Wednesday, 30 March 2016

Top 10 Scenes in Superhero Films


This was a VERY difficult list to make, so don't feel offended if I've left any of your favourites out. Also one scene per films (otherwise The Dark Knight would totally dominate the list). Also I guess I could put Birdman on this list, but that wouldn't be fair really. Also something like Guardians of the Galaxy, despite being a film I quite love, won't quite make the list because it doesn't really have specific scenes I love, I just really like how it all comes together. Also does Mad Max: Fury Road count as a superhero film? Just wondering.

Hon. Mention: Loki Confronts His Parentage (Thor)/Eats Black Widow Alive (The Avengers)
I'm glad to see Tom Hiddleston gradually finding his way into significant roles in films and television as I do think he's a very good actor. He's far more range than some give him credit for (I mean, look at what he made out of such a paper-thin role in Crimson Peak), and I really hope he gets his teeth into some heavy dramatic work soon. However, for now at least we have his excellent performance as Loki in the Marvel films to look to--though he's arguably a bit underutilised. Though I'm not a biggest fan of the Thor films he's easily the best part of them, as he's both so entertaining yet nuanced as a villain who's not exactly sympathetic, yet you can't help but have strong feelings for. In The Avengers he makes for a great smarmy presence, culminating in this great scene where Hannibal Lecter-esque, he becomes such an imposing presence even within the confines of a cell. He doesn't have the most invested co-stars to work with in these two scenes, but no matter he gives it his all, and boy is he fun to watch.

10. Nightcrawler Invades the White House, X2

A pure masterclass in editing, music choice and setting up this (still) best film of the X-Men series, I absolutely love this entrance of my favourite X-Men character as it's just so perfectly captured. Even though the film is far from perfect I still like it a great deal, and its action sequences are one of the main reasons why. It sets a high bar the rest of the film really can't live up to, though, and I do like it very much as a superhero film. It's my favourite scene in all the X-Men films, though followed closely by Quicksilver's antics in X Men: Days of Future Past.

9. Elevator Shennanigans, Captain America: The Winter Soldier

Captain America is my favourite Avenger, and I love Chris Evans' depiction of the character as a straightforward yet not at all boring, All-American righteous dude. It's fairly difficult to pick out a specific scene of his I adore the most. His transformation scene, and farewell to Peggy Carter before his plane sacrifice, are elements of The First Avenger I really like, and in The Winter Soldier he has a great deal of cool action sequences too. Out of all of them my personal favourite would most certainly be the elevator action scene which is marvellously edited and ingeniously thought out. Really though, if I had to pick out which scene featuring Captain America as a character I love the most though, I'd go for the plane scene which hits the emotional sweet spot each time. It's just that taking down people in an elevator looks so cool, so Oldboy-esque.

8. Iron Man in Gulmira, Iron Man


Most of the best moments of the Iron Man films involve Tony Stark and not the suit. I mean after all he's played by Robert Downey Jr., an actor who can coast by films just on his charm (though he's so much more than just that). His scenes of snarky humour and banter outside the suit are great, however in terms of just pure awesomeness this is probably my favourite individual scene in all the Iron Man films. The earlier scene where he first uses a primitive version of the suit to escape from captivity is pretty great, but this one is even more spine-tingling.


7. Clark Meets Jor-El, Learns to Fly, Man of Steel
As I've said before, Man of Steel is a guilty pleasure for me. There's lots of scenes in it I love in a really corny sort of way, like Colonel Hardy and Faora's exchanges culminating in a wonderfully satisfying 'A good death is its own reward', Michael Shannon repeatedly screaming that he WILL FIND HIM, Clark yelling YOU THINK YOU CAN THREATEN MY MOTHER as he takes down Zod, but my favourite scene--well, I'm cheating a bit here, scenes technically speaking--is when Henry Cavill's Clark Kent comes face to face with Russell Crowe's Jor-El, who with all the gravitas of a thousand suns explains his son's origins, his purpose in the universe, and reveals his costume to him, and whose voice inspires Clark to take flight. Now I'm not ashamed to admit that Crowe is amongst my nominees for Best Supporting Actor for 2013 (which are, by the way, Barkhad Abdi the winner, Ben Foster for Lone Survivor, Colin Farrell, Matthew McConaughey for Wolf of Wall Street, and Crowe). He just brings such splendour and elegance to his lines that alongside Hans Zimmer, gives this scene all the conviction it needs, and more.

6. TAKE COVER CHILD, Kick-Ass
Nic Cage hamming it up, Hit Girl being a badass, rousing music, top-notch cinematography. What's not to like? Kick-Ass used to be one of my favourite films, and though my passion for it has waned considerably over the years I still think it's a very good film, and contains some great moments, like this scene and Hit Girl's rampage to Joan Jett.

5. Batman REALLY Begins, Batman Begins
Close second was Cillian Murphy's delivery of 'He's here...The Batman', but this is definitely my favourite scene in Batman Begins, what I think is the perfect way of going about doing an origin story, albeit not a perfect film itself. Anyway Batman's entrance could not be better handled, as Nolan pulls out all the tricks in his arsenal to set up his first appearance with all the tension mustered throughout the film up till this point, with some great action choreography, camerawork, and a very satisfying comeuppance paid to Carmine Falconi (Tom Wilkinson).

4. The Ending, V for Vendetta

A film I like even more, the more I think about it, I've written about V for Vendetta on here before but haven't really gone into detail about what I love about particular scenes. Well it was very tough to pick a specific scene out for this list. There's the heartrendingly moving letter scene, V's marvellous entrance in which he uses nothing but V-starting words, V's propaganda speech, Evey being reborn into a revolutionary, V's surprisingly tender murder of the sole villain who feels any regret for her actions, and of course V's last stand. Out of all these scenes however, I chose to go with that brilliantly filmed ending. You don't even necessarily have to agree with V's principles to go along with it, because it's just such a beautiful blend of spectacle, grand music, and the perfectly coalesced underplayed performances of Natalie Portman and Stephen Rea, whose characters have both gone through significant arcs, musing on what V meant to humanity.

3. Bruce escapes from Bane's prison, The Dark Knight Rises
Now this was an easy scene to pick. The Dark Knight Rises is not a great films, but it certainly has great moments. Bane's speech, the Dark Knight's return to Gotham (especially the one on ice), Alfred leaving Wayne Manor, anything involving Catwoman. My favourite scene of them all however is the spellbinding scene in which Bruce Wayne escapes from the pit Bane had broken him down into. Bale gives his best performance in the series, and one of the best superhero performances ever, and I'll admit to always getting chills down my spine as I watch Wayne make his way out of there, ready to take on Bane and protect the city he loves.

