Posted in 2010-2019, Film Review

Kingsman: The Golden Circle (2017)

Image is property of 20th Century Fox and Marv

Kingsman: The Golden Circle – Film Review

Cast: Taron Egerton, Mark Strong, Colin Firth, Jeff Bridges, Channing Tatum, Halle Berry, Sophie Cookson, Pedro Pascal

Director: Matthew Vaughn

Synopsis:  After their organisation comes under attack, The Kingsman seek the help of their US Counterparts, the Statesman, to help them save the world…

Review: It is always nice when a film knows exactly what the audience wants and doesn’t take itself too seriously. In addition, when said film knew that it was a ridiculously over the top, almost parody of the the spy films that it obviously drew inspiration from, and plays that to its advantage to deliver an absurd amount of entertainment, and laughs, that’s always a most welcome outcome, and this is precisely what Kingsman: The Secret Service was. Therefore, a sequel to this surprise hit was almost inevitable, and Vaughn despite perhaps some initial hesitation, eventually came back to the director’s chair.

The first film was, for the most part British-centric, and more specifically on the Kingsman and the recruitment of young Eggsy into this elite spy organisation. The plot now goes a bit more global, well across the Pond to be exact. With the Kingsman on their knees following a vicious attack, a clue leads them to their US based allies, the Statesman. Their research leads them to something that is known as the “Golden Circle” and with the Kingsman and Statesman now side by side, they must band together to help save the world because as you would expect, as there’s always some dastardly villain looking to wreak world havoc.

Eggsy’s development from deadbeat chav, to a sophisticated gentleman spy was a central theme of what The Secret Service was all about. All the while saving the world with mentor Harry Hart (Firth) by his side. Though Harry initially seems to have suffered a grim demise, but with a presence that is hard to miss if you have seen any promotional material, it indicates that Harry did not meet said demise. Their character development was a key arc of the first movie, but there is much less focus on that arc, and indeed character development as a whole, which can be frustrating to say the least.

“We are the three amigos…”

Instead Vaughn and Goldman zone in on the action stakes, turning up the volume to maximum. If his past work is anything to go by, Vaughn is certainly a director who knows how to helm jaw dropping action scenes,  the church scene from the first film certainly stands out. They’re very fast paced and exhilarating, although sometimes they way they are cut together, with very fast, quick cut editing can make them a bit jarring to watch. The plot is again a bit far fetched to say the least, even more so than the last film, but the movie knows that this is part of its charm, and it uses that to its advantage.

Taron Egerton remains on great form as Eggsy and he is ably supported by the familiar faces of Merlin and Roxy, whilst continuing a relationship with his royal girlfriend. The main bunch of new recruits comes in the shape of the Statesman cast, with Bridges giving Rooster Cogburn a 21st century makeover in the form of Statesman top dog Champ. Tequila and Ginger Ale (Tatum and Berry) are welcome additions but both feel somewhat underutilised. Meanwhile Pedro Pascal as Whiskey is perhaps the most interesting of the new bunch, honing his Oberyn Martell-esque fighting skills to great effect, and while she does have some time to shine, Julianne Moore as the antagonist would have benefited from a bit more screen time.

Though it doesn’t get too bloated, the film does feel perhaps a tad too long, perhaps because Vaughn does cram so much into this new adventure. but there’s more than enough good material here for audiences to enjoy. Like last time, the movie remains very self-aware, it knows it is a bat shit crazy experience with spies, espionage, gadgets, action and VERY adult humour. And that’s just what you signed up for, suited and booted and all.

There’s not a great deal of character development to be found, but like its predecessor, The Golden Circle delivers those insane and thrilling action set pieces and adult humour that make it such a blast to watch.

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Posted in 2010-2019, Film Review

mother! (2017)

Image is property of Paramount Pictures and Protozoa Pictures

mother! – Film Review

Cast: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer

Director: Darren Aronofsky

Synopsis: A married couple are in the middle of redecorating their home, living a quiet peaceful life, yet when some uninvited guests show up, their tranquil  lifestyle is changed forever…

Review: The wonder of film is that it can generate a considerable array of responses among audiences. A film can be inspirational viewing, it can leave you speechless in shock, it can make you very angry, and it can leave you wondering what on earth you just watched, leaving you thinking about the film for days afterwards. In the case of Darren Aronofsky, here’s a director who is not afraid to make some psychologically damaging stories that leave their mark on their audiences.

In his latest film, Jennifer Lawrence and Javier Bardem play a wife and husband, neither of whom are really properly identified, known only as Mother and Him respectively. In a large house that is far too big for just the two of them, they live in quiet harmony with Mother decorating their house while Him is a poet, struggling to find his muse. However, their peaceful existence is ruined when a guest, Man (Harris) turns up unannounced. Mother is uncertain, but Him welcomes this visitor into their home. And when Man’s wife shows up (Pfeiffer) this is where everything gets really sinister.

To say this film is strange would be a severe understatement. Aronofsky reportedly wrote the screenplay in five days, which could imply that the story maybe a bit rushed, but this is for the most part, not the case. Though a slow burn in the initial act, once the guests start to arrive is when things go south very quickly. Right from the first shot, the tone is creepy and sinister with some very vivid imagery, and metaphors that can be open to many different interpretations. Be warned, some of the imagery is macabre,and deeply unsettling at times. The very unequivocal undertone that is at the centre of this story will either infuriate or mesmerise, as is evident by the boos and cheers that greeted the movie in equal measure at its Venice Film Festival debut. Divisive in every sense of the word.

With her Hunger Games days now long behind her, Jennifer Lawrence continues to show her considerable acting credentials by giving a haunting , wounded performance, an Oscar nomination wouldn’t feel out of place. She is front and centre of the film, we witness many of the horrors in this film from her perspective. Bardem has shown in the past that he can portray a terrific villain but here, he’s a bit more nuanced, but still also gives an unsettling performance given the role he plays in the developing horror that we witness in this film. The rest of the cast also do their best to add to the ensuing tension, and that makes said tension almost palpable.

Aronofsky helms the film in a way that makes it deeply unsettling to watch, which is clearly what he was going for. The camerawork certainly helps to build the tension. However, the screenplay is so engaging it will ensure that you will be transfixed by the events you see on screen, and equally aghast. Yet at the same time, there’s something so intriguing behind the themes and ideas that drive this film. With metaphors about a plethora of topics aplenty, Aronofsky has made something that certainly will not be to everyone’s taste. Nevertheless, what he has crafted has ensured it will be dissected and analysed at films schools for years and years to come, and that’s no mean achievement.

