The Fugitive review

 Number 505 on the top 1000 films of all time is the action-thriller 'The Fugitive.'

The Fugitive is based on the famous TV show of the same name. It tells the story of respected Chicago surgeon Dr Richard Kimble (Harrison Ford) who is sentenced to death for the murder of his wife, despite protesting his innocence. He escapes from custody and aims to prove his innocence while evading recapture by US Marshal Sam Gerard (Tommy Lee Jones.) Joe Pantoliano and Julianne Moore co-star.

At the 1993 Academy Awards, Tommy Lee Jones controversially won Best Supporting Actor Oscar. He beat out the likes of Leonardo Dicaprio for What's Eating Gilbert Grape, Pete Poselthwaite for in the Name of the Father, Ralph Fiennes for Schindler's List and John Malkovich for In the Line of Fire - with Fiennes being a shoe-in for the award. Having seen all but Malkovich's performance, I agree that the controversy was justified. Any one of the other actors would have been justified in winning the award.

Tommy Lee Jones was certainly a charismatic and entertaining presence as Sam Gerard. Was he Oscar-worthy? Absolutely not.

If anybody did deserve an Oscar nod, it would have been Harrison Ford who was great as the leading man Dr Richard Kimble. Yet despite the emotional pathos he brought to the role, he wasn't even nominated. It was a great shame, as I'm tempted to call it some of his best work. Unlike Star Wars, Indiana Jones or Blade Runner, where he played a roguish hero, Dr Ricard Kimble was an everyman.

Speaking of a shame, Julianne Moore was largely wasted in a supporting role. She plays a doctor in the hospital where Kimble hides as a fugitive. He pretends to be a janitor there. Despite scenes being shot giving her a much larger role including being Kimble's new love interest, these were eventually cut.

While we're talking about supporting actors, I've yet to see Joe Pantoliano in a leading man role. He plays supporting characters like the police detective here with so much gusto and energy. It's a shame he's always relegated to the supporting cast.

Questionable editing choices aside, I did enjoy the Fugitive. Granted, it was pure nonsense especially with Kimble surviving his jump from the dam, I was willing to suspend my disbelief. It helped that you could see it was so obviously a dummy. Maybe there were some Tommy Lee Jones' fans adamant that he was fully deserving of his Oscar, to quote Sam Gerard: "I don't care."

The Longest Day review

 Number 494 on the top 1000 films of all time is the epic historical war-drama 'The Longest Day.'

The Longest Day tells the dramatic story of the invasion of Dunkirk told from the perspective both the Allies and the Germans. It has a large ensemble cast with a whole host of famous stars like John Wayne, Henry Fonda, Sean Connery, Richard Burton, Robert Mitchum, Rod Steiger, Robert Wagner and Paul Anka.

There is no denying the the technical prowess behind The Longest Day. Shot as a docudrama, director Daryl F Zanuck deliberately chose a black-and-white colour scheme so he could really zero into the human element of the war. 

His cinematographers Jean Bourgoin and Walter Wottiz went onto the Best Cinematography Oscar for black and white. Znuck's special effects team led by Robert Macdonald and Jacques Maumont also won for Best Special effects. Neither of these were a surprise as the film was gripping from the outset, making a two and a half World War Two epic, a fast-paced thrilling watch. No doubt 'The Longest Day' influenced subsequent WW dramatisations like Saving Private Ryan, Dunkirk or Band of Brothers.

However, while the film looked great on-screen and was technically proficient, it fell down on its character work. Like I said, it had a massive supporting cast with many of its actors like Mitchum, Connery, Fonda and Burton being rendered to mere cameos. It was less immersing yourself in a different world and more spot the famous face. There wasn't a single protagonist or protagonists that you could follow throughout the film.

Nonetheless, the Longest Day was an entertaining dramatisation of one of the most important moments of not just World War Two, but world history.

Panic Room review

Panic Room does not feature on any iteration of the top 1000 films of all time. However, as I watched it recently, I'm giving my views nonetheless.

Recently divorced mother Meg Altman (Jodie Foster) and her diabetic daughter (Sarah) have just moved into a new four-storey house in New York City's Upper West Side. The house has its own panic room. After Meg and Sarah are invaded by a trio of burglars the ring-leader Junior (Jared Leto,) the psychotic Raoul (Dwight Yoakam) and the more compassionate Burnham (Forest Whitaker,) mother and daughter take shelter in the panic room. However, that's exactly where the home invaders want to be too.

Panic Room was David Fincher's fifth full-length directorial film. He is well-represented on the 2024 edition of the top 1000 films of all time with 8/12 of his films being featured on there. It's no surprise Alien 3 isn't on the list - maybe it would be on a list of the 1000 worsen films of all time. And perhaps Mank and the Killer are too modern to be featured. But it was a surprise that Panic Room didn't make it onto the list. Don't ask me how the mind of an IMDB audience works, but they obviously love Fincher as the majority of his films make some appearance on this list.

Panic Room had all the hallmarks of your classic Fincher thriller including low lighting, tight camera angles and morally grey characters. It also had a rousing score by frequent collaborator Howard Shore. However, what separated Panic Room from other Fincher thrillers was its sense of claustrophobia. Much of the film takes place in the Altman's panic room meaning you feel every second of its stuffy atmosphere.

 Having been exhausted by the multiple sets on Fight Club, Fincher wanted to direct something far simpler and more pared down. Considering the multiple production issues he had including Jodie Foster being a last-minute replacement for Nicole Kidman (who still appears in a tiny voiceover role) or having to reshoot some of the film with Foster returning on maternity leave, I'm not sure whether this production was much simpler for him really.

Regardless of the simplicity of the shoot, I still thought Panic Room was an entertaining film. It might have lacked some of the social commentary of his most famous film Fight Club or the gore of Se7en, but it had a cracking cast. Jodie Foster, Jared Leto, Nicole Kidman and Forest Whitaker share four acting Oscars between them while Kristen Stewart is also Oscar-nominated. This was only her third film, but proved to be her breakout role. 

Jared Leto brought a great manic energy to Junior who desperately tries to keep control while his well-thought strategy to rob the panic room crumbles around him. He contrasted well with the more calm and controlled Forest Whitaker. However, I think the dark horse of the three was the psychotic Dwight Yoakam who brought a scarily calm energy to the role of Raoul. Although Yoakam is better known as a country music singer this was definitely not his first rodeo as he starred in the earlier 1996 film Sling Blade.

True, as the film progresses, it goes get slightly more absurd eventually concluding in an anti-climatic disappointing ending. 

*spoilers to follow*

Having spent much of the film locked up in the panic room with minimal mobile phone signal, Meg finally gets through to 911 only for them to put her on hold, which rather beggared belief. This was a plot point a bit too fantastical to really believe. In the final confrontation between Meg, Sarah and Raoul, it isn't the women who kill Raoul, but Burnham who has a change of heart. 

This change of heart means he is inevitably caught by the police. Right at the start, it was established that Burnham was the most compassionate of the three burglars due to his outright declaration of not wanting to kill anybody, so I guess I could buy him coming back to save the women. However, Panic Room received a lot of critical praise for its feminist themes - much of the film prior to the climax shows the female Meg and Sarah outsmarting the male burglars yet they were ultimately saved by a man - Burnham. 

True, it might be unlikely for a mother and twelve-year-old girl to overpower a murderous man like Raoul, but we already saw Meg's intelligence. I would have been willing to suspend my disbelief to have seen her fatally outsmart Raoul. While Sarah was attacking Raoul from behind, perhaps Meg could have found the wherewithal to have picked up Raoul's gun and shoot him. To not have done so, slightly countermanded the feminist messaging. But maybe I'm looking too much into it.

The film ultimately ends on a bit of damp squib with Meg and Sarah discussing new places to live. Perhaps this is what stopped it from featuring on the top 1000 films of all time - that and all the unnecessary slow-motion. 

Although it didn't earn its place on the top 1000 films of all time, Panic Room was still an entertaining and thrilling film to watch. 

Saving Mr Banks review

 Number 488 on the top 1000 films of all time is the biographical drama 'Saving Mr Banks.'

Saving Mr Banks tells the true story of famed Mary Poppins author P.L Travers (Emma Thompson) in the latter stages of her career. Resisting Walt Disney's (Tom Hanks) requests to turn the Mary Poppins books into films for years, Travers finally relents after her dire finances are revealed. She travels to LA to oversee the process. Flashbacks also show her childhood growing up in Australia as well as her troubled relationship with her alcoholic father Travers Goff (Colin Farrell.) B.J Novak, Jason Schwartzman, Paul Giamatti and Ruth Wilson co-star.

