Award Season Update - Just - In from the Festivals!

Can you hear that, folks? That’s the sound of Oscar buzz! Yes, it may only be September and the ceremony doesn’t take place until early next year, but the festival circuit has given us an insight as to what the nominations may look like…

Leading the pack is Damien Chazelle’s sophomore picture La La Land, the writer/director’s follow up to his 2014 critical smash Whiplash. Starring Ryan Gosling and Emma Stone as Sebastian and Mia, an aspiring musician and actress respectively, who attempt to navigate the choppy waters of Hollywood and their budding romance simultaneously. A musical of seemingly large nostalgic proportions, critics have been wowed and wooed by the charming musical numbers, particularly the film’s opening sequence that shows L.A traffic grinded to a halt which quickly turns into an all-singing, all-dancing fest. Expect La La Land to be the front runner of the awards race, and prepare yourself for a toe-tapping good time.

Whilst La La Land is proving to arguably the biggest hit amongst critics, Amy Adams has dominated conversation in terms of acting performances. Starring in Tom Ford’s seductive thriller Nocturnal Animals and Denis Villeneuve’s intelligent sci-fi Arrival, 2016 seems to be the year where Adams will finally be rewarded for her unfaltering and immense talent. However, she faces stiff competition from fellow red-head Emma Stone in La La Land and Rooney Mara in Una, a film that left audiences rattled but in agreement of Mara’s towering performance. Having been nominated at the Academy Awards five times previously without a win, the golden statuette should surely be within Adams’ grasp.

Hollywood may love giving awards to talent that is long overdue (a la Leonardo DiCaprio), but do you know what they love more? A comeback story. This has been demonstrated many a time, such as Matthew McConaughey’s “McConaissence” that subsequently lead to his win for Dallas Buyers Club and Michael Keaton’s return to glory with Birdman. Mel Gibson’s war drama Hacksaw Ridge made its debut at Venice – but how forgiving can Hollywood be in regards to Gibson’s misogynistic and anti-semitic tirades a few years ago? Can he redeem himself? Thus far, it seems he can as Hacksaw Ridge reportedly received a ten-minute standing ovation from a crowd of critics. Only time can tell as to whether this acclaim will continue and result in triumphs come award season, and whether Gibson can be welcomed back into the Hollywood fold.

Hacksaw Ridge may be a question mark for awards contention, but features such as Manchester By The Sea and Sully are sure to garner some recognition. Starring Casey Affleck and Michelle Williams in a supporting role, critics and audiences alike have been floored by the wrought, emotional drama Manchester By The Sea when it premiered at Sundance earlier this year. With incredibly positive word-of-mouth, it’s a sure bet for awards consideration. With regards to Sully, the feature already has considerable momentum – Clint Eastwood at the helm, Tom Hanks taking the titular role…it’s got “gunning for gold” written all over.

Although there are a plethora of upcoming films that have the potential for awards, the aforementioned contenders above have made the biggest impact on the festical scene. Let the battle for gold commence!

'10 Cloverfield Lane' - Review

Director: Dan Trachtenberg
Cast: Mary Elizabeth Winstead, John Goodman, John Gallagher Jr.
Release Date: March 2016

10 Cloverfield Lane is the film no one saw coming or even knew existed until about a month or two before its release, as the infamously secretive J. J. Abrams and his production company Bad Robot kept the project firmly under wraps. Arguably, it's also a film that no one asked for as its predecessor, Cloverfield, was hardly a blockbuster hit. However, this carefully shrouded film is the surprise hit of the year.

The film follows Michelle (Mary Elizabeth Winstead) who has recently been detained in an underground bunker with two men (John Goodman and John Gallagher Jr.) after a serious car accident. One of the men, Howard (Goodman), insists the air outside of the bunker has left the world uninhabitable - but can he be trusted?

The success of the film largely relies on the success of these two elements; the audience's determination for the survival and safety of our heroine and the believability of the danger that she could possibly face. Thankfully, these two targets are hit with a bullseye. The former point is achieved through the strength of the performance given by Mary Elizabeth Winstead as Michelle. In a time where audiences are crying out for fully realised and developed female characters (rightfully so), Winstead and the team behind 10 Cloverfield Lane provide us with a shining example. Michelle is smart and extremely resourceful and never once ventures into damsel territory. Often when you're watching a horror/thriller, you find yourself screaming at the silver screen, either berating the "hero" for making idiotic decisions or offering your own solutions to their dilemmas - in both instances, you're left disgruntled as the protagonist doesn't take the smart course of action. This is not the case in 10 Cloverfield Lane as Michelle is always effectively formulating and demonstrating just how intelligent and active she is. Goodman and Gallagher Jr. both also provide strong performances, most notably Goodman as the socially disengaged Howard, who leaves you questioning his motives through almost the entire film.