You will probably either love it or hate it, bold but dark and unsettling storytelling with two haunted performances at its heart, a film that will leave a lasting impression on its audience, for better or for worse.

 

Posted in 2010-2019, Film Review

Wind River (2017)

Image is property of The Weinstein Company, Thunder Road Pictures and Ingenious Media

Wind River – Film Review

Cast: Jeremy Renner, Elizabeth Olsen

Director: Taylor Sheridan

Synopsis: In the depths of Wyoming, USA, a rookie FBI agent and a veteran hunter to solve the mystery of the death of a young woman…

Review: Winter, a season that can be extremely punishing and harsh if you venture out in the wilderness not fully prepared for the brutality that that particular time of year can deliver. And it’s in winter in Wyoming, USA that sets the stage for the second directorial effort of Taylor Sheridan, the scribe behind the quite brilliant Sicario and Hell or High Water. Much like both of those films, there’s some crime involved. But this time there are no drug cartels or bank robbers to be found, it’s the mystery surrounding the death of a young woman’s body that is found in the brutal wilderness and the job of law enforcement to investigate what happened.

Leading the investigation is  Jane Banner (Olsen) a rookie FBI agent who’s called to the scene of the crime after the discovery was made by Cory Lambert (Renner) Together, Scarlet Witch and Hawkeye  these two go on the hunt for the clues that they hope will lead to finding out those who are responsible for this young woman’s death. In the same way that The Revenant might have made you feel cold whilst you were watching, the use of practical sets makes the audience feel like they are in the deep wilderness of this harsh place which can send a cold shiver down your spine. Clearly choosing to shoot on practical locations gives the film a real authenticity and adds to the gritty nature of the story.

Avengers on a mission…

Sheridan showed his writing credentials with the aforementioned films he scribed, and once again his script though it does wobble in places is strong and is ably backed up by well developed, interesting characters. As a man who married into a Native American family, Cory is a man driven by his desire for justice due to the connections he has with the deceased woman in question and Renner’s performance is excellent. Though initially reluctant he joins Banner on her quest for justice, and in this frozen land where nearby help is not exactly forthcoming, the two of them must use their experience to help solve this case. Olsen is also on good form, if perhaps not as well developed as she maybe could be in the officer leading this investigation but nevertheless, the characters are well written to keep you engaged in the story.

The pacing is a bit slow to begin with as the investigation begins and the hunt for clues begins. However despite the slowish pace in the beginning, the story remains riveting to watch. Once the investigation has yielded some substantial results is when the film really picks up the pace and delivers some pulsating and tense scenes, particularly when you reach the third act and the key details of this investigation begin to emerge. Sheridan showed his skill when it comes to screenwriting, and he transfers those skills to directing tremendously well with great wide shots of the territory that really make you feel that this place is cold, vast and very unforgiving.

Though the crux of the movie focuses on the hunt for clues surrounding the deceased young woman, the film does have a bigger picture focus that while is an important part of the film isn’t explored perhaps as much as it ought to be, at least not until the end credits when it really hits you like a wrecking ball. The score composed by Nick Cave and Warren Ellis helps keep the tension up particularly in that mesmerising third act that will ensure you feel those cold chills in your body, almost as if you were the ones in this brutal environment that makes you realise, that in spite of whatever horrors humanity may commit, that Mother Nature is a merciless force you dare not mess with.

Tremendously well made, with two excellent performances at its core, and a story that will shock you and send a cold shiver down your spine.

Posted in 2010-2019, Film Review

Detroit (2017)

Image is property of Annapurna Pictures, Metro-Goldwyn-Mayer and Entertainment One

Detroit – Film Review

Cast: John Boyega, Will Poulter, Algee Smith, Jason Mitchell, John Krasinski, Anthony Mackie, Hannah Murray

Director: Kathryn Bigelow

Synopsis:  1967,Detroit, USA. With riots threatening to tear the community apart, Police enter a hotel on the hunt for a sniper, which leads to a horrifying ordeal for the residents.

Review: It kind of goes without saying that for a long time that in the United States of America, the issues of racism and police brutality have unfortunately been dominant in American society, and recent events in 2017 certainly indicate that these issues are very much prevalent in modern America, as relevant today as they were half a century ago. As such, to tackle such a tricky and emotional subject for a film requires a director whose previous films have shown she is not afraid to tackle such controversial subject matter, step forward Oscar winning director Kathryn Bigelow.

Her first film since Zero Dark Thirty, which focused on the hunt for Bin Laden, drew criticism for being almost pro-torture. Furthermore, controversy has arisen over whether Bigelow is the right director to tell this story, but given her immense directorial portfolio, this was never in doubt. However, right from the off, Bigelow throws you right into the heart of the riots and the tensions that were building right across America. With a screenplay from long time collaborator Mark Boal, the tension is there right from the first shot as you watch communities being torn asunder. There was a gritty, almost documentary like manner to which Bigelow told the story of Zero Dark Thirty, and here, she does replicates that method again to tell the story. The script is uncompromising and absolutely brutal when it wants to be. Yet the first act is a little choppy as we’re introduced to a lot of characters which means you’re unsure which characters to really focus on.

It’s at the film’s second act where things really start to get tense and scary. After a prank weapon is fired, the cops descend onto the Algiers Motel and several of the cops led by Philip Krauss (Poulter) begin to terrorise the frightened residents of the motel by demanding who it was that shot what they believed to be sniper fire. As time wears on and no one gives them any answers, the cops take matters into their own hands, and it is not pretty for those residents. The version of events displayed on screen are somewhat dramatised as it is not fully known what actually transpired that night, but Bigelow showed that when it comes to building tension, she is an absolute pro. This is unflinching storytelling and it makes you almost gawk at the screen in horror at what you are witnessing.

Everyone in the film delivers great performances but by far the most standout performance is that of Will Poulter’s Krauss. Right from the moment you meet this horrifyingly bigoted cop, you just know he is bad news for all who get in his path and that includes Algee Smith’s Larry, Anthony Mackie’s as Greene and John Boyega’s Melvin Dismukes a part time security guard who witnesses all of it. After that brutal second act, the film slows down to deliver a brutal gut punch in the third act, but the script could have done with a little bit of polishing to really hammer the point home as the third act does falter a little bit.