As I'm sure sick of hearing by now, I am generally not a fan of biopics or period dramas. This is particularly true of films like Saving Mr Banks where I have no interest in the subject matter. I've never given Mary Poppins a second thought beyond it being an entertaining film. I did not expect to enjoy Saving Mr Banks, but I'm glad to say I was proven wrong.

Much of that was down to Emma Thompson's absolutely delightful portrayal of P.L Travers. She really proved why she is a double-Oscar winning actress. Although Disney heavily lobbied for Thompson to receive what would have been her fourth Oscar actress nomination, she ultimately ended up being nominated for the BAFTA best actress award. Either way, she was great as the Mary Poppins author. I loved her portrayal of the author as this uptight, prim-and-proper, no nonsense Brit who soon clashes with the more laidback and easy-going Americans.

Despite that, we see her icy veneer begin to melt as she is worn down by the executives at Disney. This includes Walt Disney but also by her chauffeur Ralph (Paul Giamatti,) screenwriter Don DaGradi (Bradley Whitford,) and composers Richard and Robert Sherman (Jason Schwartzman and B.J Novak.) The actors all had great chemistry together and, despite my general grumpy old manness, I couldn't help but smile along at their antics. This was especially true with Paul Giamatti who was truly endearing as Travers' chauffeur Ralph. Despite Travers' initial hostility, Ralph's optimism never waivers, making him one of the best characters in the film.

Yet beyond the humour and warmth, there was some strong emotional depth. This was saved for the flashback scenes to Travers' childhood where we see her mother Margaret (Ruth Wilson) desperately trying to keep their family and marriage together while her father Travers (Colin Farrell) battles against his alcoholism. Like many alcoholics, he isn't an inherently bad person, but somebody who has just dug himself into a hole. Despite how his actions drive Margaret to the absolute edge, Travers still absolutely adores him. All credit to Colin Farrell for this portrayal.

I said earlier that although Disney lobbied for this film heavily at the Oscars, it was ultimately only nominated for the Best Original Score. This was a well-earned nomination, as the musical numbers were some of the best moments of the film.

Saving Mr Banks really surprised me as a film. Just like the initially icy PL Travers was worn down by American enthusiasm and optimism, so was I. And I'm all the better for it.

The Dirty Dozen review

 Number 484 on the top 1000 films of all time is the 1967 war film 'The Dirty Dozen.'

In March, 1944, Major John Reisman (Lee Marvin) is ordered to command Project Amnesty - a top secret mission to take twelve convicts, turn them into commandos in an effort to eliminate as many high-ranking Nazis as possible while they wine and dine in a Rennes chateau. Some of the dozen include loud-mouth and hot-headed mobster Victor R. Franko (John Cassavetes,) gentle giant Samson Posey (Clint Walker) the German-speaking Joseph Wladislaw (Charles Bronson,) the black Robert T. Jefferson (Jim Brown,) the psychotic Maggott (Terry Salavas) and Vernon L.Pinkley (Donald Sutherland.)

This was a thoroughly entertaining film and one I enjoyed immensely. It is very much your standard action film with gunfire and explosions galore, but it also had a great and memorable cast of characters. You had the psychopathic Maggott who is disliked and mistrusted by most of the gang and with good reason - he had previously raped and killed a young woman. Terry Salavas created a scary character. I also liked the gentle giant Posey who traumatised by his previous crimes becomes scared of his own strength. Clint Walker really helped to give some humanity to this goliath of a man.

You also had the iconic Charles Bronson and Donald Sutherland - two great actors who share the distinction of never being Oscar-nominated. One of the most striking characters was the rebellious Franko who goes onto becomes one of the gang's loudest voices. Cassavetes received a well-earned Best Supporting Actor Oscar nomination. Tying this all together was Lee Marvin playing the army major forced into an undesirable position, but determined to see his mission through.

Inevitably by having such a large ensemble cast it's natural for some characters to overshadow others. This happened here with big personalities like Maggott, Wladislaw, Franko and Posey dominating screentime over some of the less memorable members of the operation. Nowhere is this more present than Jiminez (Trini Lopez) who, due to Lopez midway leaving production, receives a rather rushed off-screen death. 

No matter, as everything culminates in an exciting conclusion which sees most of our heroes dying (I don't think this is much of a spoiler - this was always going to be a suicide mission) There were plenty great set pieces and special effects.

All in all, I enjoyed the Dirty Dozen. Yes, some of the characters were better characterised than others, but it was still entertaining nonetheless.  

My Name is Khan review

 Number 495 on the top 1000 films of all time is the Indian-produced social drama film 'My Name is Khan.'

Rizwan Khan (Shah Rukh Khan) is an Indian Muslim with severe Asperger's Syndrome. Searching for a better life, he emigrates to San Francisco where he meets the single mother and Hindu, Mandira Rathod (Kajol.) However, in the wake of 9/11 and the rise of Islamaphobic attitudes, Mandira and her son suffer awful discrimination. Rizwan Khan resolves to travel across the US to speak with the president.

I've seen a few Bollywood/Indian films since starting this list, but this is the first time I've seen the Bollywood style in an American setting. It was refreshing to see. There was strong acting especially from the leads which should be no surprise considering they are both stars of Indian cinema having won 22 Filmfare awards. Shak Rukh Khan researched autism extensively and spent long periods of time with them to ensure the most accurate representation of the condition. Sure it might not have been Dustin Hoffman in Rain Man or Priyanka Chopra in Barfi! but Khan played the role with great sensitivity.

My Name is Khan also offered some pertinent social commentary regarding the immigrant, more specifically, Muslim experience in the US. Hatred of the other has always existed. This is as true now as it was twenty years ago as it was two hundred years ago. Humans are unfortunately a tribal society who distrust anybody who doesn't look like them,

Unfortunately, the film's social commentary was almost lost in its melodrama. Indian Cinema loves melodrama and that was certainly the case here. To say that Shankar-Ehsaan-Loy's score was over-the-top would be the understatement of the century. It reminded me of bad reality TV trying to manipulate your emotions. Director Karan Johar could have relied on his strong actors or Shibani Bathija's script for that. Similarly, we didn't need the slow-motion, montages or multiple camera angles of the same thing. It was all so unnecessary. At least there wasn't any spontaneous singing and dancing.

I would also agree with some reviewers who said that the film became lost in its own lofty ambitions. The first half of the film was definitely tighter than the second, even if it did spend too much time setting up Rizwan and Mandira's relationship. Indian film critic Vinod Mirani criticised Karan Johar's direction as being meandering and slow-paced through his desire of trying to say too much. 

This is especially true of the film's second half where Rizwan embarks on his journey across the US getting involved in lots of different obstacles along the way, most of which were either resolved too easily - like how he was falsely imprisoned by the FBI or too diversionary from the main plot like how Rizwan befriends a mother and son in Georgia, later protecting them during Hurricane Wilhemina.

My Name is Khan was an admirable film with strong characterisations and good social commentary, but a lot of that was lost in its melodrama.

Atonement review

 Number 483 on the top 1000 films of all time is the romantic tragedy 'Atonement.'

Based on the 2001 Ian Mcewan novel of the same name and set in 1930's England, Atonement tells the story of Cecilia Tallis (Keira Knightley) the oldest sister of the Tallis family and her relationship with the housekeeper's son Robbie Turner (James Mcavoy.) However, when Cecila's younger sister Briony (Saoirse Ronan) confesses that she saw Robbie commit an awful crime, he is sent to prison, ripping apart the family.

In my Finding Neverland review, I said that Kate Winslet is one of those actresses who gets type-cast as upper-class aristocratic English ladies. I would lump Keira Knightley into the same camp. Whether that's Pride and Prejudice, Pirates of the Caribbean or the Imitation Game, she more or less plays the same character. In Atonement, it was more of the same, but Cecilia had a killer emotional depth. As this was a hard-hitting film. 

*Spoilers to follow*

As much of the film harbours on a lie. The young and naive thirteen-year-old Briony, who has her own feelings for Robbie, misconstrues his affections for Cecilia as rape and abuse. Yet things don't stop here. She then believes she witnesses him raping her cousin Lola (Juno Temple.) And this is all the evidence needed to send Robbie to prison for years. Upon realising her mistake, an elderly Briony (Vanessa Redgrave) tries atoning for her mistakes, but it is too little too late. In many ways, she is an unreliable narrator which gave this film a rather devastating dramatic irony.