Comparisons have been made between 10 Cloverfield Lane and the films of Alfred Hitchcock, and the parallels are certainly there. Despite the minimalistic location and relatively small scope of the piece, director Dan Trachtenberg amplifies the suspense and tension to such a palpable degree, where at times I watched events unfolding through gritted teeth and my hands obscuring my eyes.

It's not until approximately 15 minutes before the film ends that any flaws are noticeable, and that can be attributed to the shift in genre. 10 Cloverfield Lane reverts back to the science-fiction/supernatural genre that was the basis of Cloverfield and ultimately spawned this film. Although, the psychological thriller aspect that preceded the final 15 minutes was significantly more entertaining.

Overall, 10 Cloverfield Lane is one of the most gripping and arresting films of the year and is bound to keep even the most laid-back of cinema - goers on the edge of their seat.

'Hail, Caesar!' - Review

Director: Joel and Ethan Coen
Cast: Josh Brolin, George Clooney, Scarlett Johansson, Channing Tatum, Ralph Fiennes, Tilda Swinton, Jonah Hill, Frances McDormand, Alden Ehrenreich.
Release Date: February 2016

After viewing the first trailer for Hail, Caesar! back in 2015, the Coen brothers latest creation was quickly affirmed as one of my most highly anticipated films of 2016. Now I've watched the film? I regret allowing myself to become so excited.

Hail, Caesar!, although fictional, follows the real life 1950s Hollywood "fixer" Eddie Mannix (Brolin) who attempts to uncover the mystery of the vanishing movie star (Clooney) whilst trying to maintain the image of several other performers.

With such an amazing filmography under their belts, including No Country for Old Men and Fargo, Hail, Caesar! unfortunately is a limp edition to their impressive resume. The film's premise is so promising; a comedy mystery where a studio Hollywood adviser has to enlist the help of film stars to recover one of their own after they go missing. On top of that, it's written and directed by arguably the most talented duo in the industry - what's not to like? Unfortunately, quite a bit. The mystery is revealed to the audience very early on and the characters that I expected to help propel the narrative forward hold no relevance to the story at all.

However, whilst some of the cast are given surprisingly little to do, every actor is fantastic and play to their strengths. Johansson is both alluring and comedic as Dee Anna Moran, an unruly actress with a reputation to protect. George Clooney continues to be the Coen's first call whenever they have a simple character on their hands, but he still manages to exude his starry persona. Tatum's dance sequence as the light-footed Burt Gurney is a joy to behold and Tatum delivers it with irresistible charm. If that isn't enough big name talent, Jonah Hill and Frances McDormand also add their flourish to proceedings. Although, their roles are extremely unsubstantial and they deliver approximately six lines between them.

Aesthetically, the film is very pleasing and you'll find yourself wishing you could be transported to 1950s L.A. As aforementioned, Tatum's tap-dancing sequence is captivating, as is Johansson's aquatic  number. These magnificent set pieces are without a doubt the film's highlight, but they don't make up for the picture's shortcomings.

In regards to Tatum's character Burt Gurney, there is an unappealing twist that reveals his true nature and motivation. The twist is cheesy and regrettably unfunny; the Coens have proved many-a-time that they can find humour in even the bleakest or unconventional of situations, but in this instance -- they fail.

Overall, Hail, Caesar! is a film bursting with the potential to be great, but the potential never comes to fruition and is suitable viewing for only the diehard Coen brothers fans.

'Deadpool' - Review

Director: Tim Miller
Cast: Ryan Reynolds, Morena Baccarin, Ed Skrein, T.J Miller, Gina Carano.
Release Date (UK): February 10

Unless you've been living under a rock, Fox's Deadpool is on everyone's radar due to the film's amazing marketing campaign (arguably the best and most effective ever). Thankfully, the film lives up to all of the hype and positive expectation as it is thoroughly entertaining from start to finish.

Deadpool sees mercenary Wade Wilson (Ryan Reynolds) meet and fall in love with Vanessa Carlysle (Morena Baccarin) at a local bar. However, after collapsing, he is diagnosed with terminal cancer and distances himself from Vanessa to protect her. Wade is approached by a recruiter from a top-secret program who offers him an experimental cure for his cancer; the results leave him with a scarred and disfigured physical appearance but with the ability to self-heal, and Wade goes off on a violence fueled search for the man (Ajax, played by Ed Skrein) who triggered the transformation.

The creative team behind Deadpool deliver exactly what they had promised plus much more and have truly made a film for the fans as many were left disappointed with the treatment of the Merc with the Mouth in X-Men Origins: Wolverine. The essence of Deadpool is captured perfectly within the film; it's rude, crude, hilarious, violent and packed with action - also, when you take into account the film's budget of $60 million (half of what most superhero flicks are given), the quality and high standard achieved is even more impressive.

