it in a mature way.

As for this latest German feature, this crept up on me to make me realise this was a great watch instead of just good.

The start is quite ordinary and introduces our main character in a perfectly functional. But as soon as they enter a different world, virtually the entire production changes.

The pacing moves up a few notches, the handheld camerawork gets more extreme, the tension mounts and the energy went to places I was not expecting.

You could really feel the danger our characters were in as it was almost like someone was shouting at your face for about an hour.

Then I think what gave it the icing on the cake was the poignant ending. It showed great realism in the topics being covered. Also, it portrayed the constant struggle that people who live this sort of lifestyle in a very relatable way.

It seemed that this type of story was made for director Julia Von Heinz. Everything just seemed to fall into place and be the right project for Von Heinz and her team.

In terms of the acting, while the performances are pretty solid all-round by the ensemble cast, Mala Emde's leading role is pretty strong. The young German talent had a great screen presence and a natural engagement about her. Her story arch felt complete and I feel the best of her performance was managing to tell the story without saying a word.

The whole experience felt aggressive, muscular, angry and quite tense at times in many ways. It's very well developed, its topics are very interesting and it certainly made me appreciate that way of living a lot more. It managed to be a very rewarding watch.

Rating: 8/10

Review: The Bears' Famous Invasion Of Sicily

One possible reason for family films to be successful, is that the themes in the story can be very educational for the younger demographic. It can help them learn the ways of the world.

This French-Italian animation certainly fits into that category.

The first aspect of the film I had to get to grips with, was the animation. It's definitely the type of animation you don't see. It almost felt primitive at first. But as you get engrossed with the story, the animation style feels more and more right with the rest of the film and almost becomes quite charming in its look in certain sequences.

The story structure and message its saying is one we have seen before. One obvious comparison is a story many people from my generation would have been taught at school. But when done right, this structure and message can be very effective and timeless. This film did absolutely that.

It opens up nicely. It's set the scene, introduces us to characters that are memorable and you can get invested with them. The way the landscape is designed and shot makes for some nicely executed sequences.

Then when we get into more depth and into the psychological side of the story, the film is given much more of a meaning then I was expecting. All of that I felt was enhanced well by the bittersweet ending, which is something you rarely see in family films.

I was really surprised how moving and effective this film was. It has that perfect mix of balancing education and entertainment for both kids and adults. It teaches you about the relationship between society and nature, the class system, the power of greed and equality.

It's lovely to look at, the pacing is nice, it has a snappy 82 minutes duration and there are well developed characters. This was a really nice surprise.

Rating: 8/10

Review: Mind The Gap

When I first saw the title of this documentary, I thought I had already seen this.

But it seemed I was getting confused with this and the Oscar nominated 2018 film documentary Minding The Gap, which is about how three strangers create a bond through their live of skateboarding.

Instead, we see stories from certain individuals about the slow downfall of democracy and ever-widening gap in the class system in certain countries from the western world.

Helped by the topical nature of the feature, it was an interesting watch. It covers thoughts that many people have including myself about how democracy has been lost in translation and evolved more into populism. It was interesting seeing points of view from other countries and how even some of them have intertwined with other countries.

With the added expert analysis thrown in during each segment, it did add a bit of depth to the feature which kept me engaged. It certainly enlightened me on events that I remember being in the news and only knowing a small amount of the situations within those countries.

So from an educational perspective, it was quite rewarding. I also felt they put their point across well and some of the footage really helped with the interviews. But having that structure does limit its style and therefore made it more like a TV programme then something made for the cinema.

Rating: 7/10

Review: 2040

Documentaries about what we need to do to save the planet are certainly becoming more and more common. In 2020, we have already had ones from David Attenborough and Greta Thunberg.

Now, it's Australian actor and director Damon Gameau, who has created a movement of sorts in his native home to create a better way of living for the planet to heal. This has culminated to this informative and well made documentary that is essentially a letter to his young daughter on how the world could look like in 20 years time.

You become aware of the director's intentions early on. So already, you know their heart is in the right place. After that, it's nicely presented documentary of actions you should take to helping the planet and what has already been done. Especially in Australia and South East Asia. 

While some of the information it gives isn't anything new to most people, it's still pleasant enough viewing.

I feel the tone could have come across more as proactive rather than making us believe that everything is going to be o.k.

But even with that minor drawback, it's a nice enough watch and I think kids will get enjoy watching it and there's some animated visuals to accompany the feature. It also will give them a solid understanding of the state our planet is currently in.

Rating: 7/10

Review: One Day In The Life Of Noah Piugattuk

Cultures living in Arctic conditions such as the Inuit's has always fascinated me. From the way they live, to how they hunt for food and how important their traditions are to them.