Briony Tallis was only Saiorse Ronan's third film role, but it was also her breakout role. For Briony Tallis, she received her first of four Oscar nominations. It was well-earned too, as she showed her early promise as an actor. Similarly, this film helped to establish James Mcavoy as a leading man. Although he wasn't Oscar-nominated, he did receive a Bafta nod for Best Supporting Actor.

After Robbie is released from prison, he is drafted into the Second World War where, suffering from an infected wound, he desperately navigates to the beaches of Dunkirk so he can return home to his beloved Cecilia. Some critics argued this made the film unbalanced with a scatter-shot plot. I wouldn't agree though. Having Robbie and Cecilia separated by not only a lie but also war really underlined the tragic plot and the seriousness of Briony's lie, as well as her desperate need to atone for her sins.

This definitely won't be an easy watch. There are emotionally upsetting scenes galore, but it is also quite a powerful film with some great performances.

Finding Neverland review

 Number 481 on the top 1000 films of all time is Marc Foster's biopic fantasy drama 'Finding Neverland.'

Finding Neverland tells the true-life story of Scottish children's author JM Barrie (Johnny Depp.) After his latest play flops, he is desperately looking for a new idea. This is when he meets widow and single mother Sylvia Llewelyn Davies (Kate Winslet) - she and her children serve as the inspiration for Barrie's most famous story: Peter Pan. Julie Christie and Dustin Hoffman co-star.

Finding Neverland started slowly, but once it got going it became a touching and surprising story about connection and childhood innocence. I say surprising, because, as a general rule, I'm generally not interested in biopics/period dramas. Neither am I much interested in Peter Pan. I don't know anything of the story outside of the Disney cartoon.

Yet that didn't matter with the ever-impressive Johnny Depp at the helm. Having become better known as a character actor with eccentric and off-beat roles, it was refreshing to see him in one of his most human roles. I'm not sure how much of Finding Neverland was fact and how much was fiction, but it did portray Barrie as a wholly complicated and interesting character. It's no surprise that Depp was Oscar-nominated for the role.

As for Kate Winslet, she was good but I felt that in her early career, she was often typecast as an upper-class aristocratic woman whether that is Sense and Sensibility or Hamlet. True, she does it well and she did well opposite Depp, but it did feel like Llewelyn Davies was just another similar character in a very long list.

Although it tells a story of fantasy and escape with multiple sets and like a pirate's ship or a desert, Marc Foster always kept things firmly grounded in the real by partly how Barrie was inspired by the people or events around him basing Peter Pan on Sylvia's son Peter, Freddy Highmore in an early role.

Overall, I enjoyed Finding Neverland. I wasn't sure whether I would, but it pleasantly surprised me. Now say it with me...I do...I do... I do believe in fairies. 

The Last Emperor review

 Number 482 on the top 1000 films of all time is the epic biographical period-drama 'The Last Emperor.'

The Last Emperor tells the life story of its titular character - Pu Yi, the Last Emperor of China from his childhood where he was played by Richard Vu and then Tiger Tsau to his adolescence where he was played by Wu Tao and all the way to his adulthood, where, played by John Lone, he becomes a political prisoner of the Chinese Communist Party.

Bernado Bertolucci's story about Puyi felt very much like a Chinese version of Laurence of Arabia. The Last Emperor was almost four hours long and it also starred Peter O'Toole who played Pu Yi's Scottish tutor Reginald Johnson. Granted, I had unknowingly watched the extended cut, but I think even the one hundred and sixty-five minute theatrical cut would have still had me struggling to stay awake.

Obviously the academy didn't agree with me as they awarded The Last Emperor nine Oscars including Best Film, Director, production and Costume. The latter two were well-earned. Bertolucci was granted unprecedented access to film in China's Forbidden City and he made brilliant use of this opportunity. The production in this film was absolutely breathtaking especially in the early scenes within the city itself. It's just a shame the story itself wasn't very interesting.

The story is told from the adult Piyu's perspective - now a prisoner of the CCP, as he looks back on his life as China's last emperor. Although this part was interesting, his earlier life was less so. Considering how he was very much just a figurehead with no real power, it's no surprise that he was little more than a spoiled and lazy character, but he also became a tedious one too.

This is a film for true cinophiles. Although it looked great on-screen, the actual story left me cold and in desperate want of my bed.

Empire of the Sun review

 Number 480 on the top 1000 films of all time is Steven Spielberg's epic coming-of-age drama 'Empire of the Sun.'

Jim Graham (Christian Bale) is a young, spoiled English boy living in 1940's Shanghai China. However, after the Japanese invade, he is separated from his parents and sent to an internment camp. There he has to rely on his wits, as well as his relationship with two American hustlers Basie (John Malkovich) and Frank (Joe Pantoliano) as well as his relationship with other prisoners like Dr Rawlins (Nigel Havers) or Mrs Victor (Miranda Richardson) to survive.

Famed film critics Roger Ebert and Gene Siskel gave a mixed review of the film deciding that despite its potential it seemed like a mishmash of different ideas that never gelled together. I would agree with this assessment. Empire of the Sun struck me as a film where despite having all of the necessary jigsaw puzzles was still unable to put them together in a satisfactory way.

And the film straddled too many genres without ever fitting into one. It's set during World War Two yet its PG-13 rating stopped it from really focussing on the true horrors of the war. Although it's a coming of age drama, Tim's transformation from a naive, pompous schoolboy into a streetwise hustler was largely glossed over. As such, these emotional beats didn't land.

It's a shame as, even though, Christian Bale was playing one of those annoying characters who fuelled the narrative with their own stupidity, he showed early promise of the Oscar-winning actor he would become. Considering this was only his second film role this is saying something. And considering he was acting alongside heavyweights like John Malkovich and Miranda Richardson, this was also saying something big. Not to mention, they played less than satisfactory characters who flitted in and out of the story.

Ultimately, I think this film was wasted potential. I'm always interesting in learning more about the Japanese side of the war, but this film left me cold.

Dirty Harry Review

 Number 479 on the top 1000 films of all time is Don Siegel's 1971 action-thriller 'Dirty Harry.'

Harry Callahan (Clint Eastwood) is a San Fransican cop who doesn't play by the rules. He's dirty, but he always gets the job done. However, he meets his match with the psychotic and deadly intelligent "Scorpio" killer - Charles Davis (Andrew Robinson.)

Clint Eastwood has remarkable talent.  I am not referring to his directional ability netting him numerous Oscars, but his talent is starring in great films despite always playing the same character. And that character is a grumpy old man regardless of his age or if he is playing a cowboy, boxing coach or cop. Although this is the first film I've seen with Clint Eastwood playing a rogue cop, he wasn't unlike any of the famous cowboy characters who proceeded him. Not to say he wasn't good, but he wasn't different either.

Andrew Robinson was far more convincing as the psychopathic Scorpio killer. Despite being a complete unknown, he play the role so brilliantly that he struggled in escaping the shadow of the character. Thankfully, he did in the nineties, as he went onto have a prominent supporting role in Star Trek: Deep Space Nine.

It was an interesting dynamic between the two lead actors with Eastwood acting as the old hand and Andrew Robinson, the newcomer, but he held his own well in this slick and punchy thriller. It was another triumph from Don Siegel who gave us another tense and tight film.

Yes, it has Eastwood acting the same as he always does, but don't let that put you off what was a great film with a terrific turn from Andrew Robinson.

Night on Earth review

 Number 478 on the top 1000 films of all time is Jim Jarmusch's comedy-drama anthology 'Night on Earth.'

Night on Earth tells five vignettes of five taxi drivers and their relationships with their passengers all on the same night across five different cities: Los Angeles, New York City, Paris, Rome and Helsinki.

Night on Earth was a charming film that deftly navigated a number of themes including heartbreak, connection and comedy all while getting you to care about its characters in a limited space of time. Across five different short films with all different casts, we get to see what makes us different, but more importantly the same.

The first vignette focusses on LA taxi driver Corky (Wionna Ryder.) Corky is a tomboy and has no great aspirations in life beyond being a taxi driver and a mechanic. This is in contrast with her upper-class passenger, casting director Victoria Snelling (Gena Rowlands.) Despite their differences, they form a certain rapport and understanding by the end of their journey together. Victoria even wants to cast Corky in her latest film, but Corky is happy with her current direction in life. It was a nice little insight into how we work as people. Not everybody has lofty aspirations. Some people are happy with whatever they have and that's okay.