However, by the time the credits begin to roll, and the crux of the film reaches its audience, it really will make you sit up and take notice of the problems that have existed in America for the best part of half a century. In that time that you would have thought that humanity might have move forward from that point, that things are still far from perfect with innocent folk, quite often black people, losing their lives to severe unnecessary police brutality to this very moment. It will really give you plenty of food for thought. Though these events took place fifty years ago, there are messages in this movie that are incredibly still relevant in today’s society, and society needs to immediately sit up and take notice.

Uncompromisingly brutal, tense storytelling at its finest/scariest but told with authenticity and care that makes the film’s themes as relevant today as they were 50 years ago.

Posted in 2010-2019, Film Review

The Big Sick (2017)

Image is property of FilmNation Entertainment, Apatow Productions and Amazon Studios

The Big Sick – Film Review

Cast: Kumail Nanjiani, Zoe Kazan, Ray Romano, Holly Hunter

Director: Michael Showalter

Synopsis: Charting the true story of Kumail and Emily as they fall in love, but their differences in culture prove to be a tricky test for their relationship, which is compounded when Emily is hospitalised…

Review: As the famous Johnny Cash song Ring of Fire goes, ” Love is a burning thing, and it makes a fiery ring.” It kind of goes without saying that meeting someone and falling in love with them can be delightful, but it can also be an experience that can be very testing for everyone. It won’t be all sunshine and rainbows all the time, there will be tricky times and it is in those times, that people can really show who they are, and why they just might be worth spending the rest of your life with.

Based on the real life story of Kumail Nanjiani (played by the real Kumail Nanjiani) a comedian in Chicago trying to make his name on the comedy circuit. He runs into Emily (Kazan) during a gig, and the two begin a romance, but for Kumail, there’s one small problem. His very traditional parents want to set him up in an arranged marriage with a Pakistani bride, but Kumail is not interested in any of that. Unfortunately as their relationship hits a snag, Emily falls gravely ill and is forced into a medically induced coma and with the help of Emily’s Mum and Dad (Holly Hunter and Ray Romano) the three of them sit by Emily’s bedside.

You would think in a film that is centred on someone falling into a coma, that the film’s script might be a bit bereft of laughter, but quite the contrary. The script written by Nanjiani and the real Emily V Gordon really packs plenty of laughter with some really funny jokes, especially considering one or two are quite dark in terms of the humour. Yet they don’t fall flat, and they almost always hit the mark and in quite some style too. Taking full advantage of modern technology to tell the story, the chemistry between our leads is very sincere and it feels almost like you’re watching the real lives of these people.

What’s more, as this clashing of cultures situation is becoming more and more common in our ethnically diverse world, the dilemma that Emily and Kumail find themselves in is likely a dilemma that many couples have felt at some point. In thia respect it feels that much more authentic. Thus when it is revealed that Emily has fallen ill, the audience shares Kumail’s concerns and you find yourself scared wondering if she’s going to make it.

Even after Emily is taken ill, the jokes do not stop, but this is thanks to Emily’s parents Terry and Beth. Romano plays Terry as your sort of lovable compassionate father who is funny and heartfelt all at the same time. Meanwhile Holly Hunter channels the fierce matriarchal spirit that she put into voicing Mrs Incredible (AKA Elastigirl) from the Incredibles so effortlessly. Though she doesn’t exactly take kindly to Kumail at first, to see the three of them go through their experience for the person they mutually care about so much is extremely heart-warming and they make an effective trio of comedy.

There are moments where the script does falter a little bit, particularly with a few of Kumail’s comedian friends that aren’t fleshed out at all really. It does make the film perhaps drag on for longer than it needs to be. Nevertheless, this film is a timely reminder of that even in a society that has become more and more diverse, controversy still surrounds cross-cultural relationships, which is ridiculous. Above all though, this film teaches that no matter what creed or colour you are, love knows no boundaries, and that should always be celebrated.

Very funny with a heartfelt and sincere romance, and top notch acting from all that keeps the film’s heart beating at a steady pace, whilst providing a refreshing new take on the rom-com genre.

Posted in 2010-2019, Film Review

Wreck-it Ralph (2012)

Image is property of Walt Disney Animation Studios

Wreck-it Ralph – Film Review

Cast: John C Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch, Mindy Kaling, Alan Tudyk

Director: Rich Moore

Synopsis: Video game Bad guy Ralph yearns for something more out of life than just being the bad guy, and when the opportunity to win a medal and become the good guy presents itself, he seizes his chance of glory…

Review: Everyone loves a good video game as the perfect activity to pass the time on a miserable day when it’s pouring with rain outside. There have been a great deal of very memorable video game characters down the years, yet when a video game is adapted for the big screen, the end result is usually nothing to get all that excited about, and in some cases, they have been HORRIFICALLY bad. Well, those folks at Disney certainly had a trick up their sleeve, as they often do, to bring the perfect combination of the mediums of film and video game to the big screen, in a deeply entertaining and very enjoyable manner.

The difference here is that this is not based off a single video game, as this film takes place inside an entire video game arcade. In the same way that when in Toy Story, the toys come to life when their owners leave the room. When the arcade closes for the day, the video game characters have their own lives and the way the lives of the characters once their gaming duties for the day are done,  is really innovative.

For Ralph, resident bad guy of the fictional game Fix-it Felix, well he’s not too happy with his current predicament. Having grown tired of the bad guy lifestyle and the unsatisfying outcome that this lifestyle brings to him, there’s no reward to his bad guy endeavours. Meanwhile he watches on with envy as the hero of his game, Felix receives the adulation that Ralph craves desperately, as such Ralph tries to change his fortunes, and though he’s the bad guy, you really feel for him and will him to turn things around for himself.

So many Easter Eggs…

The games in the arcade are all connected in a similar to this giant central hub, that very much resembles those concourses that you see in train stations.  players can interact with the other games in the winding down period after a busy day of gaming. One rule though, no one must ever leave their game, otherwise the consequences could be severe, but this is precisely what Ralph does in pursuit of his dream. Video game fans can rejoice as there are many rather good Easter Eggs cameos from some of the most recognisable faces in video game history, including a few at the Bad Guys Anonymous meeting. The story takes a few twists and turns before eventually arriving at a racing game which is like a cross between Mario Kart and a land of delightful sugary confectionery, appropriately name Sugar Rush, which sets the stage for some hyperactive drama!