2. A Spider Stops a Train, Spider-Man 2

I have a soft spot for all three of the original Spider-Man trilogy (yes, even aspects of Spider-Man 3), and the new films really make me miss them all the more (I mean look at how poorly they handled Uncle Ben's death scene in the new ones). Yeah, I hate the new films. Deal with it (I'm really glad the character is getting rebooted since it means Andrew Garfield can get back to doing proper dramatic work and being the great actor he is, and Tom Hollander appears to be a fitting replacement, with more of the classic Spidey vibe to him). Anyway, the second film is definitely my favourite of them all. There's plenty of great scenes in it, among them being Peter Parker rushing into a burning building to save a child without his powers, the bank fight scene with Otto Octavius, and J.J. Jameson's hilarious reaction to Spider-Man coming back after giving an oddly poignant speech about his regrets of how he portrayed the wall-crawler in the press.  The train scene, however, tops them all just in pure visceral power. Tobey Maguire gives his all in this scene, and though technically speaking it's all rather improbable it's still pretty darn rousing.

1. The Joker Makes a Deal, The Dark Knight

Picking a favourite scene in The Dark Knight is like picking a Domino's pizza, there's just so many varieties to choose from and they're all so good in their different ways. I hate to leave off any of Gary Oldman's brilliantly understated dramatic scenes including his brilliant final monologue on what Batman means to Gotham, the 'Sophie's Choice' scene, Batman rescuing the hostages, the opening bank scene, the 'Tonight's Entertainment' scene ('Why hello beautiful' has never worked as a pickup line since), any of the 'you know how I got these scars' monologues, the car chase sequence, Two-Face coming into full bloom, the Hong Kong scenes, if it feels like I'm digressing into a bit of a list now that's inevitable. The scene I hate to leave off most of all is the interrogation scene, because as much I love that scene, I love the Joker's scene in which he trolls the mafia most of all. It's basically a scene designed to give Heath Ledger a bit of an opportunity to show off and I must say, it works completely for me. I have underrated The Dark Knight for too long, and it really is a masterpiece (NOTE: I could change to any of the other scenes at any point, as this really is a great film).

Saturday, 26 March 2016

Top 10 Disney Animated Films (I've Seen)

10. Robin Hood


I have to admit, this is my favourite telling of the Robin Hood legend I've seen. The Kevin Costner one is entertaining (with a great villainous turn by Alan Rickman) but is quite frankly a bit trash if you look closely. The Ridley Scott-Russell Crowe collaboration is decent and has its moments, but really would've worked better as a Gladiator prequel or something. I also am not that big a fan of the Errol Flynn The Adventures of Robin Hood. Which leaves this film. I love it firstly for the ingenius decision to make each character an animal, Friar Tuck as a mole is just perfect. Beyond this concept the film is just a lovely entertaining ride, utilising the funny but also quite rousing image of animals in combat and milking it for all it's worth, and just acting as a plain fun film to watch.

9. Dumbo

The original underdog tale! Could be a bit longer I suppose, but I guess that's really testament to its overall strengths as a film. It really works best as just a simple children's film (though there is that surreal David Lynchian dream sequence that is worthy of an academic examination), and I can think of few others which do as good a job as this tale of an elephant who learns to fly with his big ears. Not only a very sweet and entertaining film but with a very important central message that's very well handled.

8. The Little Mermaid

Technically cheats a bit by not retaining the heartbreaking original ending to the Hans Cristian Andersen story but I'll forgive the filmmakers for that because this is just such a sweet lovely film, that one probably couldn't take it if it all ended badly for Ariel. The whole mermaid world is really well done, but the film probably excels best once she gets out of water and it becomes quite an interesting examination of a rather unique sort of gradual attraction. It's a uniquely handled romance brought wonderfully to life by some great songs and wonderful animation.

7. Aladdin

A great comedy, this has celebrity voice casting at its peak with Robin Williams' pitch-perfect casting as the Genie dominating the film. Now I will say that Aladdin isn't necessarily the most engaging protagonist, but he works for the film's love plotline and the colourful side characters are more than enough to make up for him. Beyond that it's just a great idea to implant Williams' standup routine into the splendour of the Arabian nights. This film is a great, wonderful ride through some delightful setpieces and if the plot's not really all that complicated, who cares, you've never had a film like this.

6. The Great Mouse Detective

One helluva underrated animated picture. Firstly it has Vincent Price as effectively Moriarty (Ratigan), albeit in a rat form--isn't that just brilliant voice casting? Anyway, the concept itself is brilliant, with the sleazy literal underworld of sewers and rat hidings being the stomping ground for our titular detective Basil (named after Rathbone, of course). I love a good ol' Sherlock Holmes-ian story and this is no exception, the mystery is actually surprisingly well done and genuinely quite unnerving and terrifying at points, but is also offset nicely by an underlying warmth to the story that's also rather well done.

5. The Emperor's New Groove

Kronk is just the most endearing henchman ever, well played by Patrick Warburton, and he's one of the many excellent factors about another one of Disney's most underrated films. Beyond him it's just a very, very clever retelling of well, a great many variations of the 'selfish rich man gains a heart' story trope by turning the titular Emperor Kuczo (David Spade) into llama for his faults by the devious Yzma (a hilarious Eartha Kitt). This is a great example of Disney delving into just pure, unadulterated comedy. The laughs come constantly, and that's all that really matters.

4. Mulan

With one amazing song, possibly my favourite out of all the Disneys ('I'll Make a Man Out of You') it would be easy for one to simply write off the film's excellence to this whammer of a tune. But besides that it's a rousing pro-feminist story, with arguably the best written character of the whole lot as Mulan is a flawed, endearingly naïve but in the end, admirably brave and badass character, the side characters are all delightful and easy to root for (particularly the big lovable Po and the Eddie Murphy-voiced Dragon). The villainous Huns are a bit underwritten but they work as detestable adversaries, and help make the third act every bit as exciting as the first act is remarkably sensitive, the second act amusing and joyous, and the grand whole just a wonderful Disney animated motion picture.

3. Beauty and the Beast

Sublime, near-flawless film. Belle is probably as unique and wonderful a Disney 'princess' (to use the terminology loosely) as they come, and acts as a wonderfully clever, astute foil to the Beast, voiced wonderfully by Robbie Benson. The cast of quirky side characters are all done well, Gaston is a suitably imposing villain, and though simple and straightforward the story is told with such an elegiac, classical flair that you can't help but fall in love with it over and over again. I hestitate to call it the best version of the story, as the 1946 French version is also quite incredible in itself, but this is a great animated film too.

2. Tarzan


Containing two of my favourite Disney Songs 'You'll Be In My Heart' and 'Son of Man' (I'm just a sucker for Phil Collins really), this is an ourageously entertaining Disney venture that brings so much character out of the jungle and jungle life. The voice casting is particularly good here with Brian Blessed, Glenn Close and Lance Henriksen being particularly well-chosen for their roles, it has some excellent action setpieces and as always for Disney at its best, makes the most of the emotional undercurrent to the tale of a man amongst apes.

1.Pinnochio

Pure magic, and Disney at its very finest. It pains me to not give it Best Picture for 1940 but it's such a strong year for film with Rebecca, The Shop Around the Corner and The Great Dictator to compete against it. With splendid imagery, it's appealing on a visual level by just how beautiful and yet disconcertingly dark and morbid it can get with its animation (think of the Jackass transformation scene and marvel at how daring it was for its time), the story flows along beautifully, it packs quite the emotional punch when needed, and has some memorable characters (most notably its array of villains and lowlifes, and on the opposite spectrum the luminous Blue Fairy and the sprightly Jiminy Cricket), a wonderful father-son relationship at its centre, and some great songs, like 'Always Let Your Conscience Be Your Guide' and of course, 'When You Wish Upon a Star'. A masterpiece.