The second vignette is probably the funniest. It follows the relationship between East German immigrant Helmut's (Armin Mueller-Stahl's) first night as a taxi driver in New York. His passenger is the loud-mouthed and obnoxious Yo-Yo (Giancarlo Esposito) who startled at Helmut's seeming incompetence decides to drive the taxi instead. The two characters could not have been more different from each other yet they embodied a brilliant odd-couple relationship. Helmut was endearing and although Yo-Yo was a bit annoying at first, he ended up being likeable too.

Our third vignette takes us to Paris where after an unnamed Ivorian taxi driver (Isaach de Bankole) abruptly turfs out two rude passengers, he accepts a new fare of a blind woman (Beatrice Dalle.) It was a pleasant enough story but largely forgettable compared to the others. Although there were a few moments of humour.

The fourth story set in Rome was probably my least favourite. It focussed on eccentric taxi driver Gino (Roberto Benigni) who after picking up a priest (Paolo Bonecelli,) proceeds to make a toe-curling confession which is almost too much for the priest to bear. Although this story was played for laughs with Benigni largely improvising, I did find it far too zany and over-the-top for my tastes. Benigni was so over-the-top, he became rather annoying.

Thankfully, we had the final Helsinki storyline as a touching palate cleanser. It focusses on Finnish taxi driver Mika (Matti Pellonpaa) who relates his tragic personal history to his drunk passengers. It was bittersweet way of ending the film, but also helped to offset some of the Night on Earth's zanier storylines. It was one of my favourite stories of the five.

Being an anthology film, naturally some of the vignettes were better than others. However, I think the film worked both as a whole and individually. I definitely recommend it.

Happiness review

 Number 477 on the top 1000 films of all time is the black-comedy Happiness.

Trisha (Cynthia Stevenson) Helen (Lara Flynn Boyle) and teacher Joy (Jane Adams) are three sisters looking for happiness in one way or another. Trisha's husband Lenny (Ben Gazzara) is hiding a dark secret while Helen attracts the voyeuristic peeping Tom, Allan (Philip Seymour Hoffman.) Lastly, Joy becomes attracted to her Russian student Ivan (Jared Harris.)

My last review centred on Roman Polanski's Repulsion. Repulsion would be a better title for this film than Happiness, as it was repulsive. However, I think I was in the minority in this opinion. IMDB labelled it as misunderstood while critics said that it gave even the most depraved of characters a strong level of humanity.

Granted I may have misunderstood this film, but do I really want to understand a film with such a  depraved cohort of characters. Most notably, you have Lenny who is secretly a paedophile. He goes so far as to rape the friends of his eleven-year-old son. Director Todd Solondz played a dangerous game in having a paedophile in such a major, non-villainous role. Did he remind us that even the worse people are still human or did he run the risk of romanticising or at least humanising this awful behaviour?

Another example would be the voyeuristic peeping Tom, Alan, - Philip Seymour Hoffman in one of his worse roles. Granted, Alan isn't a nonce, but he's still just as depraved considering how he jerks off while talking to Joy on the phone. Again this wasn't a character I was interested in understanding. Considering he was played by the formidable PSH, this was saying something major.

I also take issue with how this film was labelled as a black comedy. It was definitely black, but it wasn't very funny as it relied on gross-out humour like PSH spunking on the wall and using said spunk to glue a postcard onto the wall. Gross. Not something I wanted to see or laugh at. Not that I laughed much at all. I don't think I even chuckled until the forty-five minute mark.

True you could argue that Solondz' key message was that no matter how hard you try, you can never fill that void inside of you with sexual gratification. Unfortunately, this key message was lost in the gross humour and disgusting characters.

Repulsion review

 Number 473 on the top 1000 films of all time is Roman Polanski's 1965 psychological horror film 'Repulsion.'

Carol (Catherine Denueve) is a young Belgian beautician living in London with her sister Helen (Yvonne Furneaux) and Helen's husband Michael (Ian Hendry,) whom Carol hates. However, when Helen and Michael go away and leave Carol alone, she quickly spirals into insanity.

Repulsion is considered the first in an informal trilogy depicting the horrors of inner-city living along with other Polanski hits like Rosemary's Baby and Tenant. I'm not entirely sure how Repulsion could kick off such a trilogy especially since it was followed by the infinitely better Rosemary's Baby.

Much of my apathy towards the film stems from the rather tepid character of Carol who was nothing like the energetic Rosemary Woodhouse, played by Mia Farrow. Instead Carol seems to passively drift around her London flat jumping at every shadow. Even in moments where she takes agency like when she beats her sleazy landlord to death didn't seem very believable.

I understand Carol killing her would-be suitor Colin by hitting him from behind. But she kills her much bigger male landlord by slashing him to death with a straight razor. Surely, he would have been strong enough to fight her off. Carol's insipid nature also led to a rather insipid performance from the usually charismatic and empathetic Catherine Deneuve. Very much like Carol, she seemed to be going about the film in a daze.

The limited setting didn't help things either, very much making Repulsion a victim of its own success. Despite Rosemary's Baby having a similar limited apartment setting, it had so much more drama and conflict than Repulsion. Perhaps that was down to Carol being an unreliable narrator due to her declining mental health. Maybe she's hallucinating everything she saw. Maybe not. I don't know either way. And honestly? I didn't care.

And that very much sums up my reaction to Repulsion. I wasn't repulsed. Just apathetic.

Moonrise Kingdom review

 Number 467 on the top 1000 films of all time is Wes Anderson's coming-of-age drama 'Moonrise Kingdom.'

Scout Sam Shakusky (Jared Gilman) and theatre star Suzy Bishop (Kara Hayward) are both social outcasts and pen pals. Upon meeting for the first time, the two quickly fall in love and run away on the New England island of New Penzance. They are pursued by a slieu of adults including policeman Captain Duffy Sharp (Bruce Willis,) Scout Master Randy Ward (Edward Norton,) Suzy's mum and dad, Laura (Frances McDormand) and Walt (Bill Murray) and an unnamed social worker played by Tilda Swinton.

I think it can be all too easy to dismiss Wes Anderson's films as style over substance. He is well-known for emptying distinct colour patterns and symmetrical compositions. Academics Stephanie Williams and Christen Vidanovic said that almost every frame could have been a beautiful photograph. They weren't wrong. Moonrise Kingdom looked gorgeous on-screen with its visual style complimenting the whimsical nature of the film.

Was it style over substance? I'm not so sure. Underpinning the visual flair was a charming and heartwarming love story between Sam and Suzy. Anderson intended to depict a fantasied young love with all its innocence and idealism. That's what he did. Despite being acting novices, leads Jared Gilman and Kara Hayward were both great. They served as emotional anchors in an otherwise zany film.

Nowhere is it zanier than with the adult characters who were all just a little bit peculiar. This is especially true of Suzy's parents and Captain Sharp. While Suzy and Sam's relationship is blossoming, Walt and Laura's marriage is falling apart, least of all, because of Laura's affair with Captain Sharp. This was a nice distorted mirror image of young love even if it could have used a little more screentime.

Overall, I really enjoyed Moonrise Kingdom. Rather than being an example of style over substance, it was style AND substance with its distinct visual style contributing so much to the fantastical, timeless nature of the film.

The Girl with the Dragon Tattoo (2009) review

 Number 466 on the top 1000 films of all time is the Swedish thriller 'The Girl with the Dragon Tattoo."

Mikael Blomkyist (Michael Nyqvist) is a disgraced journalist who has just lost a high-profile libel case. He is enlisted by Henrik Vanger (Sven-Bertil Taube) the patriarch of the wealthy Vanger family - to solve the four decade disappearance, and suspected murder, of his niece Harriet. Mikael joins forces with the brilliant, but troubled hacker Lisbeth Salander (Noomi Rapace) to solve the mystery.

Two years ago, I watched the 2011 American remake of this film which starred Daniel Craig and Rooney Mara. It was ranked forty-three steps above the original. IMDB thought the remake was better - perhaps it was with Rooney Mara deservingly receiving a Best Actress Oscar nod. However, the 2011 remake could only run because the original walked first.

This film was gripping and enthralling with plenty of twists and turns. Nyquist and Rapace were every bit the quals of Craig and Mara. Best of all, the accents were more in line with what I would from a Swedish film; in the remake, the accents were all over the place. Not the case here.