It is here that we meet Vanellope, a character like Ralph who is experiencing some hardships in her life and is desperately striving to change things for the better, and the two share a connection in this respect, and watching these two, through their differing struggles and striving for acceptance, is heart-warming to watch, even if it is straying into familiar Disney territory with themes you will have undoubtedly seen many times before. It’s trademark Disney, but that does not prevent it from being exciting, colourful and really amusing entertainment that takes audiences on a pleasant and satisfying journey, and ensures that there will not be groans of frustration as a “Game Over” flashes on the screen.

 A very unique concept that’s tremendously well realised and extremely entertaining, with plenty of the humour and heart that you’ve come to expect from Disney.

Posted in 2010-2019, Film Review

Dunkirk (2017)

Image is property of Warner Bros and Syncopy

Dunkirk – Film Review

Cast: Fionn Whitehead, Mark Rylance, Tom Hardy, Kenneth Branagh, Cillian Murphy, Harry Styles

Directors: Christopher Nolan

Synopsis: With the enemy surrounding them and closing in, the Allied forces are stranded on the beaches of Dunkirk, and their hopes of survival appear completely remote, barring an astonishing miracle…

Review: As a director, Christopher Nolan’s films have explored a variety of genres and topics, from deep space exploration, to dreams within dreams, within dreams, to a man who dresses up as a bat to clean up his city from crime. So for his next project, Nolan clearly fancied straying into new waters by making a war movie, one that specifically focuses on one small week in the heart of the Second World War, focusing on what has become known as the Miracle of Dunkirk. It was naturally intriguing to see what a director who has become so revered could do with this topic. With any project he directs, Nolan manages to leave a lasting impression on the audience, and with his latest, it’s another masterclass from Nolan.

It is May 1940, and with a total of around 400,000 men stranded on this beach, with boats to rescue them in scarce supply, their situation looks bleaker and bleaker with every hour that passes. Nolan chooses to tell this story from three different perspectives: Air, sea and land. And through what is what a remarkably short running time for a Nolan film (106 minutes) we watch as these three differing story-lines witness what is a defining moment in British history. Through sparse dialogue, Nolan takes his audience on an intense gripping journey as we watch these characters either battling for survival, doing whatever they can to save as many lives as possible, or flying a plane trying to down enemy planes.

CGI has become very prominent in modern day movie making, but Nolan here uses practical effects as much as he can, and it really adds so much authenticity to the story he is trying to tell. The planes, the boats and the like are all ones that were used in World War II, and filming in practical locations, including Dunkirk itself only adds so much more to the authenticity. The cinematography from Hoyte van Hoyetma, re-teaming with Nolan after Interstellar is flawless once again. The film’s editing is also terrific, it heightens the tension. And of course the score provided by Hans Zimmer is of the superb standard that one would expect from one of the world’s greatest film composers.

The extensive research that Nolan made on the operation ensures historical accuracy up to a point, but as the characters are not based on any real life people. Yet the characters that Nolan does use to tell this story are not as well utilised as they could have been. With such talented actors such as Mark Rylance, Cillian Murphy and Tom Hardy among others, the development on these characters is kept to a minimum, which is undeniably frustrating, but for the sake of the story, it does make sense. Though having said that, Fionn Whitehead has the most development, and for all the intrigue and raised eyebrows that followed when he was cast, Harry Styles demonstrated that he could definitely have a future in acting, with a very impressive debut performance.

Above all though, Nolan really demonstrates what is meant by the term “Dunkirk Spirit,” fierce determination in the face of very long odds. The story is perhaps not as thorough on the specifics of the evacuation but it certainly provides you with enough detail that will make you eager to go home and do some research. The lack of character development is frustrating, and the acting is not on par with say an Imitation Game. However, for nail biting intense war scenes, Nolan certainly gives such other WW2 films like Hacksaw Ridge and Saving Private Ryan a damn good run for their money, with an important history lesson thrown in for good measure.

Telling a story that needs to be told, and telling it with real authenticity that is gripping throughout, whilst conveying important themes, and a great attention to historical detail.

 

Posted in Film Feature, Ranking

Ranking Christopher Nolan Filmography (Collaboration)

In terms of directors working today who have had quite the considerable impact of modern day films and film-making, one name that would surely come to mind would be one Christopher Edward Nolan. Since making his directorial debut in 1998, he has made 10 feature films, and through his fine filmography, he has covered a wide range of subjects in his movies, and his films certainly have the tendency to really challenge their audiences and get the mind working.

With the director’s next film, Dunkirk now in cinemas, it begs the question, what is Nolan’s best film? I have assembled a team of fine film folk to collectively rate and slate all of Nolan’s current filmography, ranking them from worst to best: These fine folks are: Plain, Simple Tom, Nathan, Markus, Angus, QuickFire Reviews, RyanMaddy and yours truly. Please be sure to give all those great people a look see via the hyperlinks in their name! Without further ado, let’s get cracking, and see our individual thoughts on each of Nolan’s films:

Following (1998)

Maddy: There is something immediately fascinating about this film. It’s a little bit student film-like, with performances that certainly aren’t great, yet the overall film has such a unique style to it that it was undoubtedly going to put Nolan on the road to success. Not his best, but definitely worth a watch to see where it all began. (6/10)

Tom: A simple yet intriguing story, Nolan starts his foray into the film world with this overlooked film, using the homes of friends and family in which to shoot in.Not extraordinary but always intriguing. Plus, a bat symbol on one of the doors. #foreshadowing. (7/10)

Markus: Following is an ambitious ham sandwich budget debut feature from Christopher Nolan. And for the most part it paid off. Not perfect, but definitely a good way for Nolan to get his foot in the industry. (8/10)

QuickFire Reviews: Made on a budget of $6000, Nolan’s directorial debut – for the limits and restraints in received in production – turns out superbly. From the very start Nolan as a director clearly has an eye for detail, crafting an exceptionally intimate, stylish and engaging character study. (8.5/10)

Ryan: Christopher Nolan’s underground debut feature may not be a perfect film, but it’s a faultless prelude to his now world famous filmography. You can see him beginning to toy with narrative, you can sense his recognisable character types beginning to emerge. It under 70 minutes, Following comes at you quickly but doesn’t skimp on the goods – a solid debut feature with more than enough to chew on. (8/10)

Memento (2000)

Tom: Another unique premise brought to life by a clever script and a handful of fascinating performances. (9/10)

Martin: Almost unlike anything that has ever been to screen before, and since its release, there has never been a film quite like Memento. Riveting storytelling, with a very unique premise and one of the best ever performances that Guy Pearce has given across his career. And for the Love of God, PLEASE don’t remake this movie Hollywood!! (10/10)