Ryan Reynolds has discussed extensively the rocky road and 11 year process of getting Deadpool made and his abundant passion for the project is all there in his performance. Reynolds embodies the persona of Deadpool like a second skin and proves that he was born to play the role. Morena Baccarin is equally impressive as Vanessa, the girlfriend of Wade Wilson, and the chemistry between the two characters is palpable; Vanessa is the perfect match for the erratic and wise-cracking Wade. However, every character Reynolds as Deadpool interacts with on screen is the perfect enabler of comedy, particularly T.J Miller's Weasel, Wade's best friend, whose presence is guaranteed to make you laugh and his rapport with Wade is something special. Ed Skrein does a fine job as Ajax (AKA Francis), Deadpool's nemesis, although arguably he doesn't bring anything new or original to the landscape of villains produced by the superhero genre.

Due to the fierce commitment of each and every actor, the vast majority of jokes lands and therefore the film is funnier than most straight comedies. The references to other Marvel properties (primarily the X-Men franchise) are laced expertly throughout, allowing the audience to feel that Deadpool co-exists with other mutants (Colossus and Negasonic Teenage Warhead feature within the narrative, who are fellow mutants residing at Professor X's mansion) but also beholds his own unique tone and story within the universe. Although the tone is predominantly comedic, the film maintains a lot of heart, as at its core, it is a love story masked by violence-fueled revenge and endless one liners.

The film particularly excels during its action sequences which are phenomenally handled and are extremely visceral and graphic. The stunts are incredible and Deadpool's flips and mid-air twists are hypnotic - you could watch them for hours on end. Although, because the action scenes are so thrilling, the flashbacks where Deadpool's origin is explored are less compelling in comparison, leaving you itching to return to the more exhilarating aspects the film has to offer.

Overall, Deadpool is one of the most unique superhero films to come along in years and its astounding success is sure to pave the way for other films of the genre and enable them to take greater risks and skew a slightly more mature audience.

'Spotlight' - Review

Director: Tom McCarthy
Cast: Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Stanley Tucci.
Release Date (UK): January 29

Despite not having a single explosion or heavily choreographed fight sequence, Spotlight proves to be equally thrilling to any action film you may have seen this past year.

Spotlight follows The Boston Globe's investigative unit (called Spotlight) as they attempt to delve into and gather information about the cases of widespread child sex abuse in Boston by numerous Roman Catholic Priests. However, the team are unprepared for what their investigating reveals as they are made aware of the severity of the situation.

Many films claim to have an ensemble cast, but Spotlight can truth
fully boast one - and the cast they have assembled is phenomenal. Every single performance blends seamlessly together and ultimately creates the sense of collaboration and teamwork that the team Spotlight affects. Whilst Keaton is authoritative as the leader of the coverage and McAdams is personable as the team's sole female reporter, Mark Ruffalo arguably gives the standout performance. Ruffalo clearly makes some strong and definitive character choices that feel noticeably absent from the other actors performances and he once again proves he is one of the most consistent and reliable talents in Hollywood. The film also resists the temptation to explore each individual character's personal life and keeps the focus solely on the investigation. However, further credit goes to the actors as the audience still feel fully connected to the characters despite knowing so little about them.

This feeling of attachment is also attributed to the writing, as the character and story development is expertly crafted. Initially, Spotlight are reluctant to investigate the scandal and we witness them go through the motions of reporting as they would do any other case. However, as the investigation continues, each member of the team becomes emotionally involved to such a degree that it affects their personal life and views on the Catholic Church.

As previously mentioned, McCarthy keeps the focus and attention narrowed, with the emphasis clearly placed on the victims of the abuse. Spotlight doesn't have the characters pump their fists into the air or indulge in jubilation when they uncover information crucial to their search, and they don't receive pats on the back from their superiors. Although the achievements made by the Spotlight team were incredible, the team are never glorified or viewed as heroes; but they provide those who have had their voices squashed an opportunity to speak out. The film's ending is also fitting and appropriate as it begins to show the aftermath of Spotlight's reporting, but it also hints that their work is far from over.

Unsurprisingly, Spotlight is a serious contender in this year's awards race and rightfully so as it is arguably one of the most important films of the past few years.

'Tangerine' - Review

Director: Sean S. Baker
Cast: Kitana Kiki Rodriguez, Mya Taylor, Karren Karaguilan, Mickey O'Hagan, James Ransone.

Tangerine hasn't been given a wide release in cinemas, so chances of finding it in your local cinema are slim. However, I urge you to try and watch it in any way you can as it is simply a joy to behold.