Ranking of the others:

37. Home on the Range

36. Brother Bear

35. Pocahontas

34. The Fox and the Hound

33. Cinderella

32. Peter Pan

31. The Sword in the Stone

30. Bambi

29. Treasure Planet

28. A Goofy Movie

27. The Adventures of Ichabod and Mr. Toad

26. Sleeping Beauty

25. The Black Cauldron

24. The Tigger Movie

23. Hercules

22. Meet the Robinsons

21. One Hundred and One Dalmatians

20. Alice in Wonderland

19. Snow White and the Seven Dwarves

18. Lady and the Tramp

17. Frozen

16. Tangled

15. The Hunchback of Notre Dame

14. Lilo & Stitch

13. The Jungle Book

12. The Lion King

11. Lady and the Tramp

Monday, 21 March 2016

Gary Oldman: Best Performances

5. True Romance

Effectively a two-scene wonder in a film populated with them, Oldman's turn as wannabe-black pimp Drexl Spivey is quite possibly my favourite part of a great ensemble, whose main meat of his performance comes in my favourite scene in the film. In terms of Oldman just disappearing into a role, this is probably the best example of it as even without that much in the way of makeup, he transforms himself into this pseudo-Jamican crook with a penchant for casual callousness, he grinds each word out with a brilliant 'gangsta' accent and coarse delivery that just fits the character perfectly, and is equal parts ridiculously funny and ridiculously scary. In less than 10 minutes he makes such a great impact on the audience.

4. State of Grace

In a not particularly outstanding film, Oldman dominates the screen with a barnstorming turn as yet another criminal lowlife, but this time with significantly more screentime, focus and interestingly, a sympathetic bent. The unpredicatable Jackie Flannery is so many different things piled up into one--friend, adversary, maniac, heart of the film--in conception, that any lesser performance would have made it all go so, so very wrong. Thankfully Oldman is more than up to the task in creating this fireball of emotions from his whole manner and posture as the feisty Irish American criminal from Hell's Kitchen, and goes even further than just plain pitch-perfect mannerisms with the strong emotional undercurrent he gives to the character's passionate anger and loyalty to his gang that's oh so sympathetic.

3. Sid and Nancy

A brilliant example of a performance in which the character conception is just so darn subtle it can take a while to appreciate the brilliance of this performance. Oldman's depiction of Sid Vicious is so subtle in how he develops all the character's mannerisms, tics and the way he goes about his musical endeavours. He has absolutely fantastic chemistry and anti-chemistry with co-star Chloe Webb as Nancy Spungen, and maintains the brilliant characterisation of Sid Vicious while he goes through the stages of his life, ups and downs, and reflecting each key moment in every aspect of his performance, physical, vocal and building up to an absolutely scintillating and oddly heartbreaking finale. A great, great performance.

2. Tinker Tailor Soldier Spy

I give some extended thoughts here (http://actorvsactor.blogspot.co.uk/2015/06/head-to-head-tinker-tailor-soldier-spy_24.html), but safe to say that Oldman's incredibly subtle turn as George Smiley is a masterclass in understated acting, with not a single moment wasted in his performance to give a sense of who this enigmatic spy is and what the mission he's on is affecting him.

1. Leon: The Professional

'Leon' is an excellent action thriller because it subverts the genre in so many distinct ways. The central relationship between Jean Reno and Natalie Portman of course, but also Gary Oldman's grandstanding turn as the pure pill-popping evil of Norman Stansfield. Oldman's performance is hammy that's for sure, but it sure is scrumptious, succulent ham. Oldman gives this role his all, making the corrupt cop into an eccentric, terrifying, hilarious and self-hating fella who you just LOVE to hate. I have no qualms in calling this my favourite Gary Oldman performance because it is not only downright entertaining and chilling, it's also probably the most difficult challenge he's had in his whole career as this form of HAM can so, so easily go to the wrong side. You can't take your eyes off him whenever he's onscreen.

10. Rosencrantz and Guildenstern are Dead
9. The Dark Knight
8. Prick Up Your Ears
7. Bram Stoker's Dracula
6. JFK

Saturday, 19 March 2016

Head-to-Head: The Supermans

Christopher Reeve played Superman/Clark Kent in Superman (1978)

Reeve would go on to reprise his career-defining portrayal of the Man of Steel in three more sequels, but I chose to focus on his performance here as it's probably the film in which most focus has been given to his performance. I should note that he's just about on par with this film in Superman II, he technically has a bit more of an arc in that one in terms of the whole 'superhero decides to not be superhero any longer' but to be perfectly honest, it doesn't really give his performance that much more variety, he certainly doesn't reach the heights of say Tobey Maguire in Spiderman 2 in that regard but rather maintains more or less the same sort of characterisation established in the first film. He doesn't really show Superman as changing, rather it's more the film and direction that does that for him. Anyway I haven't seen any of III and IV and maybe I shouldn't, given their lacklustre reception. Anyway, Superman is a very fun action film from the 70's, and I believe the first proper superhero motion picture. It has its dated elements and when you get down to it, the plot, including that last-minute twist, is all a bit ridiculous, but it certainly is a delightful ride and feels just like a comic book brought to cinematic life.



Christopher Reeve has been declared to be the definitive Superman by many. Well, with regards to this I both agree, and also have reservations about whether it's necessarily earth-shattering praise. As Superman, Reeve certainly looks the part. The costume just seems to fit him perfectly, and I'm not just talking about his physique and appearance, which are both of the very All-American variety. Reeve carries himself in the suit exactly how one would imagine a god amongst men, would carry himself. When he flies you believe the man flies, when he fights it just seems to be the right sort of way, each movement he makes when in the superman costume is just perfectly fitting to the straightforward, idealistic heroism that superman espouses. However, I will sa he falters a bit in the scenes where Superman needs to bring a bit more than just his All-American heroics into the fray. He's actually quite good in expressing the sorrow in Clark Kent in the film's climax over a certain 'death' (though this being a Superman film it's clear that certain someone isn't going to die, which lessens the dramatic impact to an extent for me but I digress), but he never really manages to convey the intensity of his fight against Lex Luthor (Gene Hackman), though I must say this might be due to another reason I'll get onto in a future review.