Nathan: While Memento succeeds through its direction, with an impressive use of dual narratives coalescing terrifically, the narrative is somewhat repetitive and really challenges your concentration levels come the middle third. That said, it is largely enjoyable and serviceable in delivering us the Nolan we know and love today. (6.5/10)

Markus: Nolan manages to create a fiendishly clever story with Memento, making perfect use of it’s fractured narrative and forgetful protagonist. Guy Pearce gives a fantastic performance that often gets overlooked by people. This movie is far from forgettable. (10/10)

Angus:  The film that is known for being backwards, ‘Memento’ does a fantastic job at keeping your interest within its unusual structure. The film will have you continuously guessing what has happened in what is arguably Guy Pearce’s best performance. A great concept with interesting characters make this film perhaps Nolan’s most unique. (9.25/10)

Ryan: How many film makers create something as good as Memento so early in the career? The film may benefit more from its structure than I’d care to admit (when watched in chronological order, a lot of the magic is lost) but Nolan’s exploration of time and memory is the film’s selling point. Why mark a film down for something it technically hasn’t done? Memento is smart, intricate storytelling and one of Nolan’s strongest scripts. (9.5/10)

Maddy: Massively impressed by this film. It’s so similar to Following but with a Hollywood upgrade, & it pays off really well. Love how we see the same scenes repeated over & linked & slowly pieced together, we don’t know who to trust or what to make of things: exactly what Leonard’s life is like. It’s clever in an effortless manner. (7/10)

Insomnia (2002)

Ryan: Insomnia is my least favourite of Nolan’s films. The performances are strong and the film’s atmospheric work is immersive, but there’s something missing from this one. A bold twist, a new direction for the film to take. Insomnia isn’t a bad film by any means, but it’s Nolan’s most forgettable work by a wide margin. (7.5/10)

Tom: A neat thriller with a fine cast, especially Robin Williams who gives one of his best ever performances. 7/10

Markus: Insomnia is Nolan’s most underrated movie. It’s an incredibly captivating murder mystery that takes a few interesting twists and turns. Pacino delivers a fantastic performance. I love it. (10/10)

Angus: Insomnia brings great performances from Al Pacino and Robin Williams as the cat and mouse game provides gripping entertainment. The struggle from Pacino’s character works very well alongside the mystery aspect of the film that is worth revisiting. (8/10)

Maddy: It’s not written by Nolan so it doesn’t have the same layout or rhythm of his other films, yet through his direction his unmistakable vibe is there. The acting really is first class here, with Al Pacino, Robin Williams & Hillary Swank all brilliant as you’d expect three Oscar winners to be. The audience is given everything but in a manner that seems to gradually distort along with Pacino’s character’s mentality – it’s clever, but easier watching than some of Nolan’s other work. (7/10)

Batman Begins (2005)

QuickFire Reviews: A comic-book franchise opener like no other Batman Begins matches Nolan with an equally talented cast to create a deeper, darker and downright thrilling portrayal of The Dark Knight, without ever becoming stale or monotonous. (9/10)

Maddy: This is how you do a superhero origin story. What I adore about the Nolan Batman trilogy & why I think it remains so successful is how much reality he gave it. Whereas in the past we’d seen Batman prancing around in his grey spandex with cheesy fight sound effects, this grounded the vigilante character & created a much darker & tangible take on the classic. Christian Bale makes a brilliant debut as both Bruce Wayne & Batman, & with Michael Caine at his side in what will forever be the perfect Alfred portrayal, this really was a hell of a start to a great trilogy; dark & intense without becoming overwhelming. (8/10)

Tom: Nolan reboots the Batman film universe in spectacular fashion with this exciting, cool, exquisitely designed film. It’s an excellent origin story with a superb cast and a great plot. (9/10)

Martin: The rebirth of the Batman, after the character died in ignominious circumstances. Told through Nolan’s brilliant vision with an exciting look at The Caped Crusader and his origins, magnificently acted by its super talented cast, and a truly gripping story of one man’s journey from man to symbol. (8.5/10)

Nathan: Batman Begins is a sluggish start for the rebooted Batman but helps sets the wheels in motion for an otherwise impressive franchise of films. The performances are decent but the chosen story is weak and, surprisingly, forgettable. (6.5/10)

Ryan: I didn’t realise how much I would enjoy a Batman trilogy when I first saw Batman Begins. The film is well crafted and suitably dark, telling the Bruce Wayne story in a harsher way than before, but it perhaps gets too bogged down in its “origin story” style to break away from the mould entirely. Still, it’s a stronger superhero film than anything we’ve had in the last four years. (8/10)

Angus: In my opinion, this is the best superhero origin story that does great at establishing the famous character. The Batman series needed rebooted badly and Nolan’s darker, more realistic take makes for a great viewing. The film balances its characters very well especially with its villains making Nolan’s first superhero film a successful one. (8.75/10)

Markus: After the Batman movie franchise was more or less killed off by Schumacher’s movies, Nolan managed to revitalise it with Batman Begins. An exciting action-drama that gives us a fascinating and fresh look at the characters and the world they inhabit. It also helps that the performances are top-notch. (10/10)

 

The Prestige (2006)

Martin:  Everyone loves a good magic trick, and for Nolan, this enthralling tale of two rival magicians trying to outdo the other makes for some spellbinding entertainment that will keep your eyes transfixed on screen right from the first shot all the way to the last. With two terrific performances from Bale and Jackman, as well as the late David Bowie, and one heck of an ending. (9/10)

Tom: With two charismatic performances at the centre, this film has an intriguing story that constantly keeps you guessing. A tantalising mystery with some neat visuals and a fine ending. (8/10)

Nathan: The Prestige is an absorbing and somewhat hypnotising picture, bolstered by two terrific central performances and Nolan’s reliably impressive direction. Most admirable though is that there is nothing quite like this film, demonstrating Nolan’s ability to make ground-breaking and innovative cinema. (7.5/10)

Markus: Layered, complex, and filled with twists and turns, The Prestige shows Nolan at his most fiendishly clever. Tricking you at every moment it can, like a good magic trick, The Prestige is one that shouldn’t be overlooked by anyone. (10/10)

Angus: A film about two magicians trying to one up one another is full of twists and turns that will make sure that you are watching every second until the credits role. And then after that, you will be thinking about what has actually just happened and how they pulled it off. This is a film that will stay with you for days and changes the way you watch it the second time around. There are so many layers to this film that make it special, magical if you will. (9.25/10)

