2020-2029, Film Review

Nosferatu (2024)

Posted on January 27, 2025March 18, 2025 by Martin: Through the Silver Screen

Nosferatu – Film Review

Cast: Lily-Rose Depp, Nicholas Hoult, Bill Skarsgård, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Willem Dafoe, Simon McBurney

Director: Robert Eggers

Synopsis: In 19th-century Germany, a young woman has disturbing dreams and visions of an ominous supernatural presence who becomes infatuated with her…

Review: Humanity has always been fascinated with mythical creatures, perhaps none more so than the creatures of the night known as vampires. These blood-sucking entities have sunk their teeth into and left an indelible mark on the history of cinema, going all the way back to 1922 when F. W. Murnau’s silent film Nosferatu: A Symphony of Horror was released. The first vampire film and one of the films to establish horror as a genre, its influence has stood the test of time. Yet, if ever there was one filmmaker who could reimagine this gothic nightmare for a modern audience, you would be hard-pressed to find a more suitable filmmaker for this reimagining than one of the new masters of horror in Robert Houston Eggers.

It is 1838 in the German town of Wisburg and Ellen Hutter (Depp) has married estate agent Thomas Hutter (Hoult). Thomas is tasked by his employer Herr Knock (McBurney) to travel to Transylvania to get the reclusive Count Orlok (Skarsgård) to agree to a deal that will see the Count buy a dilapidated old manor, on the promise that the completion of the deal will see Thomas gain significant monetary reward and a promotion. Upon arriving at the Count’s foreboding residence, their fateful meeting sets off a chain of events leading back to Ellen. In the absence of her husband, she has been suffering from seizures and nightmarish visions of a creature she calls “Death” incarnate, which leads the villainous Count to become obsessed with her and pine after her in a twisted attempt to cure her loneliness.

Having been in development as a passion project for Eggers since 2015, it has perhaps served him well that during the years he worked to awaken this project from the slumber of development, he has gone on to refine his craft as a new master of horror. First, he captivated audiences with his New England folk-horror story and the haunting yet darkly comedic tale of two lighthouse keepers struggling to maintain their sanity on a remote island. After taking a break from horror to dabble in Norse mythology, he has returned to familiar territory, fully in his element and ready to scare the living daylights out of the audience. His screenplay takes the bones of the 1922 film (based on Bram Stoker’s Dracula) and puts considerably more meat on them by framing the story of Orlok’s campaign of terror from Ellen’s perspective. We see from her perspective how her intense desire for companionship, even if it is from a supernatural being of any kind, and Orlok is only too happy to oblige.

Framing the story from Ellen’s perspective is a masterstroke by this masterful director, and every cast member delivers truly outstanding performances. The sheer terror of being haunted by such a frightening presence demands a powerful performance, exactly what both Lily-Rose Depp and Nicholas Hoult deliver. Depp invests everything into her role, allowing the audience to profoundly feel her dread and fear, which leads to some extremely unsettling scenes where it truly feels like she has been possessed by a supernatural entity and an immediate exorcism is required. Similarly, having to make the unsettling journey to Transylvania to deal with Orlok directly, you really feel Thomas’s absolute terror at staying in such an objectively unsettling place.

Having likely given countless people who suffer from coulrophobia with his portrayal of Pennywise, Skarsgård’s menacing performance stands an excellent chance of being one of the most unsettling horror performances ever put to film. Through a combination of incredible makeup work and an extremely sinister voice, is one you will remember for a very long time as it will chill you to your very soul. Even with a horrifying sense of dread, Dafoe, re-teaming with Eggers for the third time, once again fully understands the assignment and injects some humour into the gothic and unnerving moments.

In keeping with his earlier films, Eggers immerses the audience as if they were themselves in 19th-century Germany being haunted by this terrifying blood-sucking creature of the night. The director has explicitly said he has no desire to ever make a film in modern times, and all the better for it. Amidst incredible work from the production design and costume departments, special mention must go to returning cinematographer Jarin Blaschke. who has shot every single one of Eggers’ films, produces some of his best work here with some atmospheric and truly haunting cinematography. The scenes at the Orlok residence in particular stand out where the conniving Count is shrouded in shadow and darkness for a considerable proportion of the film. The dead of night can be a scary enough place as it is, but Blaschke’s work is so ominous and foreboding, that it may well leave you with a temporary phobia of the dark and consequently be tempted to sleep with the lights on.

Reimagining a film which has left an enduring impact on the world of film would have been a daunting task, but Eggers’ passion for the project comes through with each and every bewitching and yet simultaneously haunting frame. This new iteration of this classic tale packs plenty of bite, and by the end, will leave you no choice but to succumb to the darkness of its terrifying beauty.

With chillingly committed performances from Depp and Skarsgard, this new atmospheric incarnation of the classic vampire story will invade your nightmares as it passes into horror folklore.

2020-2029, Film Review

Beetlejuice Beetlejuice (2024)

Posted on September 6, 2024 by Martin: Through the Silver Screen

**© Warner Bros and The Geffen Company**

Beetlejuice Beetlejuice – Film Review

Cast: Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, Willem Dafoe

Director: Tim Burton

Synopsis: Decades after the events of Beetlejuice, three generations of the Deetz family return to Winter River, where a family member discovers a portal to the afterlife. This enables the return of the ghost with the most, Betelgeuse himself…

Review: In the vastly idiosyncratic filmography of Tim Burton, words like freaky, wacky, quirky, eccentric, and macabre often come to mind. Though, perhaps none captures these qualities more than the 1988’s Beetlejuice. A story about death and the afterlife had no business being as charming, bizarre and witty as it was, with a glorious scene-stealing performance from Michael Keaton as the titular character, despite only 17 minutes of screentime. An impressive achievement for what was Burton’s second feature film and represented the start of a long and lasting collaboration between Burton and Winona Ryder, including a certain Caped Crusader in the case of the former. Years after being banished to the afterlife (Betelguese, not Batman), the Juice is let loose for a legacy sequel that earns its stripes and does not deserve to be banished to purgatory forevermore.