One thing I didn't like about either film was the romantic subplot between Lisbeth and Mikael. In the remake, it was more romantic, but in the original, it was physical. In both films, Lisbeth is the initiator. However, Lisbeth was subject to a horrific rape from her legal guardian - of which she took an awesome but vicious revenge. But she then initiates sex with Mikael. And I thought this was unrealistic. Surely the last thing an SA survivor would want to do is to have sex with another man. It was unbelievable and contrived.

This isn't to disparage Rapace's performance of course. She earned numerous awards for a reason. Salander was a difficult character to play, but Rapace did her justice - like I said, she was every bit as convincing as Rooney Mara. Nyquist was also good as the journalist who upon stumbling upon an even bigger mystery, soon finds himself dangerously out of his depth.

Unconvincing and unnecessary love story aside, I thought the Girl with a Dragon Tattoo was a thrilling watch. Perhaps even better than its 2011 American remake.

From Here to Eternity review

 Number 465 on the top 1000 films of all time is the romantic-drama 'From Here to Eternity.'

Private Robert E. Lee Prewitt (Montgomery Clift) is a soldier and former boxer stationed in 1941 Oahu. Despite pressure from his unit he refuses to join the regimental boxing team. They then proceed to make his life hell. His only friends are the Italian-American Private Angelo Maggio (Frank Sinatra) and Sergeant Milton Warden (Burt Lancaster.)

This is the film that famously won Frank Sinatra the Best Supporting Actor Oscar. It was just one of his many successful film roles. Yet I think labelling it "supporting" is stretching things just a bit too far. He only seemed to feature in a few key scenes before going AWOL to only reappear at the film's conclusion. He was certainly good enough - maybe not as quite as good as his performance in the Manchurian Candidate, but did he have enough screentime to justify a Best Supporting Oscar?

I was also confused to see that it was Burt Lancaster and not Montgomery Clift who received the Best Actor nomination. Lancaster also received star billing over Clift. Yet it was Prewitt and his tortured past that was driving the film forward. Clift was great in the lead role too, as he conveyed Prewitt's inner turmoil. Of course, this isn't to diminish Lancaster either, but of the two, Clift was the star of the film.

The film culminates in a thrilling conclusion, as we see the Pearl Harbour attack happen in real time. This was an enthralling ending which surely captured the confusion and tragedy of the time.

From Here to Eternity was certainly an enjoyable film, but I'm not sure it was Oscar-worthy.

Run Lola Run review

 Number 464 on the top 1000 films of all time is the German experimental hyperlink thriller 'Run Lola Run.'

Lola 's (Franka Potente) boyfriend Manni (Moritz Bleibtreu) has just lost the the 100,000 Deutsche marks he owes to a fearsome drug crime lord. Lola has twenty minutes to help him find the money otherwise he will be killed. However, when her first attempts end in failure, she has the chance to try again and again until she succeeds.

Run Lola Run had a good if thin concept spreader even thinner over an eighty-minute run time. Thankfully, it wasn't any longer otherwise it would have been stretched to breaking point. If anything 'Run Lola Run' would have done better as a forty-minute Twilight Zone episode.

Run Lola Run employs a hyperlink structure allowing Lola multiple opportunities to achieve her goals, starting from scratch over and over again. We see the theme of chance put under a microscope as different events play out differently in each time. It's a cool idea, but not one that can sustain a whole film. Even an eighty-minute one.

And that's even without considering the central plot of Lola and her boyfriend having to find 100k in twenty minutes - a seemingly impossible task. So impossible, it made it difficult for me to suspend my disbelief.

It didn't help that I didn't care for either Lola or Manni or their relationship. I first saw Franke Potente in the Bourne Identity where, despite being Matt Damon's love interest, she had very little romantic chemistry with him. The same applied for Potente and Bleibtreu. As their relationship was central to the film, it wasn't good that I didn't care for it.

And I just didn't care for this film. It was an interesting concept, but it became repetitive after eighty minutes. Thank God, it wasn't any longer. 

The Magnificent Seven Review

Number 456 on the top 1000 films of all time is John Sturges' 1960 Western The Magnificent Seven.

A poor Mexican village is constantly being exploited by the cruel Calvera (Eli Wallach) and his gang of bandits. Having had enough, the villagers rally a posse of seven cowboys led by the Cajun gunslinger Chris Adams (Yul Brynner) to battle against Calvera's gang.

The Magnificent Seven is a famous remake of Akira Kurosawa's epic 'the Seven Samurai.' At three hours long, the Seven Samurai is not for casual film fans or even supposed film fanatics like me. Thankfully, the Magnificent Seven managed to tell the same story in a far more palatable two hours.

And it was certainly a great story - seven of the biggest actors of the time including Brynner, Steve McQueen and Charles Bronson team up to face off against Eli Wallach. Even for casual Western fans like me, it was certainly entertaining.

The on-screen, and at times, off-screen, rivalry between Yul Brynner and Steve McQueen underpinned much of the film, but all of the cast were good. Despite having a large ensemble cast and a limited two-hour run time, John Sturges took the time to develop each character into somebody interesting. You had the young upstart Chico (Horst Bucholz) as well as Lee (Robert Vaughn) who is haunted by a troubled past. Vaughn was a dark horse as he brought a quiet intensity to the role.

Eli Wallach's villainous Calvera wasn't as memorable as he could have been. Although it was probably overshadowed by his later and most famous role of Tuco in Sergio Leone's iconic 'The Good, The Bad and the Ugly.'

Nevertheless, John Sturges directed a fun and entertaining film, which balanced humour, heart and terrific set-pieces with a palatable two-hour run time.

Invasion of the Body Snatchers (1956) Review

 Number 454 on the top 1000 films of all time is the science-fiction horror film 'Invasion of the Body Snatchers.'

Miles Bennell (Kevin McCarthy) is a doctor in LA who soon starts to be convinced that everybody around him has been replaced by copies. This includes everybody except for his girlfriend Becky (Dana Wynter.) However, as things start to become more serious, Miles struggles in getting anybody else to believe him. He endeavours to prove the truth no matter the cost.

I think it can be all too easy to dismiss films like these as just another science-fiction flick capitalising on the Red-Scare panic of the 1950's. And while Don Siegel certainly captured the paranoia of McCarthy's America, this film is certainly more than your average B-movie sci-fi film.

Although it was initially forgotten by critics, it has since grown into one of the pre-eminent science fiction/horror films and for good reason. Despite having a minimal $400,000 budget and a paltry 80 minute runtime, it grossed over seven times that. Probably due to the small budget, it was simple, but incredibly effective. Siegel did well to really convey a fearful atmosphere. 

Perhaps that's because he deliberately under-played things. Despite hearing throughout about the pod people who have replaced the town, we only see glimpses of the pods themselves and never anything of the actual aliens. Instead, they these people look like the average person on the street, again showing the paranoia that was rampant at the time. It was the simplicity that, I think, made this film stand out against some of its contemporaries like Forbidden Planet.

Kevin McCarthy - no relation to Joseph McCarthy who gave his name to the anti-communist policies that dominated the 60's - was very good as the lead Miles Bennell. He brought an everyman quality as we see Bennell trying desperately to expose the truth while not falling to hysteria. And, best of all, unlike most science fiction, Bennell was actually an interesting character that you want to root for.

If I were to criticise the film for anything, it might have been the overly-optimistic ending. It was far more hopeful than I would have expected for a film as bleak as this. Although Miles' and Diana's relationship was every bit as a cheesy as I would expect for a film like this.

I enjoyed Invasion of the Body Snatchers. Although it was low-budget, this by no far impacted it quality. And it was certainly more than your average 1950's sci-film which exploited the McCarthyismesque paranoia of the time.

I saw the Devil review

 Number 462 on the top 1000 films of all time is the Korean action-thriller 'I saw the Devil.'

Kim Soo-Hyun  (Lee Byung-Hun) is an NIS agent whose fiancee Joo-yun is brutally murdered. Soo-hyun swears revenge on her murderer - the sadistic Jang Kyung-Chul (Choi Min-Sik.)

I've seen quite a few Korean films since starting this list and I think it's fair to say that Korea is the America of the Asian film world. Nothing is done by half-measure. Everything is over-the-top and ridiculous. There is no subtlety. Just larger-than-life plots and daft plot developments.

This was certainly true for I saw the Devil which was a textbook example of horrible people being horrible to each other in particularly horrible ways. There was a lot of violence and most of it was completely gratuitous. I Saw the Devil was a film that could have left a lot more up to the imagination. It was a difficult watch.