Ryan: There’s a cult of film fans who loudly herald The Prestige to be Nolan’s best film and, while I don’t agree, it isn’t tough to see why. This is a starkly original work from Nolan, one that benefits from countless rewatches to fully comprehend not only the story it tells but the way it tells it. The final twist is certainly of the “make it or break it” kind, but if you fit in the former category it’ll turn a good film into a great one. (9/10)

The Dark Knight (2008)

Markus: The Dark Knight isn’t just a showcase for one of the best performances of 2008 (Heath Ledger), but it’s also a layered and suspenseful crime-drama filled with plenty of awesome moments. It’s also beautifully shot and features an excellent score from Hans Zimmer and James Newton Howard. (10/10)

Tom: Surely Nolan’s magnum opus, The Dark Knight earns its place as one of the best superhero films ever. Amazing set pieces, a thrilling score, cool bat-action, a solid script and all round excitement. Oh yeah and there’s this guy called the Joker and he’s played by Heath somebody; apparently he’s awesome.  (9/10)

Angus: The finest superhero movie ever made is always closely linked to Heath Ledger’s stunning performance as The Joker. However, there is a lot more to the film as its filled with many great moments making ‘The Dark Knight’ a modern classic and the best within its genre. Aaron Eckhart’s performance as Harvey Dent/Two Face is also magnificent as his character development throughout the film is exceptional. The opening heist scene and interrogation scene between Christian Bale and Ledger are two particular highlights. (9.5/10)

Martin: In short, one of, if not THE, best superhero movies ever made, and what a sequel should do. Taking it in dark, mysterious and exhilarating new directions. A masterclass performance from Heath Ledger as the Clown Prince of Crime, among a plethora of wonderful performances and just some darn good action sequences! Now there’s a truly great Batman movie! (10/10)

Nathan: The Dark Knight is masterful in almost every sense of the word: as a superhero film, as a blockbuster, as an action-thriller, as a character study, The Dark Knight is perfect. Combining Nolan’s magnificent direction, a wonderful script and incredible ensemble performances (particularly from the late Heath Ledger), The Dark Knight is everything we love to see in cinema. (9.5/10)

QuckFire Reviews: It’s difficult to say the perfect film exists – but if it did it would look like this. From the visceral action sequences, razor edge tone and score, stunning cinematography and a script that elevates the material to what was previously viewed as unreachable heights, The Dark Knight also features my favourite and one of the all-time greatest acting performances in Heath Ledger’s menacing, complex and often funny turn as the Joker. A truly unforgettable viewing experience, destined to forever be a classic. (10/10)

Ryan: How many sequels not only improve on their predecessor, but actually grow to become recognised as a classic? The Dark Knight is a masterpiece of superhero cinema, and when people throw it around it conversations of the greatest films of all time, its inclusion in such discussion doesn’t feel unearned. Led by an unforgettable performance from Heath Ledger and a narrative as momentous as it is explosive, The Dark Knight will sit at the top of the superhero throne for a very long time – one might even argue forever. (10/10)

Maddy:  Nine years on & nothing has changed in how brilliant this film is. Without a doubt the greatest superhero movie, & one of the best performances of all time from Heath Ledger as the Joker. It’s unlike anything else – seamlessly continuing the trilogy whilst building on it, making it broodier & more gripping. Maggie Gyllenhaal taking over the role of Rachel from Begins’ Katie Holmes transforms the character into something far greater than a damsel in distress. And Heath Ledger – where do you even start? He to date is the best Joker, exactly as the character was intended to be. He is truly unpredictable in the most unsettling & jaw dropping way, & in an exceptional way seduces every viewer with his ever changing anecdotes & sick jokes. Another realm of film-making. (10/10)

Inception (2010)

Nathan: Inception may be too complex for its own good at times, but its mind-bending premise, terrific ensemble cast and brilliant visuals are all helmed by Nolan with aplomb and sophistication. It may be the smartest, most innovative film of the decade and one that deserves to be remembered for years/decades to come. (9/10)

Tom: A unique, mind-bending concept, spectacular visuals and a flawless ensemble cast. Surely one of Nolan’s most ambitious films – you ain’t never seen anything like this before! (9/10)

Martin: Dreams, within dreams, within dreams. Crikey what a mind-boggling premise, and one that in the wrong hands could have been an enormous bloated mess, but yet again Nolan makes it all work, with a first class screenplay, utterly bonkers but quite brilliant visuals, another top notch ensemble cast, and absolutely mind-bending action sequences. (9.5/10)

Markus: Taking an idea as complex as Inception’s could turn out really convoluted and bad, but Nolan manages to make it all work. The cast is fantastic, and the score by Hans Zimmer might be the best he’s ever done. Complex, exciting, and epic, Inception is my personal favorite of Nolan’s movies. (10/10)

Angus: I believe this to be Nolan’s best film as it succeeds on so many levels. Thoroughly entertaining whilst being a film that really makes you think makes this truly remarkable. The story is solid and is helped by breathtaking visuals and a phenomenal cast which is the best ensemble that Nolan has worked with. ‘Inception’ is innovative and clever whilst maintaining an exhilarating feeling throughout the whole of the runtime. Again, this is a film that gets better with repeat viewings as you start to pick up little details you may have missed at first glance. Nolan’s finest work to date. (9.75/10)

QuickFire Reviews: With a memorable score, an impeccable cast, stunning visuals and a director that compliments the larger than life concepts, Inception is sleek, engaging and mind-bending all at once, without ever being over convoluted. Though I have never been the greatest fan of this movie, I laud it for being what it is – a thoroughly intelligent blockbuster. (8/10)

Ryan: I won’t beat around the bush here – Inception is my favourite film. It’s the one that drew me into the world of the film, the one that opened my eyes as to the limitlessness of cinema. The film’s action sequences are exhilarating and the narrative structure is sensational, but it’s Inception’s emotional core that mesmerises me with every rewatch. Benefitted further by Hans Zimmer’s masterpiece of a soundtrack, I doubt I will ever love another film in the ways that I love Inception. (10/10)

Maddy: This seemed like Nolan’s real breakout into high budget films he set out to make. Inception is so difficult to explain, but so brilliantly told that you don’t realise that it is confusing (if that makes sense at all). Leonardo DiCaprio is phenomenal in the lead, with more excellent performances from Ellen Page, Tom Hardy, Cillian Murphy & more. (8/10)

The Dark Knight Rises (2012)