It has been over 30 years since Lydia Deetz (Ryder) was almost married to a sleazy bio-physicist. Despite him being out of her life, Lydia is haunted by visions of the ghost with the most. A family tragedy brings Lydia, her stepmother Delia (O’Hara), and her daughter Astrid (played by Ortega) back to Winter River. During this time, Lydia attempts to reconnect with Astrid, who initially shows little interest. However, Astrid’s curiosity is piqued when she discovers an old model of the town in the attic. Their efforts to build a relationship seem to be making progress until a family member says THAT name three times, Betelgeuse is let loose on the world of the living, and he has some unfinished business to take care of.

When a significant amount of time has passed between films in a franchise, there is always the risk that the sequel will become nothing more than nostalgia bait for fans of the original and will lean too heavily into that, and forget to tell a story worth telling. A dangerous game, which this sequel thankfully is not interested in playing. In the years since, Lydia is the face of a TV show as a psychic mediator, trying to juggle a relationship with her producer Rory (Theroux), while Astrid is struggling to come to terms with the loss of her father. Meanwhile, in the land of the ghouls, Betelgeuse is up to his usual tricks in an attempt to win Lydia back, all while Dolores (Belluci) is on an intensely personal mission to track Betelgeuse down and will stop at nothing until she finds him, but not before she has to (literally) put herself back together. Burton’s gothic style is fully turned up to the maximum and he is absolutely in his element.

Speaking of people in their element, Keaton in the titular role is once again an absolute joy of chaotic energy, he slips back into that stripy suit effortlessly like he never took it off. Ryder and Ortega, the latter of whom you get the spooky sense might just be on a long journey as another frequent Burton collaborator, are a very effective pairing. Even though Astrid feels unhappiness and resentment towards her mother, they work together as schemes perpetuated by those on the other side threaten to have dire consequences for them both. Dafoe is fun, if a little underutilized as a deceased actor who really enjoyed playing a cop when he was alive. However, no one is more underserved by this sequel than Belluci. She makes her presence known with what precious little screentime and lines she has, but it is a real squandered opportunity that her backstory wasn’t further fleshed out.

Alfred Gough’s and Miles Millar’s script, from a story they wrote with Seth Grahame-Smith, strives to differentiate itself from its predecessor by spending more time in the Land of the Dead, rather than the living. As undeniably cool and enjoyable as it is to see this bizarre and unique portrayal of what life is almost certainly nothing like once we leave this mortal coil, there are so many different strands to this story at play. They have all been thrown into one big gigantic melting pot and ultimately, too many plot lines spoil the slimy afterlife broth, as it doesn’t always fully cohere and the plot becomes a little bit messy and unfocused.

Nevertheless, the film boasts immaculate production design, a preference for practical effects for as many scenes as possible, and stellar work from the hair and make-up teams. All these elements, combined with, Danny Elfman’s memorable score, give this sequel enough juice to go wild and delight and horrify the audience in equal measure. Time will tell if Burton decides to venture back into the zany world of the undead to complete the trilogy, perhaps saying Beetlejuice’s name three times will do the trick, although please do so at your own risk.

It gets a little too bogged down by too many different plotlines. However, with Burton’s commitment to practical effects, and another committed and off-the-wall performance from Keaton as the ghost with the most, Beetlejuice Beetlejuice delivers a worthy follow-up to its predecessor.

2020-2029, Film Review, London Film Festival 2023

Poor Things (2023)

Posted on January 11, 2024March 7, 2024 by Martin: Through the Silver Screen

© Searchlight Pictures, Film4, TSG Entertainment and Element Pictures

Poor Things – Film Review

Cast: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Jerrod Carmichael, Margaret Qualley, Kathryn Hunter

Director: Yorgos Lanthimos

Synopsis: In Victorian Europe, a young woman is brought back to life by an unorthodox scientist…

Review: The task of boiling down the filmography of any director to just one single word would be a challenge, to say the least. However, if one were to apply this challenge to the filmography of Yorgos Lanthimos’s career, the most suitable word would unquestionably be idiosyncratic. From the unique and absurdist romantic drama The Lobster, the unnerving psychological revenge thriller Killing of a Sacred Deer and a period drama unlike any other in The Favourite. Every time he steps behind the camera, the final product is alwas something unique, and he emphatically continues that streak with his quirkiest, funniest and quite possibly best film to date.

Set in Victorian times, after a young pregnant woman (Stone) commits suicide, the unorthodox scientist Dr Godwin Baxter (Dafoe), resurrects her by transplanting the brain of her still-born baby into her body. Now going by the name of Bella, a fully grown woman with all the behaviours and characteristics of a toddler, Bella is keen to grow and learn more about the world. However, Godwin or “God” as Bella affectionately calls him, wants to keep his Frankenstein-esque creation inside to study her. Yearning for freedom and autonomy from her “father”, she runs off with the sleazy and debauched lawyer Duncan Wedderburn (Ruffalo) where she becomes increasingly curious about the beautiful, mad and complicated world around her.

Adapted from the 1992 novel of the same name by Alasdair Gray, within the first few minutes, it becomes immediately apparent as to how perfectly suited the source material is to the Greek filmmaker’s quirky and unique style. Reuniting with Tony McNamara, who co-wrote The Favourite, the script balances the dark and let’s be honest, horrifying nature of Bella’s origin story with some of the blackest and outrageously funny humour, with some of the most hilarious euphemisms you will have ever heard. Seeing a character, essentially a child in the body of a full-grown woman, acting in the unfiltered manner she does, is uproariously entertaining.