So hearing that there was a film coming out that would be set in the Inuit area of Canada had me intrigued to check this out.

It was an unexpectedly strange watch. Despite this being a drama feature, it played out more like a documentary. With the long uninterrupted cuts and sense of realism, you could swear that you were watching unscripted real life happening in front of you.

So with it being a drama, we have therefore have actors instead of actual people. The style of acting was frustrating. It might have been due to the director intentionally having no script to work with and I guess the director felt this was the best way to get the best emotions out of the actors.

That somewhat worked thanks to the ending where some archive footage was used, which gave the story a nice emotional pay-off.

The ending certainly made me appreciate some aspects of the film that had already been covered, such as the toughness of communication between the two parties in this true moment in history.

So I think thanks to the ending, this did enough to get a pass from me. The narrative style is certainly not a winnable one for me. It was frustrating to watch as at times as the characters were going round in circles speaking the same conversation. But I came to eventually understand that that's what it probably was like for those two cultures clashing with language barriers and trying to come to sort of agreement.

It's definitely not for everyone. But if you're interested in true stories from this area of the world, it will be an intriguing watch.

Rating: 7/10

Review: Caveat

The beauty about seeing films at a festival is that there are plenty to check out that have no buzz or build-up whatsoever, and you make that discovery for yourself. Therefore, it is then your duty to generate that buzz.

I have felt that for the last few festivals I've been to. Now, this British horror from Irishman Damian McCarthy in is directorial debut may not be the complete package. But there is plenty in here that is worth spreading the word about.

The opening act is pretty chilling, tense and exciting with some inventively executed set-pieces. The way the ground work is laid put me on the edge. I was really liking the mood and production design of the bleak home that most of this film is set in. It would definitely compete with the best Horror house's out there. Plus, there is a prop that if it was in a mainstream horror, it would be produced and sold as an iconic bit of pop culture memorabilia.

But as the film went on, some kinks and missed opportunities were starting to show. The final act in particular was a bit disappointing, weak, unconvincing and lost all the suspense for me. It never had that worthwhile pay off and did bring my enjoyment down a few levels.

The acting was pretty good and each performance made their characters really interesting throughout. So props to Jonathan French, Leila Sykes and Ben Caplan especially.

So despite some disappointing problems with the narrative, there is definitely lots to like. Having some genuinely scary moments shows what a keen eye director Damian McCarthy has and contains great potential. With room for improvement, McCarthy could eventually mold himself into a top horror director.

Rating: 7/10

Review: Kubrick By Kubrick

I'm not sure what's left to be said about Stanley Kubrick as a director. His legacy has been going for over 60 years now and his dedicated fans continue to unravel his projects and looking for more and more theories into his symbolism style.

One thing that Kubrick was known for, was giving very few interviews. So knowing that this documentary was going to consist of a lot of unearthed chats with the man himself felt like a big selling point.

This was a nicely done documentary I felt. It was really interesting hearing Kubrick's thought, ideas and inspirations for each of his features. Mixing it in with interesting pictures of Kubrick as a child and behind the camera, footage from his films and some cool model shots that mixes in all of his back catalogue made it a much more fully fledged film.

Director Gregory Monro and his team have cut together something that is worth watching for Kubrick fans as it further enhances his legacy. I wouldn't recommend for people who yet to have seen a Kubrick film as brushes past the basic as it goes more in-depth. But when you've fully experienced him, this little icing on the cake will be waiting for you.

Rating: 7/10

Review: Andrey Tarkovsky. A Cinema Prayer

I can see why Russian director Andrei Tarkovsky is considered by many as one of the most influential directors in world cinema. But when watching his films, there were not many of his works that I was going nuts for.

Out of his 11 directed films, I have seen 7 of them and while I certainly appreciated the art and craft of all of them, only one stayed with me, and that was Ivan's Childhood.

So I was hoping this documentary might inspire me to check them out again.

With it being directed by his son Andrey, this documentary gives you a great insight into Tarkovsky's life, his childhood, what inspired him with his ideas and how he sees his work amongst other things.

It was great to see how his work evolved with each different project and hearing his thoughts in rare interviews of what he sees art as.

So while I did enjoy watching it as it certainly gave me a great detailed look into how Tarkovsky's thought and lived, I cannot see my views changing of his work. His style of story-telling just doesn't seem to fully work with me. But seeing this well made documentary made me appreciate his contribution to cinema a lot more.

If you're not interested in seeing any Tarkovsky film or don't feel inspired to watch them, then this documentary is great way of at least experiencing the man and giving newcomers to his work a great indicator if his style will suit your taste.

Rating: 7/10

Review: The Arctic Camels

A documentary about two camels living in the Arctic circle should prick the ears of anyone interested in unusual stories.