Maddy: I know that The Dark Knight is the best film in this trilogy, & the best comic book movie of all time. But I think Dark Knight Rises is my favourite; it’s the only one I saw in theatres after my Uncle introduced me to the films one weekend in the summer. I am utterly in love with Anne Hathaway as Selina Kyle, & Joseph Gordon Levitt being revealed as a sneaky Robin was the greatest thing that ever happened to me. Following in the footsteps of an iconic performance as an iconic villain was hard for this film, but Tom Hardy as Bane is a fantastic villain & Marion Cotillard is genius. And then just go round it off, we have Gary Oldman & Michael Caine being absolute sweethearts & making you want to weep from it all. (8/10)

Tom: Concluding the Dark Knight trilogy, Tom Hardy makes for a . . . unique . . . Bane but the overall story is often muddled and unfathomable. Regrettably a bit disappointing. Then again, The Dark Knight was nigh-on impossible to top. (7/10)

Martin: With two excellent films in his trilogy completed, wrapping up the trilogy in the wake of The Dark Knight and Heath Ledger’s death was always going to be tough. The story is far from perfect, but a plethora of intriguing new addition, the highlight being Anne Hathaway as Catwoman, mixed in with familar faces, and some absolutely batshit (pun not intended!) action scenes, with Tom Hardy truly menacing as Bane, ensure it was a fitting end to Nolan’s Dark Knight Legend. (8.5/10)

Nathan: The Dark Knight Rises may not match the success of its predecessor but it marks a vast improvement on the first in the series, presenting a satisfying and enjoyable conclusion to one of the most acclaimed trilogies of our cinematic time. (8/10)

Markus: Filled with spectacle and a good sense of finality, The Dark Knight Rises is a solid end to Nolan’s Dark Knight trilogy. There are moments of “Eh” at a few points throughout, but overall this is a great movie. (9/10)

Angus: The Dark Knight trilogy ended with its weakest film as ‘The Dark Knight Rises’ did feel a level below Nolan’s usual standard of work. This is a fun film for sure as it is packed with some great action and moments. Tom Hardy is great as Bane, posing a true physical threat to Batman whilst being incredibly clever. However, I feel the film dips in quality after the first encounter between Batman and Bane. At this point there are many questionable and convenient moments that have many problems. However, I can’t deny that this is still a fun blockbuster to watch. (7.75/10)

QuickFire Reviews:  Ambitious, haunting yet also immensely crowd-pleasing, Rises is not quite as refined as its predecessors, but is an overly satisfying conclusion, to Nolan’s revolutionary trilogy. (8.5/10)

Ryan: Is The Dark Knight Rises a perfect film? No. In fact, it isn’t even a perfect conclusion to the trilogy. But it’s big, and big is good enough when surrounded by as many strong components as this film has. Some sloppy fight scenes and questionable plot holes aside, The Dark Knight Rises is a climactic and emotional trilogy closer, a film that coasts on its ambition and ends up as more than the sum of its parts. (9.5/10)

Interstellar (2014)

 Tom: Undeniably ambitious and impressive with its visuals and score but hindered by a cumbersome sentimentality that holds it back while it’s trying to be a big sci-fi epic. As Danny Leigh said: “like trying to land a 747 in someone’s back garden.” (7/10)

Angus: This sci-fi film really brings emotion mainly due to McConaughey’s performance and his character Coop’s relationship with his daughter Murph. This is a truly beautiful film with great sets and special effects showing how well Nolan can work with the latest technology. ‘Interstellar’ showcases Nolan’s creativity as he looks for new ways to get his ideas onto the big screen. The ending didn’t work entirely for me and I do feel that the effects overshadowed the story in this film making it weaker than most of Nolan’s previous endeavours. A film that I would definitely recommend all to watch at least once as its provides a great experience. (8.25/10)

Martin: A very ambitious film to say the least, but if anyone could pull it off, Nolan could and he did. A deeply powerful, human story at its core mixed in with the usual top calibre of performances, some truly stunning visual effects, and a spine-tingling score from Mr Hans Zimmer. (9/10)

Maddy: I was late to the Interstellar game, but oh boy was it worth the wait. I started crying about twenty minutes in & didn’t stop until long after the credits rolled – & at it’s two hour forty nine minute run time that really means something. Every single actor gives it their all, making this futuristic & unrelatable scenario absolutely emotionally touching from the get go. Matthew McConahay, Jessica Chastain & Anne Hathaway are simply phenomenal, the score is beautiful & the entire story is uniquely effecting. I can’t fault it. (10/10)

Nathan: Interstellar is a smart and engaging slice of science-fiction that unfortunately crumbles in its third act; complex ideas progress into conceited ones, twists develop unsatisfyingly, with a few uneven performances in the mix – but with Nolan at the helm, it is still worth a watch. (7.5/10)

Markus: With an almost three long hour run-time and a focus on philosophical themes, Interstellar is a movie that will test some viewers’ patience. Patient moviegoers on the other hand will be rewarded with an intriguing, if mildly up it’s own ass idea, great performances, great music, and fantastic visuals. Also, Matthew McConaughspace. (9.5/10)

QuickFire Reviews: Interstellar is wonderfully filmed, both incorporating aspects of old Hollywood genre film-making, with Nolan’s stamp of uniqueness. It loses a lot of is steam and begins to pander to the extent that I fail to call this a great movie, but it is still as well-crafted as it is ripe with gorgeous visuals and emotion. (8.5/10)

Ryan: Much like his previous film, Nolan took on a lot with Interstellar. The film’s final act will always be divisive, but I hold no restrains in admitting my love for it. The film is visually stunning, but its conclusion takes an already bold film and twists it into something staggeringly ambitious – and, in my eyes, it nails it. Interstellar is one of those films that I love – and always will love – unequivocally, but for those that really don’t get on board with it? I hear ya. Interstellar is a funny one, but it works for me. (9.5/10)

Dunkirk (2017)

Our thoughts on Dunkirk will be added to this post in the coming days, watch this space!

Now that we’ve all had our minds blown by the remarkable filmography of Christopher Nolan, how do we collectively rank his films when we average out all of our scores? Here are the results:

9. Following: 7.5

8. Insomnia: 7.9

7. The Dark Knight Rises: 8.3

6. Batman Begins: 8.5

5. Interstellar: 8.7

4. Memento: 8.75

3. The Prestige 8.8

2. Inception 9.2

 1. The Dark Knight: 9.75

And there we have it, it seems we as a team share the perspective of many a film fanatic out there, with the Dark Knight ranking as our favourite Nolan film combined. For many people, there is a belief that Nolan has not made a bad movie, and if our scores are any indication, we would also probably agree with that sentiment! How would you rank Nolan’s films? Comment below and let us know!