She will blurt out anything and everything that comes to her mind, with no concept of manners or whether what she is saying is foul-mouthed or taboo while being blissfully unaware of the societal constraints that would have been expected of women at that time. As if that wasn’t hilarious enough, as her brain rapidly develops, the film gleefully extracts humour from the efforts of the men around her, particularly Wedderburn, from desperately trying to stop Bella from discovering herself. The film is unashamedly feminist and liberating in its celebration of empowerment and social discovery.

A bold and out-of-the-ordinary premise, featuring a character’s unique journey through the complexities of life could have completely fallen apart had the casting not been pitch-perfect. Fortunately, in Emma Stone’s hands, she rises to the challenge magnificently with one of the finest performances of her career, further reinforcing why she and Lanthimos have seemingly become each other’s muses. With her mannerisms and struggle to enunciate properly in the early stages, she expertly sells the early stages of Bella’s journey as a naïve and innocent soul who has effectively just been born. Furthermore, as the film progresses and her brain’s rapid development takes hold, to see her stifle the attempts of those around her to control her as she becomes her own woman who is firmly in control of her own destiny is endlessly satisfying.

Alongside Stone’s sublime leading performance, every member of this cast fully understands their assignments and are fully in tune with the film’s peculiar vibe. Having spent years as the calm and measured scientist in the MCU, who occasionally loses his cool and becomes a green rage monster, Ruffalo’s Wedderburn is worlds away from that. A slimy and rascally lawyer who seeks to use Bella as nothing more than an object to engage in sex to control his raging libido, only to become exasperated when her desires for education and discovery become too much for him to control is hilarious to watch. Meanwhile, Dafoe, who is no stranger to playing an eccentric scientist (albeit one is not quite so disfigured), is also on reliably excellent form with the screentime that he has.

Embracing the quirky madness of this dark and twisted fairytale (of sorts), Robbie Ryan’s cinematography visually dazzling blend of black-and-white and an extremely vivid colour palette, while regularly deploying fish-eye lenses (which is rather appropriate for this fish-out-of-water story) left the audience feeling disorientated through this fever dream of a journey through Victorian Europe. A journey that is beautifully complemented by Holly Waddington’s immaculate costume design and the production design by Shona Heath and James Price. The oddity of this odyssey from the perspective of one of the most unique characters will almost certainly rub some people up the wrong way. Yet, one cannot dispute that the world of Hollywood filmmaking is a better place with directors such as Lanthimos bringing one-of-a-kind films to the table, in every sense of the word.

Unabashedly bizarre and filled with riotous and offbeat dialogue, Lanthimos has made his most eccentric, darkest and funniest film yet, while getting a career-best performance from Emma Stone.

2020-2029, Film Review

The Northman (2022)

Posted on April 21, 2022 by Martin: Through the Silver Screen

**© Universal Pictures, Regency Enterprises and Perfect World Pictures**

The Northman – Film Review

Cast: Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Björk, Willem Dafoe

Director: Robert Eggers

Synopsis: A Viking Prince swears brutal revenge after witnessing his father’s death at the hands of his traitorous uncle…

Review: Over the last few years, there have been several up-and-coming directors who have made a significant impact with their careers, establishing their reputations as sought after talent, with every film they make becoming event-worthy. One such director would be Robert Eggers. His first two films, The Witch and The Lighthouse, with a combined budget of $15million, became indie darlings that were both released to critical acclaim. With that success to his name, it has given Eggers the platform to go all out, backed by a studio’s considerably larger budget (between $70 and 90 million), and make his biggest and most visually striking film to date.

Prince Amleth is a happy young Viking boy living with his father King Aurvandill (Ethan Hawke) and his mother, Queen Gudrún (Nicole Kidman). Aurvandill is aware that the time will come for Amleth to one day assume the responsibilities of King in his stead. However, before Aurvandill can properly prepare him for his role as King, Auravandill is betrayed and murdered by his brother Fjölnir (Claes Bang). Faced with the prospect of certain death at his uncle’s hands, Amleth is forced to flee but vows brutal revenge against his Uncle for his crimes. Several decades later, the now-adult Amleth (Skarsgård) has transformed into a fierce and brutal Viking warrior. Having lost sight of his original mission for vengeance, a chance meeting with a seeress (a brilliant cameo by Icelandic singer Björk), reminds him of the promise he made to himself all those years ago.

Based on the legend of Amleth, which served as the inspiration for the character of Hamlet in the famous play by Shakespeare, Eggers and the Icelandic poet and novelist Sjón, have crafted a screenplay that is so steeped in the richness of Norse mythology, that there probably could be a whole short film devoted to the extensive research that undoubtedly went into the making of the film. While it is first and foremost a tale of one man’s mission for revenge, Eggers takes a lot of time in the first act to establish the culture and the mythology that was central to the civilisation at the time, while simultaneously incorporating the visually striking aesthetics he’s renowned for. By taking his time to explore the complexities of Norse mythology, Eggers is able to immerse his audiences with scenes of wild rituals, songs and spells and sacrifices. While it is true that at its heart, the plot is very much one man’s quest for bloody revenge against the man who committed a terrible atrocity against him many years ago. However, that does the plot a disservice, as there’s so much more meat on the bones to this story.

Such a physical and brutal film requires a committed leading performance, and in Alexander Skarsgård’s leading turn as Amleth, you have that and then some. His physical transformation for this role is extremely impressive, practically at times having transformed himself into a terrifying feral creature that’s more animal than man. He’s an absolute behemoth of a warrior that you would categorically not want to find yourself in battle with. While his physical prowess cannot be denied, there’s unfortunately not a lot of room for character development, beyond his desire for revenge. The character of Fjölnir could have been a very cliched villain who commits an act of betrayal against his family out of jealousy towards his brother. But as a terrifying and ruthless antagonist, Claes Bang imbues him with nuances and motivations that flesh him out.