But this story directed by Karl Emil Rikardsen went down places I was not expecting.

It starts off in a pleasing way. We get introduced to the people, the beautiful Norwegian landscape and the surreal imagery of seeing two camels so far north that they are in the Arctic circle.

But once we get to see the characters intentions for these camels, it explores more subjects that have been a part of human life for thousands of years. Don't worry, there's nothing brutal or tragic despite the previous sentence possibly coming across that way. But there is certainly one scene that could unsettle people depending on their beliefs.

I was seeing a lot of similarities to The Eagle Huntress. The importance of tradition, imagery consisting of vast landscapes and that relationship between man and beast.

I thought this was very pleasant viewing. The people and animals are likable, the imagery is beautiful, seeing different cultures on how they life was really interesting to see and the narrative is solid.

Rating: 7/10

Review: The Trouble With Nature

This was a tricky one to introduce as I'm still trying to work it out.

The film doesn't give much backstory and instead we are dumped straight into a moment that defined an Irish philosopher's life.

The look of the Alps and European wooded areas certainly made it watchable. But a story about a philosopher going out into the field to embrace his own concept, and his having a hard to accept it made it interesting. However, I wasn't sure why.

The ego and ambitions of the lead that was well played by Anthony Langdon gave a nice insight into the thinking of upper-class politicians of that time period. Seeing him attempting to cope with the environment and the culture made it engaging and that nice 'fish out of water' feel of it. But there was still that air of strangeness that I couldn't quite grasp.

The support of Nathalia Acevedo was nice to see as it seemed she was the person that Langdon's character wanted to to be.

All in all, there were enough interesting aspects to this story that saw me give it a pass. I can see me getting into this more and more on multiple viewings. So it will be interesting to see how this film ages.
There is an interesting story in here, the general look is great and the films biggest selling point and the two performances were nicely done.

This is definitely not a film for everyone. But if you give it time and patience, there's something in here to be engaged with.

Rating: 7/10

Review: Relic

Indie horrors are certainly becoming more and more regular on a release schedule, and I'm always up for these types of horrors.

I don't often go nuts for them. But I always appreciate them for being more about the story and the scares being more chilling and disturbing instead of sudden loud noises and make us jump out of our seats.

This Australian release from director Natalie Erika James was a bit of a mixed bag for me. While I got everything it was trying to say, and appreciate some of the clever visual messages. I just didn't feel anything for it.

It's a bit of a slow-burner and it's certainly not your usual horror. It's closer to an emotional drama with dark elements. But I think what made it work in the second half is that it's much more profound and metaphorical than most horrors.

The first half was perfectly fine. The story seemed to be something I had seen before with a few strange moments to make me think. But it was only when certain events took place towards the end of the second act was when I was beginning to find it interesting.

A few set pieces later including a very poignant finale, and I managed to find a lot more substance then I initially expected. The ending will definitely divide the audience. Some will find it ridiculous. But others like myself will find it as a nice way to close off the story.

The performances were pretty good I thought. There's basically just three characters all the way through, they are all developed well and carried the emotional weight of the film. Emily Mortimer utilised her experience, Bella Heathcote continues to showcase her talent and Robyn Nevin was a nice stand out.

It does have similarities to The Babadook or Hereditary where it uses real life situations and manifests them into some sort of horror. You could also compare the style and production design with the aforementioned films. But Relic for me felt comfortably inferior.

I understood the themes it was covering such as loss, both in the forms of grief and alzheimer's. But it never had that strong engagement that similar have done in the recent past.

I can definitely appreciate this feature. It's a promising directorial debut for Natalie Erika James. But I cannot see myself watching this again. There is definitely an audience for this. But others will find it slow and boring. I think it would appeal to fans of David Cronenberg or maybe Ari Aster.

Rating: 7/10

Review: Two Of Us

I have always been very polarising when it comes to watching French films, and it's usually because of the style for me.

It walks a fine line of being quirky enough to make it appealing to a wider audience. But it could just fall into that realm of being too French for its own good, which makes it far too niche for my personal taste.

I was surprised to see how perfectly functional this latest French release was in every aspect.

This film shows how powerful love can be, no matter at what age. What makes the film very watchable and engaging is the two leading performances by Barbara Sukowa and Martine Chevalier. They both showed great authenticity in their roles and reacted to relatable situations that I am sure many audience members can relate to.

The story is told to a perfectly satisfactory standard. It moves along at a pleasing pace. The story is told with great affection and tenderness throughout and is shot really well.

There was nothing noticeably bad about the film. But there was not that much that stood out that could make it a must-see. But for a directorial feature debut, this is a pretty strong debut for Filippo Meneghetti.