As Clark Kent, Reeve is also good. Technically speaking it's an act Superman puts on, and Reeve certainly is entertaining enough when doing his nerdy, nervy schtick as the reporter for the Daily Planet. I won't say he's ever hilarious but he's funny, however one does wonder how much of this is actual acting, and how much is genuine discomfort and awkwardness Reeve feels in the role, which was seen in a great deal many of his performances post-Superman. He's also far from the funniest character in the film, with Hackman (I'll get onto that more in the near future), Ned Beatty as the enjoyable idiotic Otis, and Valerie Perrine's bimbo Eve Teschmacher all doing much more with the comical aspects of their performances. His bumbling harried routine is however, enjoyable, it's probably the writing as well as the actors playing off him that makes these scenes work that well, I'll give Reeve credit though he plays off the likes of Jackie Cooper well. He also has a certain awkward, likable chemistry with Margot Kidder as Lois Lane, it's no George McFly-Lorraine Baines sorta deal but it's sweet enough, as for Lois Lane's attraction to Superman well Reeve doesn't really need to work too hard on that aspect of his performance, his Superman is pretty much sex appeal epitomized in spandex.

Which leads to the question, is it more the excellence of casting or the performance itself, that makes Reeve the definitive Superman? I think it's a bit of both, but more to the former, and also the way the direction and script utilises Superman. The film knows that the way Reeve fits into its vision is as a straightforward superhero, which works perfectly for the film as anything else would've probably seemed ill-fitting. He's probably the most important cog to the film's success, but does he give the best performance? Not quite. As I've mentioned before Gene Hackman is by far the MVP of the film in terms of just the quality of his performance and just the impact he makes on the viewer, and you could argue that the likes of Beatty and Perrine also give more impressive work within their limitations, and (controversial I know) even the likes of Marlon Brando, Trevor Howard and Terrence Stamp in the opening scenes of the film make more of an immediate visceral impact with their short performances. However, I digress. Reeve really is the perfect Superman and Clark Kent for Richard Donner's vision, even if I don't think his performance is a masterclass in acting in any respect.

Rating: 3.5/5

Brandon Routh played Superman/Clark Kent in Superman Returns (2006)

Oh, Superman Returns. What else can be used to describe this film apart from words like 'trainwreck', 'mess'. It's kind of an admirable failure in the sense that I can see what director Bryan Singer was going for, a re-emulation of the original Superman with some additions of his own X-Men, glossy sort of variety of SFX, familial issues and (attempted) emotional undercurrent, and some of that comes through in a positive way (there's a pretty good action sequence involving Superman saving a falling plane), but mostly it fails and not even in a spectacular, entertaining way. It wants to both pay homage to the original films but also stand out as a film in itself, but completely nullifies most of the positive attributes of the originals and lacks any sort of real daring to make it's own sort of mark, I mean the least that can be said for something like Batman & Robin that it was daring in how awful it was, this is more like Batman Forever in that it's so bland in its badness that it ends up being more forgettable than anything.

What about Routh though? Well, all I can say about this performance is that on the positive side, he doesn't cause me active pain watching him unlike say, Kevin Spacey and Parker Poesy's absolutely dreadful attempts to emulate Hackman and Perrine in their incredibly unintimidating villainous double-act of sorts, Kate Bosworth who is blandness incarnate as Lois Lane, James Marsden who for some reason thought it'd be fun to take the thankless role of third-wheel 'love interest' over the also kind of thankless (thanks Bryan Singer) but at least a bit more substantial role of Cyclops in X Men: the Last Stand (not quite the Michael Madsen-picks-Wyatt Earp over Pulp Fiction of this generation but you get my drift). Routh is a bit better than these actors because instead of trying to grotesquely ape his predecessor like Spacey and Poesy, or just be content with taking the paycheck and giving a few stilted reactions to the camera like Marsden and Bosworth, he actually genuinely seems to be trying for some conviction in the role.

I would say he actually wears the suit well, and handles the action scenes well, the problem is that the writing of Superman in this film is absolutely dreadful and undermines any good intentions he might have had in playing the role. After all it very confusingly places him in an 'not-quite-origin story but origin-story-esque' tone with which to approach his Superman, making it quite awkward seeing him switch almost randomly in the film to a confident, top-of-his game Superman and at times a highly inadequate one, his characterization is all over the place, one scene he's saving the day the other he's spying on Lois Lane. As Clark Kent, too, I don't think Routh is anywhere near as adept at Reeve was at playing the bumbling reporter, it feels like even more of an act and also, more importantly, isn't very funny. In fact, Routh and the film make any scene concerning Clark Kent/Superman's personal dilemmas incredibly uncomfortable to watch because of just how...un-Superman like he is in his dealings with them. He always seems a bit out of his element whenever it isn't an action sequence.

Beyond the clearly messy characterization of Superman, this portrayal of Superman is also inherently flawed in that Routh just ends up being very forgettable. He doesn't espouse any sort of particular style as Superman, he seems to be trying for a bit of that All-American vibe Reeve gave but fails quite poorly, of course the direction and script is largely to blame here though as it give Routh absolutely no opportunity to do anything worthwhile with his Superman. It's just an ill-conceived performance in an ill-conceived film, and it's a shame this film ended up sinking Routh's career for a while, since he's clearly quite a talented performer in certain roles like his entertaining villainous vegan turn in Scott Pilgrim v.s. the World.

Rating: 2/5

Henry Cavill played Superman/Clark Kent in Man of Steel (2013)

I have to admit that Man of Steel is very much a guilty pleasure for me. I went in expecting to hate it, because I'm decidedly not a Zack Snyder fan (I think 300 and Watchmen are pretty lacklustre films, and though I like Sucker Punch to an extent I'm well aware it's not a good film, I probably just liked the idea behind it and the visuals, oh and the soundtrack). His brand of over-the-top, pseudo-grandiose style filmmaking though works pretty well here, and I ended up thoroughly enjoying and even (in certain scenes) loving it. The score is absolutely amazing, one of my all-time favourites, and though Snyder does perhaps cheat by completely relying on Hans Zimmer in certain scenes to hit the audience over the head with EPIC-ness by playing it over and over again in each moment where 'Superman does something COOL', I certainly didn't mind as it made every one of these scenes so fun to watch, and send chills down my spine, even when I should really be questioning what on earth is going on in some of the more messily edited fight scenes, or what on earth Zod is actually trying to achieve. Speaking of Zod, I think Michael Shannon is as always incredibly fun to watch when he goes super OTT in his villainy, is it really necessary for him to repeat 'I WILL FIND YOU' to the council on Krypton, maybe not but it involves Michael Shannon screaming so why not. The rest of the supporting cast is good down to the small supporting players of Aylet Zurer as the entertainingly slinky Faora, Christopher Meloni as arguably the bravest character in the whole film Colonel Nathan Hardy, Laurence Fishburne as an enjoyable Perry white. Also, controversial, controversial, but I think Russell Crowe is fantastic as Jor-El and far better than Marlon Brando was in the role, granted he has more material but I also thought he brough such grandeur to the role, which contrasted well with the earthly mentoring of Kevin Costner and Diane Lane's Jonathan and Martha Kent who I really liked in their smaller roles too. Really the only real bum notes are as I said, some of the messy editing, questionable dialogue, Amy Adams, plot incredulities, actually those are some major faults but then again, Hans Zimmer does help excuse a great deal.