Re-teaming with Eggers, after The Witch, Anya Taylor-Joy’s Olga is perhaps the character who is given the most development as the sorceress Olga. A witch who’s resourceful and with a cunning intellect, she works closely with Amleth to help him achieve his goal. A further reunion comes in the form of Willem Dafoe, who is clearly having a riot in his small but significant role of Helmir the Fool. Given she’s reduced to a cameo appearance in the first two acts, you’d have been forgiven for forgetting Kidman was even in the film at all. However, this all dramatically changes as she really stamps her authority onto the scene during the climactic third act.

As this is a tale about vengeance, some violence was inevitable, but this time around, Eggers holds nothing back. The violence is uncompromisingly brutal that will test even the strongest of stomachs. The thrum of the booming drums that make up a considerable chunk of the score is the perfect complement to the sweeping visual majesty of the rip-roaring spectacle. Even with one or two pacing issues in and around the middle, it’s not enough to drag down the sheer epicness of what Eggers brings to this tale. Into the halls of Valhalla, we go!

Bloody, ferocious and wildly entertaining, with an exceptional cast and an extraordinarily committed leading performance from Skarsgård, an ascension into the halls of the greatest revenge films of all time awaits.

2020-2029, Film Review

Spider-Man: No Way Home (2021)

Posted on December 30, 2021January 1, 2022 by Martin: Through the Silver Screen

**© Marvel Studios, Sony and Columbia Pictures**

Spider-Man: No Way Home – Film Review

Cast: Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Marisa Tomei, J. B. Smoove, Benedict Wong, Jamie Foxx, Alfred Molina, Willem Dafoe

Director: Jon Watts

Synopsis: After his identity is revealed to the world, Peter Parker asks for the help of Doctor Strange in a desperate attempt to make everyone forget he is Spider-Man…

This review will be 100% spoiler-free…

Review: Back in 2019, when Marvel Studios released Avengers: Endgame to the world, it was the crowning and unprecedented achievement of a decade-long cinematic adventure. Unlike anything that had ever been accomplished before in cinematic history it broke box office records, and – for a time – held the title of the highest-grossing film of all time. After the conclusion of that thrilling journey, Marvel would have been forgiven for spending five or so years to take stock of what they’ve achieved. The pandemic might have forced them to wait a bit, but this year Marvel have gone full steam ahead with the continuation of their Cinematic Universe. Phase 4 is beginning to take shape, and now, perhaps the biggest film of this phase thus far, and certainly the biggest since Endgame, has arrived.

Set immediately after the events of Spider-Man: Far From Home, Spider-Man’s identity has, thanks to Quentin Beck/Mysterio been revealed to the world. Consequently, Peter’s whole life has been turned upside down. With his identity now a known fact, it’s having an adverse impact on the lives of his family and friends as well. Desperate for help, he turns to Doctor Strange and asks him to cast a spell that makes the world forget his secret identity. However, when Peter attempts to tamper with the spell, it goes horribly wrong and unleashes the Multiverse, as hinted at in Disney+’s Loki. The Multiverse is something that they know, as Strange puts it, “frighteningly little about.” The corrupted spell causes strange visitors and foes from different universes to arrive in our world, and it’s up to Peter to stop them and send them back to their own realities.

After two MCU Spider-Man films that very much dealt with the impact that Tony Stark/Iron Man had on Peter Parker and his early career as everyone’s friendly neighbourhood Spider-Man, this concluding chapter is a welcome departure from that. With Iron Man having passed on, it’s left Peter Parker with no choice but to grow up, stand on his own two feet and wrestle with the fallout from his identity being revealed. Though that’s all with the help of a certain magic Sorcerer, who thankfully is not predictably stepping up to the mentor void left by Iron Man. Tom Holland has proven himself to be a fan favourite in this role with his numerous appearances across the MCU, but it’s here which he gives his absolute best performance. Being the hero that he is, there’s a lot resting on his shoulders, to save the world and to also protect those he cares about from being harmed by his mistakes.

Having seen a previous, and beautifully animated, Spider-Man film brilliantly using the concept of a Multiverse; screenwriters Chris McKenna and Erik Sommers had the unenviable task of adapting the Multiverse into this iteration of the character. They also had to make this third MCU Spider-Man film live up to the lofty expectations that fans had hoisted upon the film from its announcement. Depending on what you have seen in the build-up to the film, it may or may not live up to those expectations. The first act is a little rough to start off with, but once we get to the tampered spell, and the opening up of the multiverse the film finds its feet. Previous Spidey films have often been left to rue their mistakes when one too many villains get dragged into the picture, and the plot as a result gets severely messy. Thankfully, lightning doesn’t strike twice – or perhaps thrice – here as director Jon Watts is able to weave all these threads into a satisfying narrative that never feels as bloated as a Russian rhinoceros.

It would be easy to see this film as nothing more than just an enormous helping of fan service. While it is most certainly true in that regard, it does definitely have its moments that will undoubtedly please long-time fans of this character. However, it doesn’t negate what matters most to the character of Peter Parker, and the core values that the revered hero stands for. The character is one that has been a favourite for generations of comic book fans and thanks to our friendly neighbourhood Spider-Man, Phase 4 of the MCU has now opened the multiverse good and proper, and the possibilities that brings are plentiful and very very fantastic.

Juggling a lot of different plot webs has proven to be a stumbling block before, but with a career-best performance from Holland and an excellent cast of supporting characters, this Spider-Man threequel triumphantly swings its way to success.