The film gives you a great insight into a life that doesn't get mentioned enough in any form of media, and that should be the films biggest selling point.

Rating: 7/10

Review: The Sun

The film industry in Iran is becoming more and more noticeable over the last few years. The number of talented film-makers and actors coming from this part of the world shows a bright future for world cinema.

For director Majid Majidi, he has already shown a lot of promise with his back catalogue. As for this latest project, this one uses Iran's tough child labour as a backdrop to a moving drama.

The start sucks you into the story quite well and gives us many memorable character introductions and while the locations is within a third world environment, the brilliant cinematography gives it enough beauty to help enhance the visual story-telling side of the feature.

I was noticing a lot more emotional depth in every aspect as the film went on. The supporting cast are given a lot of nice development that help us discover some other topics the film is trying to cover. The story also covers education as well as Iran and Afghanistan relations, which I felt was executed rather well.

In the final act, we see the film pretty much turn into a tragedy and while the climax did make me feel very sad, it also felt very satisfying. It showed the films message come to an emotional high and it was a clever way of portraying the exploitative nature of child labour within Iran.

It's amazing to think most of the cast were recruited from the streets of Iran. There is so much talent to witness on screen throughout its duration. Rouhollah Zamani shows wonderful emotion as the leading character and authentic childlike sympathy that makes him instantly engaging. I hope this isn't just a one-off feature for him. I also have to give props for the other notable child actors Mani Ghafouri, Seyed Mohammad Mehdi Mousavi Fard, Abolfazi Shirzad and Sharmila Shirzad who showed wonderful maturity in her character.

What I liked about it the most is the many ways you can interpret this story. A long with the aforementioned themes, the way it is shot and edited also makes it feel like a heist or prison-break film. All of this I feel gives it strong rewatchability and make it appealing to a much larger then I would have expected.

I cannot quite get the film to a level of calling it a great film. I'm not quite sure what it lacked to prevent that. But I can safely say that I really liked the film's energy, charm, sincerity and how watchable it was. It never felt afraid to tackle the issues it was raising and so you could feel the confidence in the film-making.

Don't be afraid to check this one out when it becomes available. You'll be surprised how rewarding it is.

Rating: 7/10
 

Review: Monster

A couple of firsts with this particular viewing. This was the first film that I can recall seeing in the traditional Irish language.

Not only that, but this also told the story of a piece of Irish history which I did not know about.

Seeing a film like this in the Irish language just further showed the passion put into this project. Director Tom Sullivan has given a clear message on what he was looking for in this project.

After now experiencing it, I felt it was pretty satisfying viewing. The first act opens up the story nicely. There is some nice character development, the Irish coastal landscape gets your attention from the first minute and there is a pretty tense sequence that puts the rest of the film into motion.

The rest of the film could lose some people purely on its pacing. Almost the rest of the film is all about visual story-telling and effective atmosphere. I will agree it may come across as slow and plodding for some demographics. But for others including myself, I thought that the cinematography and score made it quite atmospheric to keep my investment.

It does end with some thrills, which was nicely done. But a part of me also made me feel it was out of the place in relation to the tone.

The performances by the entirely Irish cast were all pretty good. Donall O'Healai as a lead did a great job of carrying the film. With many moments of the story being told through his face, he added a lot of weight to the film in impressive fashion. Plus, there is a noticeable body transformation by O'Healai that almost went to levels of Christian Bale from The Machinist. I do really hope to see him bigger projects as he deserves to be noticed by a mainstream audience.

Dara Devaney gave real menace in his character and him one of the most memorable aspects of the film. I must finally mention Michael McElhatton, who people will know through Game Of Thrones made the most of his short screen-time.

So all in all, I would say it was a pretty good. I really liked the truth aspect of the story, the look of it, the moody atmosphere it gives off, the Irish locations are beautifully shot and become a character in itself and the performances are all good.

It's just under 90mins and it shows in some of the lack of development with the supporting cast. So I think a bit of depth to the characters could have been this film great instead of good.

But one things for sure, the country of Ireland should be proud of this feature in many ways.

Rating: 7/10

My Top 10: Horror Films of the 2010's

While horror is pretty low in my genre rankings, the 2010's have given us a lot very interesting horror features with a huge amount of variety.

There have some great viewing experiences for different age groups, demographics and there have been many different types of horror's. From body to psychological, gore, comedy, animated, stop-motion, mockumentary and some that I struggle to fit into any category.

One thing's for sure, the 2010's have given me hope in a genre that I always felt have interesting ideas, but never fulfilling them.

I am happy to see that my top 10 has ended up being as varied as the genre has been in this particular decade.

I would normally give some honorable mentions. But there are so many that I could mention, that this would become more of an essay.