Perhaps that's because we didn't really have a main character to root for. Soo-Hyun is supposed to be the antihero type, but his dogged determination to sadistically torture Kyung-Chul blurred the line between anti-hero and villain, but more in favour of the villain. Sure Kyung-Chul was a despicable killer, but Soo-Hyun was supposed to be better than him. He isn't though, least of all, because of his silly decisions to catch him, torture him, set him free and then repeat this process over and over again. This is all well and good, but it allows Kyung-Chul to kill more innocent people - he almost rapes and murders a schoolgirl.

I know revenge is a dish best served cold, but this seemed beyond stupid. Not to mention dangerous to Soo-Hyun and his family. Surely he would know by repeatedly catching and setting Kyung-Chul free, he is putting their lives at risk?

Spoilers

Speaking of loved ones, the film concludes with Soo-Hyun manufacturing a reunion between Kyung-Chul and his estranged parents and son, only to have him killed right in front of them. Yes, Kyung-Chul was a vicious killer, but what did his family do to deserve seeing something so traumatic? It was stupid and unnecessarily cruel.

Lee Byung-Hun is best known to international audiences as the Front Man in the hit series Squid Game. And Choi Min-Sik has also starred in the famous Vengeance trilogy. Both of them are great actors in their own ways, but here their characters were little more than soulless, emotionless monsters. They didn't get the chance to really show their acting chops.

I really didn't care for I saw the Devil. It was complete nonsense and unbelievably over-the-top. Not even the considerable acting talents of Choi Min-Sik and Lee Byung-Hun could save it.

Gattaca review

 Number 460 on the top 1000 films of all time is the science-fiction film 'Gattaca.'

Vincent Freeman (Ethan Hawke) wants nothing more than to be an astronaut and go to space with the Gattaca Aerospace corporation. The catch? He is an "in-valid" - a child that did not receive any gene-editing before birth. To achieve his goals, he impersonates quadriplegic Jerome Morrow (Jude Law.) However, when Gattaca's mission director is killed, Vincent is framed and his secret is in danger of being discovered.

Gattaca was a disappointing attempt to engage in some important ideas. Gene-editing is no doubt a sensitive topic. Sure if you have the chance to stop your child from developing cancer or dying from heart disease by the time they're thirty, why wouldn't you take that chance? But where do you stop? Do you remove any arbitrary characteristics you don't like like? What happens if you don't edit your child at all? Will they be discriminated against?

Gattaca attempts to answer these questions in a cold and sterile way. Despite having some talented actors like Ethan Hawke, Jude Law and Uma Thurman, who played Vincent's love interest Irene, I didn't care about any of the characters. All three actors are Oscar-nominated and I've enjoyed Ethan Hawke as a romantic and action lead, but I wasn't invested in Vincent. I don't think he was either, as it wasn't one of his most charismatic performances.

He also lacked on-screen chemistry with Jude Law. Jude Law plays Jerome who helps Vincent impersonate him by providing him with plenty of DNA samples. Despite some arguing, the two develop a begrudging respect for one another, but I still didn't find their relationship very believable.

I also saw attempts to create heart through a love story between Vincent and Irene. Although Hawke and Thurman began dating off-screen and later married, as a result of this film, this off-screen chemistry failed to translate to on-screen.

The same can be said through a subplot between Vincent and a reunion with an apparently long-lost brother who is investigating Vincent's involvement in the murder of the director of Gattaca's space programme. Yet this storyline fell emotionally flat too. The murder subplot never felt immediate enough to have any tangible effect on the plot. Plus there was never any on-screen rift or conflict to suggest that the two brothers had fallen out with each other after their childhood.

Sadly, like many science-fiction films, Gattaca became so obsessed with exploring its key ideas, it failed to create interesting characters.

The Triplets of Belleville review

 Number 455 on the top 1000 films of all time is the French animated adventure comedy-drama 'The Triplets of Belleville.'

Champion (Michel Robin) is a little boy who dreams of being a cyclist. Growing up he realises his dream by riding in the Tour De France. However, he and two other cyclists are kidnapped by the French mob. His grandmother Madame Souza (Monica Viegas) and her dog Bruno resolve to rescue them. They are helped by the eponymous Triplets of Belleville - former music hall singers.

I've been working through this list for longer than I care to remember. Every so often, I've come across an animated film that has really surprised me with its uniqueness. You had the incredible stop-motion Mary and Max, as well as the beautiful 2-D animated Persepolis. Now you have the wholly special Triplets of Belleville. I haven't seen anything like it. Considering I've watched over 700 of the film on this list, that is really saying something.

Similarly to Persepolis, the Triplets of Belleville utilises a simple 2-D style to tell an unchanging story. It's all complete nonsense obviously, yet I was more than willing to suspend my disbelief. I could totally see the plot happening in the weird steampunk-esque universe they created.

The animation style paid homage to the Jazz era initially, as well as the Post WW2 era. It evoked a grimy, industrial but also timeless feel. This film could be set in the thirties, the fifties or in its own little universe.

The animation also allowed for plenty of absurdity and therefore offbeat humour like Madame Souza and the Triplets of Belleville taking on a whole room of French gangsters with nothing but a frying pan. Yet it also had plenty of scares too like when we find out what happens to the kidnapped cyclists if they displease the mob.

The most unique aspects of the Triplets of Belleville was how the story was told through minimal dialogue. Pantomime and music were used instead. This betrays the confidence of director Sylvain Chomet and his animation team. This confidence was not misplaced, as it allowed for some brilliant visual story-telling. There was no script full of cheesy one-liners and corny speeches, but striking imagery and memorable music. The Triplets of Belleville sung the film's most famous song Belleville Rendeyvous, which was Oscar-nominated. The film itself was nominated for the Best Animated Feature ultimately losing to Finding Nemo. 

I would definitely recommend watching The Triplets of Belleville. I can guarantee it won't be like anything you've seen before.

The French Connection review

 Number 453 on the top 1000 films of all time is William Friedkin's 1971 neo-noir crime thriller 'The French Connection.'

NYPD detectives Jimmy "Popeye" Doyle (Gene Hackman) and Buddy "Cloudy" Russo (Roy Scheider) are trying to bring the influential and wealthy French heroin smuggler Alain Charnier (Fernado Rey) to justice.

The French Connection was William Friedkin's fifth film, but also the one that arguably made his name. Considering that this film netted him Best Director awards from the Academy, the Golden Globes the Directors Guild of America, I think it's fair to say this was his breakout film. No doubt the success of this allowed him to go onto even, arguably, greater heights of directing The Exorcist a few years.

 Supposedly the scariest horror film of all time. I say supposedly as I really hated the Exorcist. Although evidently I'm in the minority with that opinion as The Exorcist went onto receive ten Oscar nominations including Best Director for Friedkin.

However, I think the French Connection was a much better film to warrant a Best Director win. True, The French Connection is a bit complicated and confusing like most neo-noir films are, but it was still very entertaining. After all, Friedkin directed what some label to be one of the greatest car chase scenes in movie history. Popeye drives hell-for-leather to catch a would-be assassin. This is complicated by how the assassin is on the train and Popeye is in a car, yet in a thrilling sequence, we see him stop at nothing to bring this killer to justice in one way or another.

Although I think Friedkin earned the Best Director Oscar, I'm less convinced by Gene Hackman winning the Best Actor Oscar for Popeye. True, he was good, but I don't think this was one of his best performances. 

He was better in Mississippi Burning, where he was also nominated for Best Actor Oscar losing out to Dustin Hoffman, or the Conversation where Hackman wasn't even nominated. The Conversation's biggest theme was paranoia and we saw that through and through in Hackman's performance. Here I think he was more your every-day hero. Nothing wrong with that, but not Oscar worthy.

Anyway, this is a minor criticism in what was a thoroughly entertaining film. Just a shame, Friedkin went onto direct the Exorcist. 

Amour review

 Number 450 on the top 1000 films of all time is the Michael Haneke's French psychological drama 'Amour.'

Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) Laurent are former music teachers and elderly couple in Paris. When Anne suffers a stroke that leaves her unable to take care of herself, Georges dutifully accepts the role of carer. However, the stress of the work becomes too much for the both of them.

Upon directing this film, Michael Haneke constantly reminded his cast to avoid over-sentimentality at all costs. This is what stopped the film from being a cheesy love story. Instead it was an utter devastating tragedy. Like Georges, I worked as a carer, so I saw first-hand how this stress can impact a couple's relationship.