2010-2019, Film Review, London Film Festival 2019

The Lighthouse (2019)

Posted on October 7, 2019March 4, 2025 by Martin: Through the Silver Screen

**Image is property of A24, Focus Features and Regency Enterprises**

The Lighthouse – Film Review

Cast: Robert Pattinson, Willem Dafoe

Director: Robert Eggers

Synopsis: Tasked with maintaining a lighthouse on a remote island, two lighthouse keepers find themselves in an increasingly desolate existence, desperately striving to maintain their sanity…

Review: How would you cope with the unforgiving isolation of living and working on such a small patch of land? With day after day of heavy, exhausting work in the most brutal, relentless weather conditions? Granted, the wonder of modern technology would make that situation in today’s world much less depressing. However, for the two souls at the heart of this barmy tale from Robert Eggers, with no such technology at their disposal, it will be the ultimate psychological battle to keep their composure, and sanity in one piece.

Set on a remote and desolate New England island in the 1890s, after an introduction that establishes an extremely ominous and tense atmosphere. The two, initially nameless, lighthouse keepers (Pattinson and Dafoe) are tasked with the maintenance and upkeep of the lighthouse. As their assignment begins, the brutality and unforgiving nature of their living conditions begin to take an extremely heavy toll on both men. The longer that they spend on the island with no other company but each other’s, the more the two of them find themselves being driven slowly to the brink of madness.

After unsettling audiences with The Witch, Robert Eggers continues that streak with another deeply unnerving psychological drama. By shooting in a 4:3 ratio, in black and white, he enhances the feeling of dread and suspense that builds from the very first shot and continues to linger, like a pesky seagull that’s got its eyes on your food and refuses to leave you alone. The extremely ominous score enhances that feeling of everlasting dread, as these two men are put through the most intense psychological test. With Jarin Blaschke’s portentous cinematography, Eggers’s direction is masterful. The way he chooses to position the camera, and with some of his directorial choices, there’s a foreboding, sinister atmosphere that is maintained right throughout the film.

Given their immense talent as actors, it should come as no surprise that Robert Pattinson and Willem Dafoe give hypnotically magnificent performances. The relationship between them starts off on good terms and there’s a mutual respect. However, this doesn’t last as with each passing day of their solitude, it all begins to unravel. As both of them appear to be hiding something from the other, they both try to maintain their composure and sanity, all the while the distrust threatens to erupt into violence. The film screams volumes about themes of isolationism, and loneliness, and conveys them in an extremely unique manner. The tension builds to such a frightening extent that you could probably cut it with the bluntest of knives. With a script co-written by Eggers and his brother Max, there’s certainly an idiosyncratic factor to the events that unfold. Though while these may provoke emotions ranging from awe to dread, the magnetic performances will keep your attention on the screen.

Some of the actions depicted on screen will likely make you laugh, or wince in horror, or maybe a combination of the two. Furthermore, with undertones of a not-very-subtle nature, this film is most assuredly not for everyone. While the dialogue can be quite tricky to understand in places, Eggers has crafted a film that’s wholly original and extremely unique in terms of its production. With only his second feature film, along with the likes of Ari Aster and Jordan Peele, Eggers has firmly stamped his mark on the horror genre, whilst simultaneously ensuring that any job applications for a vacant lighthouse keeper position may potentially diminish as a result.

Brooding and uncompromising, with sublime direction from Eggers, and a pair of magnetic performances from the Pattinson and Dafoe, The Lighthouse is a film you definitely won’t forget in a hurry.

2010-2019, Film Feature

91st Academy Awards Predictions: Lead and Supporting Actor

Posted on February 24, 2019February 24, 2019 by Martin: Through the Silver Screen

Hollywood’s biggest night is upon us once again, and I have teamed up with a group of awesome fellow film bloggers as we try and foresee the future by predicting who will be triumphant by the time the 91st Academy Awards have come to a close. I will be discussing the ten gentlemen who are up for both Actor in a Leading Role and Actor in a Supporting Role. As always, there are some magnificent performances, but there can only be one winner in each category. Let’s get started with:

Best Actor in a Leading Role

Christian Bale – Vice

Last year’s winner of this award Gary Oldman totally transformed himself via a great heap of make-up into Winston Churchill, and it paid dividends. This year we have fellow Brit Christian Bale disappearing under a lot of make up to transform him into the most powerful Vice President the US has ever had. It helps to add authenticity to Bale’s performance, it’s just a pity then that the film around him is very vulgar and put together in a way that will piss people off. The Academy does love a good transformation though, so Bale might yet take home his second Oscar *shudders at thought*.

Bradley Cooper – A Star Is Born

This is Bradley Cooper’s fourth acting Oscar nomination (seven if you count the other awards he’s up for), and honestly he is the man who should be winning that statue. For a film in which he does just about every job going (acting, singing, writing and directing) it’s honestly Cooper’s best performance of his career so far. He clearly is a guy who is battling some fierce personal demons, but watching him connect with Lady Gaga’s upcoming musician is just so touching and heart-warming, which all comes to a crescendo when the duo first perform “Shallow” together. It is just beautiful and so deserving of an award.

Willem Dafoe – At Eternity’s Gate

Regrettably since this film has not arrived on UK shores, I cannot comment on this performance. While I have no doubt that an actor of Dafoe’s talents gave a great performance, the Academy really should have nominated John David Washington for his performance in BlacKkKlansman.

Rami Malek – Bohemian Rhapsody

While my heart wills it to be a triumph for Cooper, it seems almost certain that the next recipient of this award will be Rami Malek for his remarkable performance as the iconic frontman of the legendary Queen, the one and only Freddie Mercury. It is quite the transformative performance as Malek practically becomes Freddie Mercury. His performance is one of the factors that really elevates the movie, given that as far as biopics go, it is pretty by the numbers. What stands out by far, is the final 20 minutes or so which brings to life Queen’s Live Aid show, and though the rest of the film is fine, this is by far and away, the highlight.