Anyway, what about Henry Cavill, whose ascension into Superman-dom was one of the most heated discussions in recent comic book casting history, well until Jesse Eisenberg and Ben Affleck in the upcoming Batman v.s. Superman over whom debates have started that do dwarf the Cavill conflicts of those days. Anyway, I'll deal with several of the issues people had with the casting in the first place. That Cavill isn't American was an issue had by many in the first place, well as this film and The Man From U.N.C.L.E. shows Cavill is perfectly adept at playing an American, his accent isn't perfect but at least it's consistent. Another is that he doesn't really look anything like Reeve's incarnation of Superman. Well to that I say, look what they tried to do in that regard with Superman Returns, the film was definitely better off without trying to emulate Reeve since no one else can do that sort of Superman as well as he does, and anyway it wouldn't be fitting to Synder's overall, much darker and somewhat grittier version of the Man of Steel origin story.

What about the performance itself, though? Well to that I have to say, Cavill may not be the definitive Superman, but he definitely gives the best performance in the role of Superman, in my books. It makes sense to look at this performance in a chronological fashion since that's more or less the straightforward approach to seeing the development of Superman this film takes. Young Clark Kent is actually surprisingly not at all badly done by Dylan Sprayberry and Cooper Timberline, setting Cavill in quite a good position to carry on their work by giving a suitably understated, somewhat morose young man who's finding his place in the universe. He has good chemistry with Costner and Lane and does well to show hints of Kent's innate heroism soon to bloom but in a subtle fashion, but also just the all-round selflessness of Kent as a hero. Cavill has an honesty around his character that may not be as overt and appealing as Reeves' but it certainly feels more realistic, and most importantly helps establish Clark Kent as a hero-in-the-making.

Anyway as the film goes on we get more and more insight into what exactly Clark Kent is, a man born for greatness, which leads to some of the best scenes of the film. The scenes in which he rescues people even without the Superman costume are pretty exhilarating in part due to Cavill's performance, which reflects a man doing good not for grandeur or publicity, but simply because it is the right thing to do. The scenes with him and Crowe I would argue are downright brilliant, even if the writing justifying these scenes is somewhat questionable. They share such a sense of understated connection for one another even though they barely know one another, and though Crowe is certainly the highlight of these scenes with the magnificently grandiose approach he takes to each of his monologues, Cavill is good in reflecting the gradual progression of Clark Kent into Superman.

So finally we get Superman and though Cavill may not be Reeves, he's certainly very good in being Superman in the physical sense of just seeming well-fitted to his suit, flying, fighting, all of that stuff, what I do like is that Cavill starts off the physical portrayal of these abilities as a bit of a work in progress, tinged with a hint of insecurity, which makes his eventual mastery of Superman's skills all the more satisfying to watch. He very soon develops into the hero the film needs in the direc consequences from Zod's invasion of earth, and I'm not going to lie, I may be commiting cinematic blasphemy here but quite frankly I think Cavill shows a great deal more conviction than Reeves in his dealings with the film's villains. He's far more driven, intimidating, and just packs more of a punch overall when saying lines like 'YOU THINK YOU CAN THREATEN MY MOTHER'. Might just be me, but his Superman just seems more heroic and well, super, overall in contrast to Reeves who does strike me sometimes as giving a performance more about superhuman posturing than actual superhuman strength and actions.

Cavill also gets more emotional scenes to deal with in this version of the Man of Steel's origins, and here he also trumps Reeves. He's moving in any scene he deals with the loss of Jonathan Kent, his unwanted decision to kill off Zod to save the lives of a family, and just gradually the way the events of the film wear down on Superman. He manages to strike a certain sort of chemistry with Lois Lane even though Amy Adams is really quite bland in the role, I thought he managed to make Superman in these scenes have a very effective sort of low-key charm, as well as a burgeoning attraction. Now having said all this I will admit that though I like this performance, it's not a great performane, there are moments of inexperience which is to expected from an actor handling his first leading role, he has a few slightly off line-readings and to be fair Superman is probably the least depthful of all the big superhero roles, but I think Cavill acquits himself admirably as Superman, with some great high points, and is nicely understated as Clark Kent, also if the final scene is anything to go by he's nailed the Daily Planet, geeky reporter Clark Kent quite well. He may not scream SUPERMAN by his mere presence in the way Reeves does but I do think he gives a better performance, one that I think entirely vindicates his casting choice. It'll be interesting to see what direction he takes the character in Batman v.s. Superman: Dawn of Justice.

Rating: 4/5

Final Superman Ranking:

 

1. Cavill (4/5)

2. Reeves, Superman (3.5/5)

3. Reeves, Superman II (3.5/5)

4. Routh (2/5)

Thursday, 17 March 2016

Top 10 Irish Films



Hon. Mention: In Bruges

I hestitate to put it on the list because technically it's not an Irish film, it's just about two Irish hitmen, but gosh what a fantastic pair of Irish hitmen they are. See the film.

10. The Boxer

A wonderfully small-scale, quietly charming and very understated (I mean even Brian Cox tones it down here) film like most of the films on this list, this is the first and not the last, Daniel Day-Lewis and Jim Sheridan collaboration that will appear on this list. A very simple story about a former IRA member (Day-Lewis), out of prison after a 14-year stint, trying to adjust back to life on the outside through starting a boxing club and rekindling a romance with a former sweetheart (Emily Watson). The romance is interestingly enough not really the main focus, it's there but the excellent performances of Watson and Day-Lewis means that it's always quite nicely, sweetly Rocky-esque rather than melodramatic, and there's other little elements to the Irish life that are rendered so vividly through Sheridan's directorial eye. It's a thoroughly engaging watch throughout and though the ending might lack a bit of punch, I can't fault it too much as it's very satisfying.

9. The Quiet Man

I might not love this film as much as many seem to, but I can't deny that it's an absolute blast of entertainment from the always-solid pairing of John Ford and John Wayne. Another low-key drama, this time with much more a comical bent, featuring Wayne as another boxer, this time of the American variety, returning back to a small Irish town to revisit his roots. Technically speaking he has a very dark secret to hide but the film doesn't dwell too much on it except in select, effective dramatic moments. Mostly however it's just a fun little look into one quirky and very, very endearing Irish community, from the potential love interest in the form of Maureen O'Hara (wonderfully sassy in the right degree), Victor McLaglen doing his boisterous OTT routine with great aplomb as her drunkard brother, and the likes of Ward Bond, Francis Ford, Arthur Shields and especially Barry Fitzgerald adding so much to the rest of the supporting players.

8. Calvary

A re-watch of this fairly recently improve it a great deal for me. I still don't think it's quite perfect, it lags a bit in parts and the conclusion, I can see why it'd be divisive (though I loved it personally). Anyway, though, I certainly can't fault it for its ambition, and its execution of this deceptively epic tale of a priest (Brendan Gleeson) who, having been given a week to sort out his personal affairs by a parishioner at confession before the latter kills him, goes about the village dealing with both the affairs of others, and his own inner turmoil. The film has a pretty good ensemble, but in the end though, it is Brendan Gleeson's show, and boy does he deliver. I'm having a tough time deciding whether this is his greatest performance or not as he does so much within the potential limitations of being a purely good man, as he makes his interactions with all the townsfolk so beautifully soulful, poignant, even funny. I need to see more of the man's leading work, definitely.