10) The Babadook - A chilling and very effective horror with a powerhouse leading performance from Essie Davis.

It may have effective scares. But the themes of grief, depression and motherhood enhance every bit of the story and make it an incredibly rewarding watch.

All of this from the directorial debut of Jennifer Kent makes it even more impressive.

9) Frankenweenie - A touching and heart-warming horror is not something you experience every day.

But Tim Burton gave us one that is ideal for family viewing.

While youngsters may not realise that it is paying homage to classic horror, this film shows a lot as to why kids do love horror, Halloween and all things scary.

8) What We Do In The Shadows - A very funny comedy horror with a mockumentary structure that could easily challenge 'This Is Spinal Tap'.

It shows three vampires struggling with the mundane aspects of modern life.

Director Taika Waititi's brand of comedy has gained a large following since then and has also given birth to a successful TV series.

7) A Quiet Place - A horror sci-fi with an effective concept, a well developed script and a viewing experience like no other.

Director John Krasinski along with his wife Emily Blunt both star in this tense and thrilling feature with countless memorable sequences.

When a film can make a packed cinema completely quiet, you know they have done something right.

6) Train To Busan - One of the best zombie films of all-time. This South Korean feature has all the thrills and tension you could ever want.

It goes at such a pace you won't have time to take a breather, there's many well drawn out characters and surprising amount of heart when you least expect it.

You won't find many zombie films better than this.

5) The Cabin In The Woods - Horrors that make fun of their own faults and tropes gets a big tick in my book.

Scream did it in the 90's and now director Joss Whedon gives us a super clever look at breaking down the Horror genre and making it a highly entertaining piece of work.

It also features a Chris Hemsworth before he became famous.

4) Split - M. Night Shyamalan's thriller that sees three girls kidnapped by a man with 23 different personalities.

James McAvoy gives a career best performance and Shyamalan's gives us another reason why we should never disregard his talent.

It's thrilling, exciting and has that vintage final act twist that only Shyamalan can pull off.

3) One Cut Of The Dead - If you think there are no more original films out there, then you clearly haven't seen this Japanese treat.

This comedy horror is incredibly clever, funny and constantly surprises you. Each act of the movie is totally different and still manages maintain its narrative. 

This will mess with your senses in the most refreshing way.

2) Mother! - Darren Aronofsky's psychological horror that could well his most divisive.

I'm certainly on the side of loving it. I found it incredibly unsettling, nightmarish, incredibly well designed and utilises its themes with great effect.

It's not for everyone. But one way or another, it will make you in an extreme way.

1) Black Swan - Aronofsky makes a second venture in my list with his 2010 Oscar-Winning ballet nightmare.

When a committed dancer lands the lead role in a new production of 'Swan Lake', paranoia sinks in and her sanity is tested when she believes everyone is after her role.

A masterful performance by Natalie Portman along with Aronofsky's style gives us a highly engaging viewing experience that many have it high up in their list of greatest films of the 2010's.

Review: The Witches (2020)

Another remake. However, this one is coming from Warner Bros. instead of Disney. Also, it is a remake of a 90's childhood classic of mine and many other generations.

The 1990 version from influential director Nicolas Roeg terrified me every time as a kid. But there was something about it that made me go back to it numerous times. It may have been the thrilling pacing of the story, the memorable score by Stanley Myers or the well written characters? Whatever power it had to make it stay with me, I still enjoy it today and it has gained a solid following with many people from my generation having the same amount of love that I have for it.

When I heard Robert Zemeckis was at the helm for this, I was certainly intrigued to check it out. We all know that when Zemeckis is on top form, he can make timeless classics such as Forrest Gump and Back To The Future. Also, he is never afraid to experiment with technology. We have seen it work with Who Framed Roger Rabbit and partly succeed with A Christmas Carol and Beowulf.

However, I was also nervous as remakes have a low success rate for many reasons.

I was so disappointed with this that I almost got to the point where I was angry inside. The themes that the Roald Dahl novel covers such as death and loss are portrayed really well in the 1990 version, especially in the first act. It builds the layers up perfectly to understand the journey our main protagonists have taken to get to encountering the witches.

But this version just seems to almost totally ignore that and just make it a tame and sanitised version. It's almost as if it was afraid to add that adult touch and be genuinely scary. My feelings for this new version felt similar to when I saw Steven Spielberg's re-imagining of The BFG with the tone of a Tim Burton trip-off.

Even if this was the first movie portrayal, this would honestly still look middle-of-the-road and fairly forgettable.

Most of the performances were ok. Kid actors Jahzir Bruno and Codie-Lei Eastick both did a good job. Especially Eastick, who perfectly enhanced his characters personality.