Viggo Mortensen – Green Book

A far cry from his work in Lord of the Rings, but it shows the incredible versatility of Viggo Mortensen that he can go from the badass Aragorn, to the brass and vulgar Tony Lip, and do such a sterling job with both of them. He is very much the opposite of Mahershala Ali’s Dr Shirley but through spending a lot of time together, the two men develop a solid friendship that really drives the film forward. Though it was a bit simplistic in how it handled some of the subject matter, it was heart-warming to watch him connect with Mahershala Ali’s Dr Shirley and stick up for him during their travels in the hostile Deep South.

Will win: Rami Malek

Should win: Bradley Cooper

Here’s what everyone else had to say:

Maddy: @madelexne:

“The big fight this awards season seems to have been between Rami Malek and Christian Bale, but I would love for it to go to Bradley Cooper. Though I maintain the fact that Malek’s performance was the one good thing in the mess that was Bohemian Rhapsody and wouldn’t feel it was a wrongful win; I just can’t stop thinking back to Cooper’s performance in A Star is Born. There are at least five stand out scenes from the film I can remember from him, and it only gets more impressive with time.”

Nathan: @__Nathan

“When you consider that the best leading actor performance – Ryan Gosling in First Man – was snubbed, it only seeks to emphasise what a lacklustre line-up this really is. Of those nominated, Bradley Cooper should have walked this thing but two *ahem* shallow, vapid and flashy imitations turns are duping it out instead: Rami Malek will take it over Christian Bale, because the Academy can’t resist a transformation – and the man knows how to work a room.”

Plain, Simple Tom: @PlainSimpleTom

“A strong year for the leading men, Rami Malek looks to be the favourite to win this year for his powerful and memorable performance in the otherwise average “Bohemian Rhapsody”. And he deserves it, in spite of the harsh treatment that he seems to be enduring on Twitter. I’d say that Bradley Cooper is the most deserving nominee – for giving us a truly compelling and flawed character as well as singing and playing music like a pro, all the while directing the whole shebang. Christian Bale could also be in with a chance for his transformative turn in “Vice”, Viggo Mortensen sure was entertaining in “Green Book” but he won’t win, and Willem Dafoe is the least likely to win the big prize – I mean, had anyone even heard of “At Eternity’s Gate” before the nominations were announced?”

Ryan @morris_movies:

“In what can only be described as the category’s weakest lineup in years, the Best Actor race has staggered its way to a frustrating, underwhelming finale. Rami Malek looks poised to take the statue home with him for his middling, impressionistic performance in Bryan Singer’s Bohemian Rhapsody despite Bradley Cooper giving a soulful, career best performance in his own A Star Is Born. It’s an anger-inducing category for a number of reasons this year, but perhaps in no way more so than Ryan Gosling’s lack of inclusion. His performance in First Man is blunt and subdued, sure, but filled with quiet heart and pent up emotion. He should be winning the statue, but instead he isn’t even in contention for it.”

——————————————————————

Best Actor in a Supporting Role

Mahershala Ali – Green Book

Having won this award for Moonlight a couple of years ago, Ali is in contention once again and very much the front runner to scoop his second statue in three years. His performance in Green Book was certainly one of the highlights of the film. He plays a very refined gentleman who is accompanied in a journey across the Deep South by Viggo Mortensen’s Tony Lip. Watching these two men, very much polar opposites form a friendship in the very harsh Deep South was heart-warming and Ali showed why he’s likely to become a two time Oscar winner with this emotional performance.

Adam Driver – BlacKkKlansman

My personal choice for the winner of this award. It’s honestly about damn time an actor of Driver’s immense talents was recognised with an Oscar nomination. Aside from crushing it in the new Star Wars franchise, he’s been superb and has worked with such directors as Martin Scorsese and now Spike Lee. His performance as a cop who becomes part of this mission to infiltrate the KKK gave Driver the chance to demonstrate his serious acting chops, whilst also showing off his comedic ones, and he pulls off both aspects of this role brilliantly.

Sam Elliott – A Star Is Born

Much like Driver, this is also Elliott’s first Oscar nomination, which is crazy when you think about how long he has been working in the business, but better late than never I suppose. As the brother to Bradley Cooper’s fading rock star, though he is a tad hard to understand in places at least to my ears, there are one or two moments in particular that just hit you like a ton of bricks (case in point, the driveway scene). You really feel the love he has for his brother and it just makes it all the more tragic given what happens in the end.

Richard E. Grant – Can You Ever Forgive Me?

If you haven’t fallen in love with this guy’s infectious joy across this Oscar campaign, I must ask you, do you not like joy or something? Another first time nominee, and I think many people would love to see this guy triumph. As Sam Hock, he plays a misfit like Melissa McCarthy’s Lee Israel, and watching these two get up to all sorts of mischief, and have a bundle of fun whilst doing so is just uproariously entertaining. Being a fellow Brit I would love to see him win, but I sadly just don’t see it happening.

Sam Rockwell – Vice

The recipient of this award last year, but Sam Rockwell is unlikely to make it two consecutive wins on the bounce. He’s without question, a good actor as he demonstrated last year, but his inclusion here is just baffling to be honest. He wasn’t in the film all that much from what I can recall (to be honest my brain has pushed out 75% of this film) but there were other performances that were far more worthy of recognition that should have been nominated in Rockwell’s place in all honesty, gentlemen such as Daniel Kaluuya (Widows) or Brian Tyree Henry (Widows/If Beale Street Could Talk) gave, in my opinion, far more award worthy performances.