I can attest there was nothing corny or overly-romanticised in Amour. We saw the authentic side of caring in all its brutal detail. We also saw the power of amour - French for love - nowhere was this more present than in the relationship between Georges and Anne. Amour was the perfect title for the film - if you are taking care of a loved one, you need nothing less than love itself. And to allow somebody to take care of you, you need to trust and love them implicitly. It was obvious Georges and Anne loved each other unconditionally.

This was obvious from Trintigant's and Riva's excellent characterisations. Anne was obviously in an awful situation. Nobody ever wants to suffer like she does, but despite being in a pitiful situation, she wasn't a pitiable character. Riva played her with the utmost humanity. Despite being in a sorry situation, she never surrenders her humanity. Not once. It was this brilliant portrayal that saw her win the BAFTA and Caesar award as well as receiving an Oscar nod.

Trintignant was equally good as Georges. As Anne's carer, the stress quickly takes its toll - his position is almost as bad as his wife's. Yet similarly to Anne - although we feel sorry for Georges, Georges is not a sorry character. He remains faithful to his wife all the way up the shock ending that I didn't see coming. Just like Riva, Trintignant also won the Caesar award for his portrayal of Georges.

Amour was a powerful but tragic film which depicted one of the hardest parts of life with the utmost humanity. And if my praise wasn't enough, it also won the Best International Film Oscar and the Palmes D'or at Cannes. Well-deserved.

Tombstone review

 Number 444 on the top 1000 films of all time is the 1993 Western 'Tombstone.'

Tombstone details the events that led up to the famous Gunfight at the Ok Corral in Tombstone, Arizona. Wyatt Earp (Kurt Russell) and his brothers Virgil (Sam Eliot) and Morgan (Bill Paxton) are three retired men who are looking for a quiet life in Tombstone. However, when the Cochise County Cowboys, led by Curly Bill Brocius (Powers Boothe) start pushing their way around town, the Earps are reluctantly drawn out of retirement to deal with the threat, helped by their close friend Doc Holliday (Val Kilmer.)

Anybody who knows me knows that I've never been a big fan of Westerns. The Gunfight at the Ok Corral as well as the Earps and Doc Holliday might be legendary parts of American folklore, but it's never been a topic that has really interested me. I'm not sure this film did too much to move the needle.

Of course this isn't to say that the film was explicitly terrible unlike some others I have seen, but it just wasn't for me. I can see what they were going. The charismatic Kurt Russell plays the sheriff who is reluctantly drawn back into his old life. He was good enough, as were his deputies Virgil and Morgan played by Sam Eliot and Bill Paxton. They played very different characters than in Frailty or the Big Lebowski. I think the good guys had a better characterisation than the Cochise County Cowboys. 

Perhaps that's because they were little more than a lawless rabble without more hierarchy or organisation. They were led by Curly Bill Brocious - Powers Boothe always gives recognisable performances, but the rest of the gang largely blended into one.

For me, the best part of the film was Val Kilmer. He played Doc Holliday - a cherished friend of the Earps who was suffering terribly from tuberculosis. Kilmer was definitely a dark horse considering his role was little more than just giving support to the Earps. Despite that, Holliday was a very tragic character who was also loyal to his friends. Kilmer's performance helped to demystify one of the most interesting characters of the Old West.

I'm sure there are many people who would love this film. These guys would also be big fans of the Wild West. I am not a fan of the Wild West, so I didn't much care for Tombstone, but that's just me.

In America review

 Number 448 on the top 1000 films of all time is Jim Sheridan's comedy-drama 'In America.'

Irish family, father Johnny (Paddy Considine,) mother Sarah (Samantha Morton) and daughters Christy (Sarah Bolger) and Ariel (Emma Bolger) have just moved to New York. As they settle into their new life, they are haunted by a dark secret which threatens to tear their family apart.

This was a good film, but also sentimental - dare I say overly-sentimental? Was it good enough to overcome its sentimentality? I'm not so sure about that. The principle cast were great. Samantha Morton rightly scored a Best Actress Oscar nod while Emma and Sarah Bolger showed a remarkable maturity for their young ages. They're real-life sisters which explained their great on-screen chemistry. 

Paddy Considine was also good, but his character of Jonny was rather annoying considering he was the main character. Johnny is a struggling actor who does whatever it takes to support his family. This includes really stupid things which he does for no reason but to add pointless conflict. He gambles the rent money on winning an ET toy in a carnival game. He walks through traffic to bring back an AC unit for his family. All of this undermined the emotional payoff his actions brought. Having said that, this film was partly based on Jim Sheridan's life, so maybe all this happened in one way or another.

As they say truth is stranger than fiction and the semi-autobiographical nature of the film did give it a generally authentic feel even if some parts were probably exaggerated for dramatic effect. No part felt more exaggerated than with the supporting character - the enigmatic Mateo (Djimon Hounsou.)

Initially, he's presented as an eccentric and dangerous man before it's revealed he has a heart of gold. I don't really know why Sheridan chose to depict him as such as an aggressive recluse who progressively softened up as he befriended the Sullivan family. This culminated in him leaving them an incredible amount of money. I don't think there had been enough groundwork to have justified such a decision. This isn't to discredit Hounsou - he quite rightly earned an Oscar nod, but Mateo's characterisation could have been improved.

And that summarises my opinion of this film. It was by no means bad, but it wasn't as good as it was trying to be.

The Motorcycle Diaries review

 Number 438 on the top 1000 films of all time is Walter Salles' biopic coming-of-age drama 'The Motorcycle Diaries.'

The Motorcycle Diaries tells the true-life story of Che Guevara's (Gael Garcia Bernal and Alberto Granada's (Rodrigo De La Serna epic motorcycle road trip across South America. Che Guevara went onto become one of the biggest figures in the Cuban Revolution.

If you don't recognise Che Guevara's name, you will definitely recognise his face. He has become one of the biggest symbols of rebellion and counterculture featuring on everything from badges to necklaces and T-shirts, somewhat ironically considering his anti-capitalist leanings. Safe to say he has become a legendary figure regardless of your political bias.

The Motorcycle Diaries served to demystify this almost mythical figure beginning from his humble origins as a medical student to the blossoming of his revolutionary ideals. Although the film stops short of depicting the latter parts of his career. Exec producer Paul Webster described his depiction in this film as closer to Jack Kerouac than Vladimir Lenin.

Mexican actor Gael Garcia Bernal was given the difficult job of bringing this heroic figure to life. Bernal was good in the role as the portrayal Guevara as a three-dimensional figure with his own flaws and mistakes. There are some who criticised the for over-idealising Guevara, but his idealism was his greatest flaw. Che's commitment to his ideals fuels much of the film's conflict.

Rodrigo De La Serna also excelled as Che's best friend and travelling buddy Alberto Granada. The two actors had great chemistry together as their friendship and conflicting ideals contributed to the film's conflict. International audiences might know De La Serna better as the morally dubious bank robber Palermo in the hit Netflix series: La Casa De Papel, but De la Serna showed he is always an impressive actor regardless of the moral leanings of his characters.

It might be more accurate to describe this more as a coming-of-age drama rather than biopic, as it stops short of charting Che's life as a revolutionary, but it is an entertaining film nonetheless.

About Time review

 Number 439 on the top 1000 films of all time is Richard Curtis' romantic-comedy with a science-fiction twist 'About Time.'

Tim Lake (Domnhall Gleeson) has just turned twenty-one. His father James (Bill Nighy) informs him that all the men in their family upon turning twenty-one develop the ability to change their past. Rather than using it to find fame or fortune, Tim uses it to find love working as a lawyer in London. Cue the beautiful American Mary (Rachel Mcadams.)

Richard Curtis is well-known for his romantic comedies from Notting Hill to Four Weddings and a Funeral to Love Actually - all starring the who's who of British acting royalty, as well as the odd American or two. In many ways, About Time retreads the familiar beats we would expect from romantic comedies: a naive, bumbling but ultimately good-hearted young man navigates the difficulties of love and life before finding his special one.

However, Richard Curtis kept things fresh by adding a sci-fi twist. Tim discovers he has the ability to change the past and like many of us he uses it to fix all his mistakes until he discovers that it's the mistakes that make us human. It's not the most revolutionary of revelations and the time travel mechanics aren't the clearest, but that's not really important.

Perhaps that's because the film had plenty of laughs from Tim's foot-in-mouth syndrome to his father James' foul-mouthed playwright friend Harry Chapman (Tom Hollander) to brilliant cameos from Richard Griffiths and Richard E. Grant. There were plenty of laughs to balance out all the sentimentality of which there was a lot. What else would you expect from a romantic comedy?