Anne Hathaway I think fitted the tone well and had a memorable presence. There was a certain channeling of Meryl Streep and Goldie Hawn's performances from another Zemeckis feature Death Becomes Her. Once you see that comparison, you cannot unsee it. Sometimes Hathaway could go a bit over board. But it felt restrained enough to not be annoying.

Stanley Tucci was perfectly fine and had great potential. But a lack of writing towards his character never made him become a memorable side character.

Octavia Spencer was thankfully the one bit of shining light for me in regards of the performances. Her character is supposed to have that caring and comforting presence, and she had that in abundance.

Also in this as a narrator is Chris Rock, and his distinctive voice does not at all fit the tone for me.

Most of the minor roles felt over-the-top to the point of annoyance. There were also some strange moments where it was clear to see that CGI was used to enlarge the person's eyes for certain reaction, like the dream sequences in Tim Burton's Big Eyes.

Even Alan Silvestri's score wasn't up to scratch. It had a strange mix of being ordinary or over-the-top in a scene when the music didn't need to be that grand.

But what does save the film from being a total disaster is its look and the way its shot. The production design is neat, the lavish and colorful costumes are pleasing to the eye and the cinematography has some nice sweeping tracking shots at the right time to enhance certain sequences when needed.

So by Zemeckis' standards, this is poor and I feel this is his worst feature to date. As a film, it's not terrible, it's just not that good. It gets solid points for its cinematography, neat production design, colorful costumes.

But while the 90's version captured the spirit and themes of the novel, this modern remake did everything at a surface level and definitely had that feeling of it being it run by a committee. The story lacked the layers and depth we know it has and they quickly go over important plot points that they could have expanded to at least make it worth your time.

For any parents reading, this is purely aimed at kids. So I'm sure they'll enjoy it. Beyond that, I cannot see anyone remembering this. If you honestly want them to have an exciting viewing experience, getting scared during the Halloween season so much it will stay with them forever, I would just watch the 1990 version.

Rating: 6/10

Review: I Am Greta

I wouldn't call myself a dedicated follower of Greta Thunberg since her activism got noticed by the world's media. But I am certainly aware of her achievements so far and I'm all for what she wants our world leaders to do.

I am aware that Thunberg has her haters, and it honestly doesn't make sense for me. Going against the movement she has created of essentially healing the world's climate is something everyone should be behind or at least accept.

With all that in mind, I was certainly interested in seeing what this film documentary would show.

In terms of the information presented to you, most of it is nothing new for people who are regularly keep up with the latest news. For outsiders, this is a nice crash course into what Greta is all about and what she has managed to accomplish in a short amount of time.

For me, there were some nice moments that no-one would have seen before. It is amazing that we get the very beginnings of Greta's movement. It was all thanks to director Nathan Grossman being tipped off about Greta and that what she's doing could develop into something. Seeing those opening moments was quite captivating and how it quickly blew up into a global news item.

Other moments that were memorable was basically just seeing what Greta is like in between her public appearances. It was interesting to see her relationship with her family, how she is coping with the positive and negative comments on her in the media and the travelling that is required.

In terms of the film-making and production side of it, it was perfectly fine. It pretty much documents Greta's whereabouts. Unlike most film documentaries, there are no face-to-face interviews mixing in with archive footage. So I think the lack of those type of aspects of story-telling within this genre does prevent it from being an exceptional piece of work. But the content and subject matter still makes a perfectly watchable and engaging feature.

It certainly gives you enough to help you know more about Greta as a person and what drives her to keep this movement going. I do feel some added depth and maybe voices from elsewhere could have given the story added meat. But I don't think that was the director's intention. It is somewhat made up for this with the unprecedented footage of basically shadowing Greta everywhere.

I felt this was a solid and entertaining watch with enough inspiring moments that stay with you. Don't expect to learn how to save the planet's climate from watching this. This is more about the person, how they behave, think and react and I found all of that rather gripping.

There is clearly an audience for this as Greta has her fans. The structure and look of the film is functional, safe and rarely adventurous. Some moments and imagery are very powerful that benefit the subject matter and it's a nice piece of history that could be part of a school curriculum depending on how this movement impacts the world in the end.

Rating: 7/10

Review: Ammonite

The second feature from Francis Lee certainly had me excited.

I remember seeing his debut feature of God's Own Country back at the Leeds Film Festival in 2017. Having the director their for a Q&A afterwards gave me a great insight into his style and the type of stories he is looking for. You can tell he loves his work and it shows on the screen.

So with the added star power for his latest project, expectations were pretty high.

The experience I got from it was something I was not expecting. However, it still managed to meet my expectations. The general vibe it gives off as well as its colour palette and editing makes it a gentle and pleasant watch. Much like the coastal location, it felt like a brisk walk around the beach and harbour.