 Massive thanks to my awesome contributors!

Posted in 2000-2009, Film Review

Memento (2000)

Image is property of Summit Entertainment

Memento – Film Review 

Cast:  Guy Pearce, Carrie-Anne Moss, Joe Pantoliano

Director: Christopher Nolan

Synopsis: A man tries to piece together clues as to who murdered his wife, whilst trying to overcome the fact that he has short term memory loss…

Review: The conventional way of telling a story: Beginning, middle, end. It is how most movies choose to tell their story. Of course, some directors have a habit of telling their stories in not exactly the right order. But for a film to elect to tell its story from the end to the beginning, is certainly bold to say the least, and could very easily backfire. However when you have a director like Christopher Nolan at the helm, it works an absolute treat!

With a screenplay adapted from a short story written by his brother Jonathan, focusing on Leonard Shelby, a guy who suffers from short-term memory loss, with not a single recollection of what he did 5 minutes ago. He’s certain of his identity and of the fact that someone killed his wife and during that incident something happened to him that gave him his condition. Through use of Polaroid pictures and tattoos on his body, he uses these as clues to what he hopes will lead him to the answers he’s desperately seeking. With some scenes playing back to front, and others playing in chronological order, it could have ended up as one convoluted mess, but under Nolan’s expert vision, it’s not a mess, it’s mindbogglingly brilliant and, at the same time, really perplexing.

“Can’t remember if this is my car…”

The way he tells the story is certainly unconventional, but it keeps you engaged. You know how the story went from point A to point B, but watching it go from point B back to point A, is just completely riveting to watch, and very unique. The riveting story is boosted significantly by the brilliant work of the case, especially Pearce. Given that the film focuses on Leonard and his condition, it was of critical importance that the actor gave a believable performance, and that is exactly what Pearce gives, you buy into this guy and his condition, and it remains perhaps the greatest performance of his career. Carrie Anne Moss is also superb as Natalie, a woman who is helping Leonard fit together the pieces of his puzzle and there’s Joe Pantoliano’s Teddy, a man who you’re never quite sure as to what his ulterior motive is.

Whenever you watch a thriller, a twist that the audience never sees coming is so often thrown in there so it can stun the audience when the penny drops and it’s revealed. Though Nolan doesn’t give himself that chance to shock the audience, the structure of the film ensures it remains a cinematic experience unlike anything else. With an excellent score from David Julyan, this was the film that made audiences really sit up and take note of Christopher Nolan and his considerable talents, which were duly recognised with an Oscar nomination for his screenplay. And as we all well know, it certainly wasn’t the last time audiences would hear of him, not a chance.

Original storytelling, told in a very innovative manager that will keep you hooked, anchored by a superb performance from Pearce.

Posted in 2010-2019, Film Review

War for the Planet of the Apes (2017)

Image is property of 20th Century Fox and Chernin Entertainment

War for the Planet of the Apes – Film Review 

Cast:  Andy Serkis, Woody Harrelson, Steve Zahn, Karin Konoval, Terry Notary, Amiah Miller

Director: Matt Reeves

Synopsis: After the devastation caused by the skirmish between Apes and Humans, Caesar and his apes now face a new threat in the form of a vicious Colonel who’s intent on eradicating the Apes once and for all

Review: “Apes, together, strong!” These were some of the words that we saw written on one of the walls of what was once the stronghold of the colony of super-smart Apes led by Caesar. The Ape that kick-started the rise of the Ape revolution that we saw in the first chapter of this reboot. We watched in awe as he became the leader of that colony. Then came the second chapter, where Caesar saw his leadership and his ideals challenged. It was the dawn of the Ape uprising, as one ape went rogue, and things went a bit awry for mankind and ape-kind both, and the war that was triggered as a result of that conflict, is now upon us, and it ain’t pretty.

Continuing in the same vein as both Rise and Dawn, this is a very personal story for Caesar, once again voiced and mo-capped tremendously by Andy Serkis. After the events of Dawn, the actions of the mutinous Koba and the utter contempt for humanity  he had have had a lasting effect on Caesar. And when the humans and the apes clash once again, it proves to be the final straw for Caesar, and he sets out on the hunt for the vicious colonel (Harrelson) who is determined to eradicate Caesar and all of his apes, once and for all. Thus, this sets the wheels motion for another deeply personal and brilliantly told personal clash. Back once again after directing Dawn, Reeves has really showed himself to at the top of his craft, both as a writer and as a director, so it’s no wonder that he’s been handed the keys to the Batmobile.

The screenplay, co-written by Reeves and Matt Bomback, once again makes the smart decision to focus on Caesar and his apes, and their motivations for doing what they’re doing. Caesar stands out by far, but Maurice (Konoval) has a much greater role as Caesar’s most trusted adviser, and Rocket (Notary) likewise. A new addition to the Ape clan is Steve Zahn’s self named “Bad Ape” who certainly adds the humour this time around, but it’s gratefully kept to a minimum and thus it doesn’t become annoying. Dawn certainly offered plenty of exhilarating action sequences and once again Reeves delivers equally enthralling action sequences, whilst also delivering an intense psychological battle that pits Caesar against, by far the most compelling human antagonist of the franchise to date, Woody Harrelson’s Colonel, a man who is determined to ensure that humanity retains its place as the dominant species of the planet.

The CGI is once again, particularly for the Apes, is absolutely faultless. It’s so life like that once again you forget that they’re portrayed by actual actors in rather unusual suits. Though Serkis has often been overlooked for his work in these films in terms of awards recognition, he absolutely demonstrates his talents in bringing such emotional depth to a character, one who really makes the audience root for him, and want to see the obliteration of their own species. His performance is truly awards worthy, but award or not, his sterling work has ensured Caesar’s place as one of the most iconic film characters of the decade without a doubt. Michael Giacchino’s score is as you would expect, absolutely flawless.

Though there will almost certainly be more to come for this franchise, with Rise, Dawn and now War, we we have a trilogy that improves on what came before, and thus giving us one of one of the best trilogies of modern times. Apes, together, strong indeed.

The third chapter in trilogies so often disappoints, but no so here. With a thrilling personal story, combined with another excellent turn from Serkis as Caesar, to ensure that this trilogy is completed in great style, with the best film in the trilogy.