Will win: Mahershala Ali

Should win: Adam Driver or Richard E Grant

Here’s what everyone else had to say:

Maddy:

“I desperately want Richard E. Grant to win for Can You Ever Forgiver Me? Yes, Mahershala Ali is the coolest person to walk this Earth, we have all established that; but Grant was electric in his role as Jack and poured so much charisma and simultaneous awfulness into the character that I really would punch the air if he won.”

Nathan:

“Despite some category fraud at hand, Mahershala Ali seems nailed on to take Supporting Actor. It’s no doubt a good performance and arguably the film’s strongest element, yet Richard E. Grant’s extraordinary performance as Jack Hock in Can You Ever Forgive Me? is an exemplary masterclass on what it takes to give a SUPPORTING performance. He impressively blends humour with pathos with incredible results, enhancing the work of others while standing out in his own right. He deserves every award for his work in this film (and for being the most joyous thing about this tumultuous award season).”

Ryan:

“It’s a stronger lineup than its Leading Role counterpart, but Supporting Actor still comes with its own quibbles and frustrations this year. Mahershala Ali is probably walking home victorious with his second Oscar in a matter of years, and despite his performance being the highlight of Green Book, it’s difficult not to look for a stronger winner elsewhere. Richard E. Grant is probably most deserving, for his funny, moving performance in Marielle Heller’s Can You Ever Forgive Me?, and Adam Driver made a big impression in Spike Lee’s BlacKkKlansman. Still, at least when Ali wins it’ll be for a genuinely good performance. That’s more than we can say for Lead Actor this year, unfortunately.”

Please find the links below to the other pieces written by these awesome film bloggers:

Maddy on Best Actress
Plain, Simple Tom on Best Supporting Actress.
Markus on Score/Original Song.
Nathan and Ryan on Original and Adapted Screenplay
Nathan’s Best Picture ranking
My Best Picture ranking

2010-2019, Film Review

Aquaman (2018)

Posted on December 19, 2018December 19, 2018 by Martin: Through the Silver Screen

**Image is property of Warner Bros and DC**

Aquaman – Film Review

Cast: Jason Momoa, Amber Heard, Patrick Wilson, Willem Dafoe, Dolph Lundgren, Yahya Abdul-Mateen II, Nicole Kidman, Temuera Morrison

Directors: James Wan

Synopsis: When the world of Atlantis seeks to declare war on the surface, the half human/half Atlantean Arthur Curry (Momoa) must confront his half-brother King Orm (Wilson) to save humanity…

Review: It would be far to say that it has not been plain sailing for the DC Extended Universe up until this point. Though it started promisingly, their big budget flagship team-ups ultimately fizzled into mediocrity and disappointment. If a certain Amazonian Warrior hadn’t restored some pride, this fledgling universe might have been perilously close to suffering from an early demise. However, the DCEU is here to stay at least for now, and it is the turn of ~~Khal Drogo~~ Arthur Curry to get the solo movie treatment.

Much like Wonder Woman before him, Aquaman’s solo film jumps about in time as we watch the meeting of his parents, Queen Atlanna (Kidman) and his lighthouse keeper father Thomas (Morrison), and how two beings of two separate worlds brought Arthur into existence. In the wake of the events of Justice League, a visit from Mera (Heard) a resident of Atlantis informs Arthur of his half brother’s plan to bring a war to those of us who dwell on the surface, and how Arthur must take his place as King in order to prevent this coming conflict. If this sounds kinda familiar, it might be because a little film called Black Panther had a strikingly similar plot, except this time around, the hero and the antagonist have swapped roles.

Carrying on from where he left off in Justice League, Momoa is excellent as Aquaman. His charisma and just sheer badassery just makes watching him so effortlessly enjoyable. Amber Heard as Mera also gets a lot more screen time as both she and Aquaman go on their merry adventure to retrieve something that they believe will be of immense importance for the upcoming conflict. Try as they might, unfortunately their chemistry just doesn’t flow. The screenplay is scattershot and completely all over the place, with some very wishy-washy dialogue. With so many different subplots going on, keeping up with it all can feel a bit exhausting, a little bit of refining would have been most welcome. Furthermore, while certain arcs are interesting enough, they definitely could have been removed from the film.

The film’s strengths really lie in the action scenes. Director James Wan brings a real visual swagger to them, and Rupert Gregson Williams’s score helps keep the film moving briskly along. For all the criticisms that have been hurled at previous DCEU films for being devoid of colour, Wan and his DP Don Burgess don’t hold back, ensuring that each frame is truly awash with colour and vibrancy. As well as being awash with colour, there’s a fair bit of CGI, which considering half the film takes place in a world under the see, isn’t that surprising. But damn, if Atlantis was a real place, you know you would just want to visit it.

The battle scenes feel a bit ridiculous at times, but sometimes you just gotta let it slide and sit back and enjoy the ride. Also, this is the second superhero film this year, featuring an animal performing a drum solo. Not sure when, or if this has become a thing, but if it has, then absolutely no arguments. For all the dour of some of the previous instalments, the fun factor is turned up to the maximum right from the off, and just about manages to keep that going right throughout its somewhat bloated run time. The DCEU hasn’t quite been the tidal wave of success the studio, and the fans would have wanted, but with this solid entry under its trident, the tide could hopefully be turning for DC.

Beset by a messy screenplay that could have sunk the whole project, Wan’s confident direction, a reliable lead performance from Momoa, and some bonkers action keeps it all afloat.

2000-2009, Film Review

Spider-Man (2002)

Posted on June 27, 2017 by Martin: Through the Silver Screen

**Image is property of Columbia Pictures and Marvel**

Spider-Man Film Review

Cast: Tobey Maguire, Kirsten Dunst, James Franco, Willem Dafoe, Rosemary Harris, Cliff Robertson, J.K. Simmons

Director: Sam Raimi

Synopsis: When a high school student called Peter Parker gets bitten by a radioactive spider and gains spider like powers, he becomes a super hero and adopts the identity of Spider-Man and fights crime in New York City.