With a few welcomed added elements later on in the film, there was a solid story developing. All being told in a 'show, don't tell' way made it much more effective. With the ending not quite feeling resolved or satisfying, it did leave me wanting more and not in the usual good way.

But don't worry, there is plenty to like and appreciate.

The story is well developed and paced. Kate Winslet gives another memorable performance. Whenever we think of Winslet, it's usually a strong-willed actor that is never afraid to get their hands dirty. That is exactly what you get in her latest venture. You can feel the confidence in her independence. But also the underlying troubles all told through the face.

Her chemistry with Soairse Ronan was pretty good. However, I have seen more authentic and engrossing on-screen relationships in similar features. Plus, while Ronan was perfectly fine. I have seen her do far much better. Ronan for me has been the master of accents and always give great authenticity in her performances. This one never felt exceptional and it didn't give me a character I wanted to know more about.

As briefly mentioned before, it is gorgeous to look at. The production design and colour in the imagery reflects the location and period perfectly. Like with Lee's previous feature, you can feel the pacing and editing done with great care and attention.

But as well as the connection and development with Winslet and Ronan, the ending for me didn't make the film the complete package. I did enjoy the final shot as it leaves it open and giving the audience something to ponder and discuss. But the journey getting there didn't feel it deserved to end with that shot.

Those drawbacks I feel may make this forgettable for some demographics. However, many will find this a deeply effective watch.

In the end, I'm not far off the latter. A lot of its aspects I appreciated both in its craft and execution. But the story just felt short on giving me that strong pay-off compared with similar films such as Blue Is The Warmest Colour or Portrait Of A Lady On Fire.

It's certainly worth watching on the big screen for the imagery and Winslet's performance. The rest I feel will be up to personal taste.

Rating: 7/10

Review: Saint Maud

It's October, and even during these times we can still get a new release of a horror film in the build-up to Halloween.

I had heard a solid amount of buzz for this feature for the past year. It did the festival circuit and did rather well at the major film festivals such as Toronto and London in 2019.

If you know me well, then you will be aware that horror is a genre that I don't find much success in. However, I am always intrigued by the ideas and concepts these films have. However in the last decade, certain directors have caught my attention and have me particularly enjoying indie horrors.

Another one I can now include in that is Rose Glass, who is making her directorial debut with this rather striking and effective feature.

While the opening image of the film gives you an idea where we will end up, the first act lays the ground work well with solid character development. But the odd moments of surrealism and deep religious connections that almost come off as quite erotic gave you a nice hint of what's beneath the surface.

As the film goes on, the imagery gets slightly more disturbing. Going back to the religious aspect, we start to see old testament style of Christian worship which can be tough to watch. Even with the cinematography enhancing the disorientating and unnerving atmosphere, none of it ever felt gratuitous and always felt important to support the story and its themes.

The ending is probably where we get the films most accessible scene but also its most bold shortly after. But I feel Glass and her team managed to make this work and give me a level of comfort in completing the story arch of what I was experiencing.

I was surprised to see that it's only 84 minutes long. It's rare to find films these days that are of this duration. It just gets in, tells everything it needs to say and gets out while it can.

As for the acting, while the leading performance might not be a debut, it is most definitely a breakthrough for Morfydd Clark. I felt she did a great job of balancing the main themes of mental health, loneliness and extreme religious devotion. Clark definitely gave a performance something similar to that of Sissy Spacek in Carrie.

Elsewhere, Jennifer Ehle I felt was a great support in the first act especially. With almost channeling Gloria Swanson from Sunset Boulevard, her comradery with the lead really helped lay the foundations for Clark's character to blossom in the second and third acts.

The production aspects are of high-quality. The general production design by Paulina Rzeszowska fits in perfectly with the tone of the story. Ben Fordesman's cinematography enhances the unsettling moments almost to the qualities of Ari Aster's regular cinematographer Pawel Pogorzelski. I also have to give props to Mark Towns' editing and the score by Adam Janota Bzowski who both made noticeable contributions.

This film is certainly not for everyone. It has little in jump scares and focuses more on a gradual unsettling vibe similar to that of the successful indie/arthouse horrors of the last decade. The story has a lot of weight to it and a constant strangeness in its atmosphere that won't naturally draw in a mainstream audience. If you're into your philosophy then I feel you can get the most out of this. It certainly covers grounds and projects imagery that means more compared to someone with an untrained eye.

Plus, if you like films produced by the studio A24 or like directors such as Robert Eggers, Ari Aster or even Darren Aronofsky, then I feel the tone will best suit your taste.