7. Breakfast on Pluto

Lovely is the word I'd use to very pithily describe this film. It does exactly what it says on the tin with 'quirky Irish comedy about a transgender soul played by Cillian Murphy and his exploits across quirky Ireland', if that sounds like I'm making fun of the film, it's not. I really quite love this little Irish comedy for a great many reasons, one being that Murphy is just great in the lead role, he makes what could've potentially been a bit of a stereotype, offensive at that even, just such a well-rounded, lovable character. Past this great performance, the film is just stunning to look at visually, in particular any scene Bertie (Stephen Rea) performans his magic tricks, and the script is both wryly funny and quite moving in equal measure.

6. Ryan's Daughter

Another film about a small Irish community!! And directed by David Lean, yes, David Lean, he of the grand epics Lawrence of Arabia, Bridge on the River Kwai, and Dr Zhivago. What many people forget is that alongside an aptitude for such grand works he was also a filmmaker with a deft touch for intimate human relations (see: Brief Encounter), and this is an intensely powerful example of that. A sort-of adaptation of Madame Bovary transplanted to County Kerry, Ireland, this story of a married Irish woman (Sarah Miles) who engages in an affair with a British officer (Christopher Jones) is marred slightly by the performance of Jones, who never seems very comfortable in any aspect of the role whether it be the depiction of his character's PTSD, or the romance with Miles. Past that however, everyone in the cast is near-perfection. Miles gives a splendid performance, playing both to her usual strengths of allure but also with a twist in showing a kind and selfless soul lurking beneath it, Robert Mitchum is surprisingly good at playing the kind-hearted, betrayed husband, Leo McKern as the titular Ryan is pretty great as are John Mills, and Barry Foster all adding a great deal in their supporting turns as fellow Irishmen. The script is great, the scenery is amazing, the score by Maurice Jarre is sublime as always, but the greatest element of the film by far is one of my favourite actors, Trevor Howard, giving an astoundingly inspired, incredible turn as the county priest who exemplifies the toughest sort of love imaginable, and who stays in my mind all the more with every viewing of the film.

5. In the Name of the Father

The second Day-Lewis/Sheridan collaboration on this list, and a film that really hits me in all the right places and the more I think about it, the more I'm seriously considering putting it as my 1993 Best Picture winner, yes over The Remains of the Day, Gettysburg and Schindler's List. Well, okay, maybe not as those films are probably more immaculately flawless than this film which still does have some minor faults here and there, but where it succeeds, in particular in the scenes with Gerry Conlon (Daniel Day-Lewis) and his father (Pete Postlethwaite). It tells the real-life case of the Guildford Four incredibly well, and does well enough in maintaining just enough pacing throughout. Really I think I need to re-watch this to comment more, but rest assured that I can recommend it solely on the basis of its emotional power alone.

4. Brooklyn

I've begun to realise that a great many people don't seem to have taken to this simple love story as much as I have, even though they recognise its technical excellence, as well as the unquestionable brilliance of Saoirse Ronan's marvellous lead performance, they think it's too simple a tale, too unsubstantial with style over substance, well all I can say is I wholeheartedly disagree. It does annoy me a bit when people criticize films like this and say, Mad Max: Fury Road for their supposed 'simplicity'. Do films always need to have extraneously complex plotting or convoluted twists, or hidden darker sides to characters, no they don't, in Mad Max's case by just playing the characters as straightforward in their specific 'types' the film develops them so well. In Brooklyn our romantic triangle of Ronan's shy Irish girl coming out of her shell, Emory Cohen's ridiculously charming Italian-American nice guy, and Domhnall Gleeson's wonderfully gentlemanly rugby lad, are all simple characters, as are most of the supporting cast, but they never feel unrealistic. I hate when films feel the need to needlessly implant say, a darker side to a love interest, an edgier bad-boy vibe to him, a dark past of some sort, something that makes him alluring through its enigmatic quality, with these two love interests and indeed, Ronan's Éilis, they're all lovable characters not because they're unrealistically perfect, but because they're just sweet. It's a sweet film and an incredibly moving story told in the most brilliant way, and I will defend the excellence of it to the very end.

Anyway, just realised I haven't really commented on what makes this a great Irish film. Well it's all about a young Irish woman, played by Saoirse Ronan, and her journey to and fro from Brooklyn back to her small little hometown in southeast Ireland, with romance and sweetness galore, and one of the greatest film endings in recent memory.

Watch it.

3. The Crying Game

The definition of a film that is so much more than what it's known for. People always know it for THE TWIST, which is well done, but personally what I find most fascinating about the film is how it mergest THE TWIST so seamlessly along it's discussion of politics, race, and morality. It's basically the story of an IRA soldier, Fergus (Stephen Rea) and his life-changing experience with firstly a British soldier (Forest Whittaker, dodgy accent but still very moving) and successively, the soldier's girlfriend (Jaye Davidson). Rea's performance in this is something to behold, as he plays such a listless, insignificant and quite frankly, normal man but infuses him with such nuanced depth that makes Fergus' transition from mindless soldier to a man following his heart and morals, incredibly moving. His performance drives the film from tone to tone, whether it be the deliciously malicious IRA plotting scenes where Miranda Richardson's deliciously evil Jude takes over, to the more tender and heartfelt scenes with Davidson. As an Irish film I love that Neil Jordan never really takes one side or the other in terms of the political spectrum, by humanising both sides of the conflict, even the very worst of our characters (Richardson's demonic Jude for instance) are revealed to be so fallibly human, and also I love the ending of the film, how it at the same time is so heartwarming and yet bittersweet. A film I am most annoyed how some people use as a punchline to jokes, or THE TWIST being the sole discussed factor, as it's so much more than that, it's a masterpiece.

2. My Left Foot

First off, it's incredible how in retrospect Daniel Day-Lewis was not the frontrunner for the Oscar back in 1989. Not that Tom Cruise was bad in Born on the Fourth of July or anything, in fact I thought he was rather good, as were the other nominees, but quite frankly I don't think I could quite justify anyone else winning that year besides Day-Lewis for his marvellous turn as Christy Brown, a man who suffered from celebral palsy which left him with movement contained to solely his left foot. It's probably the most technically brilliant performance of all-time as you never feel like Day-Lewis is acting out these ailments, it's almost uncomfortable to watch how vividly he brings them to life, but also all the facets of the fellow that made him what he was. It's tough to watch him because he's so good at first being this helpless, angry figure, and yet slowly but gradually bringing out the more endearing qualities without ever sugarcoating his portrayal. Rarely do we ever see an effective portrayal of physical handicaps onscreen; Day-Lewis brings not only this, but also goes beyond that through his intensely emotional and incredibly effective performance. There's more than just Day-Lewis to the film though, even though he's by far the best part of it. Ray McNally and Brenda Fricker are absolutely fantastic as Christy's parents, Hugh O'Connor is incredible at playing Christy in his younger years, Jim Sheridan's direction is at its finest and the film wonderfully never sugercoats the flaws of Christy as a man.