Domnhall Gleeson made a for a charming leading man. He fit the role of Tim well with all the requisite charisma, but also plenty of space to grow. Rachel Mcadams was also good as she continued her string of rom-com successes. I do wonder if that's why she went onto to star in True Detective as the emotionally damaged Antigone Bezzerides. But the true star was Bill Nighy. He was the source of much of the film's comedy and pathos.

If I were to criticise anything, it would be Margot Robbie's brief inclusion. She played, I think, an early English love interest of Tim. I say "I think," as her accent varied between her native Australian and an upper-class English. But this was early on in her career.

I really enjoyed About Time. Yes, it was overly-sentimental but it had a great cast and brilliantly used a sci-fi twist to keep everything fresh. 

Predator review

 Number 443 on the top 1000 films of all time is the action-thriller Predator

Dutch (Arnold Schwarzenegger) leads a group of elite commandos as they attempt to rescue hostages from guerillas in the Central American rainforest. His group consists of mercenary Mac (Bill Duke,) explosives expert Poncho (Richard Chaves,) macho Blain (Jesse Ventura,) tracker Billy (Sonny Landham,) Dutch's commander Dillon (Carl Weathers) and wisecracking smart ass Hawkins (Shane Black.)

If you were to measure this film by an action-film standard, then it ticks every box in spades. You have the tough-as-nails soldiers, cheesy one-liners, undeveloped female characters, gunfire, explosions and Arnold Schwarzenegger. By that metric, Predator is a great film.

By any other metric, it is a load of rubbish. Of course it isn't pretending to be anything other than your average shoot-em-up, but shoot-em-ups can still make you care about their characters. Shoot-em-ups can still be entertaining.

I would say that the characterisations of Dutch and his men were paper-thin, but that's being generous. They were non-existent. They were nothing but your generic wise-cracking, vulgar soldiers. The only civillian and female character - the guerilla Anna (Elpidia Carillo) was similarly under-developed. At first it seems like she only speaks Spanish until she can suddenly speak fluent English. Why the change? Reasons.

The soldiers also didn't act like soldiers. They were so unrealistic from the whole group blindly following a million rounds into the jungle in an effort to kill the predator, to Dillon and Mac running off on their own to kill the predator, to Billy throwing down his gun to fight the predator with just a knife. Surprise surprise, he dies quickly. It just seemed like stupid characters doing stupid things for no reason but to advance the plot. If this were teenagers running away from Jason Vorhees, I'd get it, but fully-trained marines? Come on.

If you're going to watch Predator then manage your expectations. If you are expecting ground-breaking cinema, or at least entertaining cinema, you will be disappointed. But if you are after a popcorn-munching, octane-thriller, then Predator is the film for you. 

Ordinary People review

 Number 439 on the top 1000 films of all time is Robert Redford's 1981 directorial debut: Ordinary People.

The Jarretts are a wealthy upper-class family living in Chicago. However, mother Beth (Mary Tyler Moore) and father Calvin (Donald Sutherland) world is rocked after they lose one son in a boating accident and their other son Conrad (Timothy Hutton) tries and fails to take his own life. Despite help from therapist Tyrone Berger (Judd Hirsch) Conrad struggles to move on from the tragedy. The family slowly starts to disintegrate. 

This was always going to be a depressing film. That much was obvious from the film's summary. What made it so upsetting was its realness. The Jarretts can be substituted for any other family and the story would be the same. The tragedies that befall them could easily befall anyone. As the title would suggest, they are painfully ordinary people.

Ordinary People was Robert Redford's directorial debut. And it was a terrific debut, because he won the Best Directing Oscar. he did well in making the pain and the tragedy of the Jarrett family relatable for a general audience, regardless of how much wealth they hold.

Similar credit should be given to to the principle cast who were all Oscar-nominated except for Donald Sutherland. Moore and Hutton both won, with Hutton beating out his co-star Judd Hirsch. All this is while Donald Sutherland is generally regarded as one of the best actors to have never been Oscar-nominated, so his snubbing was no surprise. 

I do think if it was any other year Hirsch would have been beaten Hutton, but Hutton's considerable acting skills made him the youngest Best Supporting Actor Oscar in history - a record that stills stands to this day - at twenty. Of course, this isn't to disparage Hirsch. Therapists can tend to be played as cold and condescending, but this was not the case with Tyrone Berger. He was a warm and relatable man who soon becomes Conrad's most trusted confidante.

Yes, Ordinary People was a tragic film, but it was painfully relatable. Maybe that's why it was so sad.

Good Will Hunting review

 Number 159 on the top 1000 films of all time is the drama Good Will Hunting.

Will (Matt Damon) is an undiscovered genius with a troubled past. Instead of putting his genius to good use, he works as a janitor for MIT. That is until Professor Gerald Lambeau (Stellan Skarsgard) recognises his potential and arranges for Will to have counselling with therapist Dr Sean Maguire (Robin Williams.) Ben Affleck co stars as Will's best friend Chuckie and Minnie Driver plays Will's love interest Skylar.

In 1994, Matt Damon and Ben Affleck were struggling to break into the acting industry. They then decided to write and star in their own film. The rest as they say is history. Damon and Affleck went onto win Oscars for writing. Affleck has since gone onto win a Best Director Oscar for Argo. 

Yet the Oscars don't end there as you had the always terrific Robin Williams win Best Supporting Actor for his role as therapist Sean Maguire. Robin Williams is best known for his comedy roles but he is proven that he is equally adept at drama too. In this role, he played to both his comedic and dramatic strengths. One of the film's most famous scenes sees Maguire making Will dissolve into giggles by telling him a story about how his wife used to fart in her sleep. Matt Damon was laughing for real here as was the cameraman evidenced by how the camera shook. What made it so great was how it was unscripted.

Williams also had a great chemistry with Damon as we see Maguire become a mentor for the emotionally damaged Will. The two of them had many tender, heartfelt but also intense scenes together. Both of them were able to easily switch between comedy and drama.

Alas I cannot be so positive about Ben Affleck. I think it is very telling that he has won Oscars for writing and directing but NOT acting. I think this is because he is more wooden than your average tree. Chuckie was not an exception to this rule.

Although this is really just a minor blip in an otherwise very good film. It was funny yet dramatic with one of Robin Williams' finest performances 

Tangled review

Number 434 on the top 1000 films of all time is Disney’s animated fairy-tale film Tangled.

Based on the story of Rapunzel, we see the princess voiced by Mandy Moore kidnapped by the evil Mother Gothel (Donna Murphy) who raises her as her own daughter. Rapunzel knows nothing about her true identity. However, her hair has magical qualities that can heal all wounds and stop the aging process. She is locked away in a remote tower knowing nothing about the outside world. That is until the lovable rogue Flynn (Zachary Levi) stumbles upon her tower and soon changes her life.

Tangled is based on a fairytale, so like many of Disney’s films, it is formulaic. What I saw here was little different to the Disney princess films of old. You have your princess locked away by a parental figure with sinister intentions. She then meets a prince charming initially disguised as a selfish rogue, but who becomes a better person as a result of the princess. Throw in some magic, colourful animation and funny animals for good measure.

Yes, it is all stuff we’ve seen before but when you do it as well as Disney does then who’s complaining. Granted, I don’t think this is one of their best films, but it was certainly an entertaining watch. Rapunzel had a nice mixture of wonderlust, star-eyed naivety, agency and inner strength. This helped to give us a Disney princess for the modern age.

Although Flynn’s arc from selfish coward to unlikely hero was predictable, it was still enjoyable to watch. The villainous Mother Gothel wasn’t quite on the same levels as the likes of Scar, Jafar or the various evil stepmothers, but she had some great lines, especially when she was expressing her thinly-veiled contempt of her supposedly beloved daughter.

There were plenty of funny moments like when Rapunzel goes into the tavern supposedly full of thugs but they are actually full of gentle giants with a share of unrealised dreams.

Compared to some other Disney films, I don’t think the soundtrack was particularly memorable. This was a little disappointing as the music is often the best part of Disney’s films: I’m thinking of the Lion King, Mulan or Aladdin. Even the god-awful Frozen had an inescapable soundtrack. Yet I can’t remember any of the songs from Tangled.

True, I don’t think Tangled brought anything new to the genre. Disney were certainly treading familiar ground when they brought this fairy-tale to life, but when they do it as well as they do, who’s complaining really?