For me, while I'm not quite going nuts for it, I still found it a memorable and impactful watch. I liked the themes it was going for and I felt I got plenty of it to give me enough of an understanding. This is a very impressive debut by Glass. She has great vision and ideas to match or even elevate herself above the best indie horror directors of today. It's beautifully shot and edited and has an effective cinematic quality to it. I will be excited to see where Glass goes next.

With this looking like the only horror release for cinemas in the build up to Halloween, I feel that whether you end up liking it or not, this needs to at least be experienced on the big screen.

Rating: 7/10

My Top 10: Horror Films

Horror has never really been a genre that I regularly watch. It is not just I am a bit of a wuss when it comes to scary stuff, but I just feel that horror does not regularly succeed each year. It might do in the box office, but not that does not necessarily mean that it is a good film. But after looking through the horror films that I have seen, it surprised me. I forgot how many great films there are, that I would relate to the horror genre.

A few films have recently left this list. One is The Others. One of the few recent successful horror films in my opinion. Nicole Kidman plays single mother who feels her new house is being haunted and scaring her two children.
Like most horrors, it ends up with a suspenseful twist, and it is quite a memorable one.

Another was The Cabin In The Woods. It is not often we see a smart horror that is not afraid to make fun of its own genre.
I had heard a lot of interesting review of this 2012 hit, but I never expected to be as clever as I originally thought. It is this generations 'Scream' and I hope you realise why once you have seen it.

The most recent was The Thing. From a novel by Stephen King, and directed by John Carpenter, this is quite a gruesome one from 1982. Lead by Kurt Russell, a group of scientists in Antartica stumble upon a shape-shifting being that ends up taking the shape of the thing it's killed. It is tense throughout, because you never know who to trust.

I am sure I have not seen all the great horror films, but I think my top 10 is still quite an impressive one:

10) The Texas Chain Saw Massacre (1974) - Finally managed to see this and was very impressed. Not just in how well this simple story is made, but how much it still holds up even after 46 years of its release.

It sees a group of five kids visiting their grandfathers house, only to be hunted by a family with a brutal history. Its basic premise gives you time to appreciate how much it focuses on the tension instead of the gore and the clever use of editing and cinematography.

9) Poltergeist (1982) - A horror that manages to give off a perfect mix of horror and blockbuster to please both fans of the genre as well as mainstream audiences.

Even though Tobe Hooper is directing, it has producer Steven Spielberg's hands all over it.

It sees a family's home get haunted by a bunch of ghosts. The visual and practical effects are still as effective today.

8) Halloween (1978) - The classic slasher that stars Jamie Lee Curtis and Donald Pleasence.

The story of a murderer institutionalized since childhood manages to escape and cause havoc to a nearby town.

It's small budget gave this film wonderful simplicity that somehow managed to enhance the horror of the antagonist and vibe.

Also, the score is iconic and inspired many similar pieces in future horrors.

7) Rosemary's Baby - One of the few horrors that will quite literally scarred me for life.

It tells the story of a couple moving into a new apartment that has peculiar neighbors.

When she gets mysteriously pregnant, the weirdness gets cranked up and the astonishing ending will never leave my memory.

6) The Shining - Another Stephen King novel, this time directed by the incredible Stanley Kubrick.

This timeless classic is the ultimate psychological thriller about a family that heads to a hotel for the winter. But an evil presence takes the father (played by Jack Nicholson) and violence and madness ensues.

5) Invasion Of The Body Snatcher (1956) - When a doctor from a small Californian town realises that the residents are being replaced by emotionless alien doppelgangers, he must escape and tell the world before its too late.

The simplicity in its story-telling and themes of 50's America paranoia as well as the relentless pacing makes this such a thrilling viewing experience. Even over 60 years since it was made, it still manages to work.

4) Frankenstein (1931) - An absolute classic for so many reasons.

For many, this is the definitive version of the Mary Shelley novel. This is a film that is synonymous with actor Boris Karloff, who famously played The Monster.

It's an incredible piece of work for its time, and while many have tried to make a successful modern re-make, none have come even close.

3) The Sixth Sense - It is not often we see a horror that wins major awards, but this 1999 classic came awfully close.

After being nominated for 6 Oscars including Best Picture, this was director M. Night Shyamalan's film that made him a star. Shame he has not come anywhere near to the same stardom in the rest of his catalogue of films.

2) The Exorcist (1973) - Many peoples ultimate horror film. This is probably the most recognised film to be banned in several countries.

Despite my first viewing only being a few years ago, I can definitely see why some people would be so feared by it.
The level of horror reached new heights for the mainstream audience and it will become a timeless horror classic.

1) Psycho (1960) - Alfred Hitchcock's film that will keep him as one of the great directors of all-time.

Featuring probably the most famous scene of all-time, Psycho had everything and it continues to amaze each generation since its release which is now 60 years ago.