1. Odd Man Out

 
Quite possibly one of the most underrated films of all-time. I mean Carol Reed was an incredibly underrated director anyway, I know, I know The Third Man is universally loved and acclaimed and he won the Oscar for Oliver, but the rest of his filmography, from the brilliant Outcast of the Islands to the marvellously genius The Fallen Idol simply don't get the attention they deserve. And of course, Odd Man Out. How do I go about first describing the utter brilliance of this film. It's about yes, an odd man out, in the form of James Mason's IRA-like leader on the run from the authorities after a bungled robbery. But to diminish it to this is just overly simplistic, as though that's the central driving force of the film, it's so much more than that. It's a great character study, and for once not just on one character, Mason's Johnny McQueen gets plenty of focus in his slowly deteriorating physical and mental state which is heartbreakingly portrayed, but more importantly the focus also extends to how the search for this figure on the loose affects all the other inhabitants of the town. Kathleen Ryan is particularly amazing in an almost entirely reactive role as Johnny's lover, all manner of great British and Irish character actors like Robert Newton, William Hartnell and W.G. Fay are outstanding in their contrasting depictions of townsfolk who deal with Johnny, and F.J. McCormick as an opportunist-turned-good man has a wonderful little arc within the film. The film could've been bogged down by all these little subplots but it never feels such, it evokes such tension while also lacing it with some surprisingly surreal humour, the B&W cinematography gives the Irish town such startling beauty, the soaring score lends its intimacy some well-deserved grandeur, in short, it's a marvellous film, and my choice for the greatest Irish film of all-time (even if I've been told that most of the Ulster accents are a wee bit dodgy).

Monday, 14 March 2016

The Greatest Villain From Each Decade of Film: Part 1 (1930s to 1950s)

1930s: Senator Paine (Claude Rains), Mr Smith Goes to Washington

Rains, giving his best performance, is simply pitch-perfect as the villain to Jimmy Stewart's heroic Mr Smith, by never going about the performance in any one way. He's charismatic, kindly and seems oh so genuine in that not-quite-façade he puts on when gently stringing Stewart along, coldly incisive in any scenes which requires that he be a more straightforward villain that are just tough to watch, and even manages to find a middle ground between these in brief, reactionary momnts in which he sems torn between his past as a good man, and his present status as a cog in the political system. Enthralling acting work and the writing behind the character is so good too.

Runner-Up: Judge Frollo (Cecil Hardwicke), The Hunchback of Notre Dame

Note: I would've put James Cagney in Angels in Dirty Faces and Peter Lorre in M on this list if I really felt the films used their criminal characters as villains, which I don't quite think they do. Anyway, the character of Frollo is just a ripe, juicy part for any actor to play, and Hardwicke certainly takes advantage of this by giving a great portrayal of what unhinges a formerly kind and compassionate man into the soulless, repressed and ultimately, tragically misguided soul who does evil deeds as a means to repress his desires.

Runner-Up: The Wicked Witch of the West (Margaret Hamilton), The Wizard of Oz
 

1939 sure was a great year for villains. The role of the Wicked Witch of the West might be more straightforwardly despicable than the aforementioned 2 villains, but I don't care, Hamilton is just so fun to watch as essentially the mother of all cinematic witches and bitches, she's just so deliciously callous and malevolent with each word spouted out of her mouth.

1940s: Phyllis Dietrichson (Barbara Stanwyck), Double Indemnity/Pinky (Richard Attenborough), Brighton Rock

The definitive cinematic femme fatale. Stanwyck was perhaps best known for her comedic aptitude in the likes of Ball of Fire and The Lady Eve, or her dramatic damsel in duress turns in Stella Dallas and Sorry Wrong Number, but my personal favourite of hers, and one she should've most definitely won the Oscar for, was as the cold centre of Billy Wilder's masterful noir about Fred MacMurray's smitten Walter Neff and how he's cast into a murder plot by Stanwyck's incredibly alluring, disconcerting, deceptive, basically all kinds of complex turn as the worst sort of manipulator, one who shows absolutely no remorse for her actions and uses everyone as a tool, a means to an end until the very end when it all comes to bite her in the back in one breathtakingly well-acted scene in which Phyllis gets her comeuppance. Stanwyck gives one of my all-time favourite performances with an incredibly unique and memorable character.

As for Attenborough? Well I'll get into him a bit more when I discuss my 1970's villains, but in Brighton Rock he gives a memorable depiction, perhaps the best of any fictional character I love (though love perhaps is not the right word for Pinky) and novel I adore, of just a strikingly psychopathic individual who uses violence not for pleasure, but as the only way he knows how to solve problems.

Runner-Up: Cody Jarrett (James Cagney), White Heat
A scintillating example of Cagney at his very best, as he makes such a deplorable lowlife like Jarrett, who is basically every horrible aspect of the gangster mentality wrapped into one, with some downright shocking psychological issues to boot, so incredibly compelling to watch, working within the limits of films that time to create an unnerving villain far greater than many films with carte blanche to be as excessive as they please.

Runner-Up: Mr. Potter (Lionely Barrymore), It's a Wonderful Life

I thought of putting either Kathleen Byron's Sister Ruth from Black Narcissus, Clifton Webb's Waldo Lydecker in Laura, or Orson Welle's Harry Lime from The Third Man but decided in the end to go for the more conventional (not that that's a bad thing) villain type of the miserly banker who cuts just such an imposing presence just by sitting there and gesticulating with those incredibly expressive eyes and expressions of his, sending chills down the audience's spine with just a passing remark.

1950s: Johnny Friendly (Lee J. Cobb), On the Waterfront   

Friendly is the perfect opponent to Marlon Brando's definitive performance as Terry Malloy. He actually doesn't have that much in the way of screentime but still manages to give an effortlessly complex portrayal of a downright dirty and vehement gangster who watches his iron fist over the slowly moralised Malloy fading, and his subsequent breakdown and unleashing of anger as a result of this is just incredibly compelling to watch. What could've been a stock villain is instead made into a most memorable one.

Runner-Up: Bruno Anthony (Robert Walker), Strangers on a Train

Arguably the best villain ever in a Hitchcock film, it's a shame Walker's performance had to come in a year where both Trevor Howard and Michael Redgrave vie for my personal title of Best Actor 1951 with their performances in Outcast of the Islands and The Browning Version because Walker's work here is simply, sublime. He makes Bruno Anthony at first such a quirky but off-putting presence, and in slowly bringing out the increasingly vile, hidden nature to his character's false prim and proper amiability. Walker makes this villain thoroughly entertaining to watch but also so deeply disturbing in his cold, methodical approach to killing, yet also oddly sympathetic in his desire for some sort of strange comradeship. Great work.