Review: If you ask someone to name a popular superhero, chances are good that one of the ones they will mention would be that of the wall crawling superhero, otherwise known as Spider-Man. Right from his inception in 1962, to today, he has become a very popular character, and is indeed a fan favourite for many. The late 70s/early 80s saw a number of made-for-TV movies bring him to life, but after a two decade absence, he was finally brought to the big screen in 2002, and he certainly made an almighty impression.

Charting his origin story, we meet Peter Parker, a nerd in every sense of the word who happens to live next door to the girl who he has an immense crush on, Mary Jane Watson (Dunst). Whilst on a school trip Peter gets bitten by a radioactive spider, which coincidentally gives him spider-like powers and enhanced strength and speed. Emboldened by his new abilities, he goes on a quest to win MJ’s heart, but this quest leads to the callous murder of someone very close to him (you know who!) and this prompts him to become the titular hero and protect the Big Apple.

**Certainly got a great view from up here!**

Whenever you make a superhero film, it’s of paramount importance that you make the hero likeable and someone the audience can root for, and Tobey Maguire as Parker does just that. He’s a bit of a dork, but he’s a lovable dork, and when he becomes the wall-crawling hero, he really bosses it and gives a terrific dual performance. as Peter’s two best friends Kirsten Dunst and James Franco are excellent as Harry Osborn and Mary Jane, even if they were a little old to be playing high school students. On the flip side Willem Dafoe is also tremendous as Harry’s father Norman, and much like Maguire, also gives an excellent dual performance as the villainous Green Goblin, and yes, the great J.K Simmons as J Jonah Jameson, is one of the best casting choices for a comic book movie, ever.

Having been a fan of the comic book, Sam Raimi was brought on to helm the project and he certainly does a terrific job. With experienced screenwriter David Koepp, the story is told in a very entertaining way. It’s humorous when it wants to be so and when it wants to be dark, it manages to completely flip that humorous tone on its head, and does so very successfully. There are more than a few scenes that really REALLY push the boundaries of its 12 rating. The action is directed masterfully too, when Spidey and the Goblin are throwing punches, or spinning webs, it’s really gripping to watch, and their final battle, is dark, psychological, mesmerising entertainment.

Though there are a few things such Goblin’s suit that can be a little bit irksome (we can see your mouth move mate!) Furthermore, certain sections of dialogue, particularly the scenes with MJ and Peter, are perhaps a little bit too cheesy. Overall, the journey to bring a live action iteration of the character to the big screen paid off enormously, and perhaps it paved the way for the dominance of superhero films that started towards the later half of the 2000s and continued well into the 2010s. With Danny Elfman’s majestic score to boot, the immortal words of Uncle Ben certainly ring true, “with great power comes great responsibility,” and with the power that was placed in Raimi’s hands, he undoubtedly delivered the goods.

Delightful blockbuster entertainment at its best with a likeable protagonist, a menacing and deeply troubled antagonist and brilliantly weaved action sequences.

2010-2019, Film Review

John Wick (2015)

Posted on February 9, 2017June 10, 2025 by Martin: Through the Silver Screen

John Wick – Film Review

Cast: Keanu Reeves, Alfie Allen, Michael Nvqist, Adrianne Palicki, Bridget Moynahan, Dean Winters, Ian McShane, John Leguizamo, Willem Dafoe

Directors: Chad Stahelski and David Leitch

Synopsis: John Wick is a former hitman who after falling in love seeks to leave the profession behind. After a brutal attack by some gangsters that takes those closest to him, he decides to suit up and take revenge.

Review: Cinema is not exactly short of complete badasses who can and will come after you, and kill you without mercy should you mess with them. The likes of James Bond, Ethan Hunt and Jason Bourne, or the Bride from the Kill Bill movies are a few names that might come to mind. Yet back in 2015, another name was added to that list of characters, who you dare not cross, this man’s name, is John Wick. Cross him at your peril, especially if you harm his pets, as he will rain a few hundred bullets in your direction.

john wick

Keanu Reeves is no stranger to the action genre, what with The Matrix being arguably the most notable thing on his CV to date, and he’s a fitting choice to play this awesome badass hitman. He handles the stunts superbly well and as a protagonist, you just want to root for him and see him waste the bad guys. And, for first-time directors Chad Stahelski and David Leitch, themselves former stunt men, they know and fully understand that you came here to see Wick waste some bad guys, and they certainly deliver the goods. The action is directed superbly well, and the stunt work is faultless. What’s more, there’s no shaky camera work of any kind. It’s all in the frame and all there for you to watch in all of its bloody glory as the bodies pile up.

Visually, the film is super stylish and everything is very well made, the lighting in some scenes is exquisite and it is edited together seamlessly. It is gripping stuff to watch, even if certain aspects of the plot are so paper-thin. This is not an in-depth character study, this is just a good old-fashioned action flick, in which you throw popcorn in your face and enjoy the action. That being said, besides Wick, there’s not a great deal of character development, and there definitely could have been some more meat on the bones of these characters, their motivations, and why they do what they do.

The acting is functional from everyone involved except for Keanu of course, who stands out as a cut above the rest, as he should. But again, this is no Oscar-bait movie driven by its screenplay, this is not what you came for. You come to see one man fight bad guys, and that is what you get. What’s more, with this fantastic introduction to this sort of hitmen underworld of hitmen hotels, bars and doctors etc might all sound ridiculous and dumb, but it most certainly is not! With Stahelski returning for the movie’s sequel and Leitch going off to direct the sequel to Deadpool, there’s plenty more to come from these two, and plenty more from Mr Wick too!