Runner-Up: Colonel Saito (Sessue Hakayawa), Bridge on the River Kwai

What I love about this performance is just how nuanced it is. Technically the film could've left us with just your standard Japanese Commandant sort of malicious figure and it'd have been still a fine film because of Alec Guinness' great lead performance, but the excellent screenwriting by Robert Bolt and Hakayaw never let anything about Saito remain that simplistic. Hakayawa matches Guinness with his intriguing portrayal of a career soldier whose madness is of an excessive devotion to the code of the soldier, whose every act of cruelty is in the name of being the perfect soldier, Hakayawa never lets any of this overbear his performance but instead, lets this seep out subtly in his actions and deeds, making the arc of Hakayawa so compelling to watch.

Wednesday, 9 March 2016

Ranking: The Pixar Films

Note: I do like most of the Pixar catalogue a great deal so most of this ranking is about on an equal level for me, except the top 2.


15. Cars 2

Just a very tired, uninspired retread (no pun intended) of the original which I wasn't in love with anyway. There's a bit of fun to be had in the pseudo-spy car stuff with Michael Caine and Emily Mortimer's characters but mostly it's quite unmemorable, apart from realising the universal truth that making a funny side character like Mater the star a la Leslie Chow in The Hangover series is a recipe for disaster.

14. Cars

Not a great film either, but it has a few things going for it. It has a fairly interesting concept, some decent voice acting (particularly Paul Newman in his final *sniff* role), it looks good and actually isn't too bad a film overall, despite being decidedly uninspired in its plotting and character tropes.

13. Brave

This is one I need to re-watch as I feel like I may have gone in with unfair expectations that this was going to be like an animated blend of Braveheart and Winter's Bone. Well it's certainly not that, and I ended up thinking it was a well-done enough film about a defiant Scottish princess seeking to revert a spell cast upon her mother, with some lovely visuals and an engaging enough plot. It didn't reach the heights I expected but I enjoyed it well enough, and I feel like watching it again would help bump it up.

12. Monsters University

As far as Pixar sequels (in this case, prequel) go, much, much better than Cars 2. Technically speaking a bit of a strangely conceived film, as surely the way Monsters Inc. played to audience members we would've liked to see the continued transition of Sulley and Mike as characters, as opposed to the scaring shenanigans they got up to before the events of Monsters Inc.? I mean I'm no big fan of prequels in general but this one is cute and funny enough, with some lovable side characters, killer sight jokes, and if the third act does get a bit suddenly schmaltzy it's well done enough in that respect.

11. Ratatouille

A good Pixar film I watched back to back with The Simpsons Movie back in the day, and where my feelings have waned oh so much with regards to the latter, they've only strengthened with the former. First off the way the food is portrayed in the film is sumptuous, each frame is simply très délicieux. It's at its heart a very simple underdog--I mean, underrat--story of Remy the rat making his way in the world of cooking by proxy of a hapless young chef, it's well-made throughout, equal parts funny and moving, and has a great cameo by Peter O'Toole as the Louis Jauvet-lookalike food critic Anton Ego.

10. A Bug's Life

A terrific example of universe building, a bug's world is constructed down to such marvellous detail, I feel like its beauty is the sort of beauty Avatar was aiming for and failed miserably with its scenery. The protagonist Flik might be a bit of a bland slate but every other character is so colourful and endearing, from Kevin Spacey's devious villain Hopper to Joe Ranft's delightful German-accented caterpillar Heimlich. I thoroughly enjoy watching this film and would highly recommend it to anyone for family perusal.

9. Up

The opening few minutes are some of the finest ever in animated film. Past that though it never quite reaches the emotional punch of its opening, it's still a very rousing adventure of a curmudgeon old man who finds life once again in the most lovely of forms, an endearing duo of Scout kid and yapping dog. I need a re-watch for this too.

8. Finding Nemo

Australian seaturtles, Ellen DeGeneres and Albert Brooks and WILLEM DAFOE and GEOFFREY RUSH doing voices, a wonderful under the sea universe that makes up for the atrocities the likes of Shark Tale were trying to commit, and a simple lovely father-son story at its core. What's not to like?

7. Inside Out

Pixar's most recent venture and already one of their best. Bing Bong might be one of my favourite ever Pixar characters ever, and past that it's actually quite hard-hitting a film in certain regards, with themes that can relate to pretty much anyone who's gone through the strains of moving to a new place, school etc. in childhood. It doesn't quite ever reach the heights of the 6 films above it, but that's not to fault it at all as it made a big impact for me in 2015, one of the best years for film ever in my opinion.

6. Toy Story


5. Toy Story 3

4. Toy Story 2


I might as well talk about all these three films together. Basically the trilogy as a whole I think is one of the few examples of its kind, that are essentially perfect together. Not that any of them are perfect films, the first one loses a bit of momentum in the midsection, the second one gets a bit too bogged down with the whole Zurg-Buzz Lightyear Double thing which I like but found a BIT grating after a while (though it does generate some absolutely hilarious moments), and the third might rely on the nostalgic sweet spot a bit too much a la The Force Awakens but I digress, I really have to nitpick to find these flaws, and I love all three films about equally for their excellent voice casting and vocal work, the action setpieces (seriously one of the best car chases ever in the first film) as well as never losing that emotional undercurrent to all the laughs ('When She Loved Me' in Toy Story 2). I will say that my favourite is probably, blasphemy, blasphemy, the third because of how much of an emotional wallop its conclusion packs for me as we see Woody, Buzz on their way. Hopefully they won't make another one because the way this trilogy ended was perfect.

3. Monster's Inc.

Sulley and Mike are probably one of my favourite animated duos of all-time. Just aesthetically, tonally, in terms of their odd-couple dynamic, the big hairy lovable beast and the nasally one-eyed green monster are just the perfect match. Watching them in anything is a joy, even in the sub-standard Monsters University and they make a potentially great film like Monster's Inc. great. Just the whole concept of monsters garnering energy through screams is ingenius, and the film milks it for all the laughs it's worth, and in the character of Boo makes it all very heartfelt to boot.

2. The Incredibles

Just a bloody clever and uproarious film. I love it for a great many reasons, among them being: an incredibly clever deconstruction of the superhero genre, ingenious voice casting (Jason Lee as a villain anyone?), brilliant action setpiece after setpiece all very much deliciously tongue-in-cheek, and one of the best comedy scripts in recent memory. It's an incredibly re-watchable film, probably my favourite superhero film of all-time besides The Dark Knight and the fact they haven't made a sequel yet is probably testament to the fact it won't be able to hold a candle to the brilliant original.

1. WALL - E

Though I love The Incredibles there was never any question of which film would come out on top here. Andrew Stanton's WALL-E is a masterpiece. The first half is the stuff of silent movie magic, Chaplin in animated incarnated form, and the second half is almost as good with its implantation of these very characters in a uniquely quirky sci-fi setting that's remarkably intelligent about it all. Essentially a love story merged with a fish-out-of-water story, it has several great rousing moments which I won't spoil for people who haven't seen it, clever sci-fi references, and big laughs and cute sidecharacters, but the best thing by far about it is the central romance between WALL-E and EVE. Nothing much is said, in fact barely anything is said, but the relationship between the two is so beautifully drawn out and consummated by the film's conclusion, making them one of the greatest onscreen couples of all-time.