The film's opening line "Merry Christmas Eve, bitch!" perfectly encapsulates the tone and humour for the rest of the picture, as Sin - Dee Rella, a transgender prostitute recently released from prison, is informed by her best friend Alexandra that her pimp boyfriend has cheated on her. Sin - Dee then proceeds to strut around the streets of L.A in search of answers whilst Alexandra attempts to attract a crowd to her showcase.

The charm and likability of Tangerine can largely be attributed to the performance of the cast. Consisting of relative resulted in the absence of preconceptions; every actor gave an incredible performance and played their roles with realistic and uncontrived humour and surprising emotional notes. Rodriguez is hilarious as the recently released from prison and vengeful Sin - Dee and Taylor is wholly personable and understated as her level-headed best friend. Their partnership on screen feels incredibly authentic and their rapport is dynamic to watch.

It's no secret that Hollywood has a problem embracing diversity, but Tangerine wholeheartedly celebrates it. Director Sean S. Baker takes a completely non-judgmental approach to the narrative surrounding the transgender and sex-worker community and therefore allows the audience to become oblivious to the social conditions of the characters and become engrossed and engaged with them.

The writer/director also captures the city of L.A in a way previously unseen before on screen. The conceptions of L.A being superficial and stylistic are eradicated as the genuine connection between Sin - Dee and Alexandra gives the city some much needed heart. Additionally, the city almost becomes a character in its own right as it facilitates the legitimate characters behaviour and allows them to be whoever they want to be.

Overall, Tangerine is a film filled with electric energy and originality. The fact that the film was shot entirely on an iPhone was an inspired choice and says to aspiring filmmakers everywhere that a strong vision and desire to tell stories is all they need.

'The Big Short' - Review

Director: Adam McKay
Cast: Christian Bale, Steve Carell, Ryan Gosling, Brad Pitt
Release Date (UK): January 22

Although a film about the housing market and economic bubble may not sound like the most exhilarating of viewings, McKay's direction and the razor sharp cast prevent The Big Short from diminishing its appeal.

The Big Short depicts Dr. Michael Burry (Bale), Mark Baum (Carell), Jared Vennett (Gosling) and Ben Rickert (Pitt), four experiences professionals in the finance industry who pre-meditate the collapse of the housing market years before the financial crisis of 2007/2008. As they delve deeper into the world of modern banking, their startling revelations lead them to question the entire system and question everyone they encounter.

The film is based on the book of the same name by Michael Lewis, and af
ter watching the film you can only assume that adapting the material for the big screen must have been a mammoth task. The writing and dialogue exchanged between the characters is fired fast and requires and audience's full attention. It's evident that McKay and co-writer Charles Randolph not only respected the source material but also the gravity and importance of the subject matter and it is most certainly reflected in the screenplay. For all the reverence that the film is treated with, McKay still includes inventive and original ways to bring levity to the material - most notably with the use of celebrity cameos. Through Gosling's character's narration, McKay throws over to celebrities including Margot Robbie to explain to the audience financial concepts, allowing us to process the flurry of information we have been confronted with and indulge in the humour.

Whilst the celebrity features are designed to help the audience understand and keep on track with the narrative, the financial jargon is extremely complex and specialised and often left me feeling bewildered and confused. Terms such as subprime loans and CDOs (collateralised debt obligations) made little sense to me and I was itching to reach for the nearest Google search bar. Those who are familiar with the subject matter or financial world in general will thrive in the environment created by McKay whereas those who aren't may often find themselves struggling to keep their head above water. In spite of this, the film's energy ensures that the stakes still feel incredibly high and there are surprising and unexpected emotional notes.

Despite the serious and complicated issues raised in The Big Short, plenty of laughs are to be had (unsurprising, given that this is an Adam McKay film). However, the humour never feels forced or synthetic and it is weaved completely naturally into the film's tapestry. A large part of the joy and entertainment value of watching this film has to be attributed to the cast; it truly is an ensemble and everybody delivers. Carell arguably conveys the most effective and interesting character as he plays a man who is in the corrupt business of banking but clearly feels the responsibility to set the world to rights, all the while struggling to overcome issues in his personal life.

Overall, The Big Short is funny, informative and tragic all in equal measure and will keep you gripped from the get-go. However, as soon as the lights go up in the cinema, you will most likely hurry home to clarify and gather as much information about what you have just watched as you can.

'The Revenant' - Review

Director: Alejandro G. Inarritu
Cast: Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter.
Release Date (UK): January 15

The process of making The Revenant has been highly publicised, with the actor's endurance in the harsh weather conditions and unforgiving all - natural environment highlighted especially. However, no discussion about the production of the picture can prepare you for the incredibly immersive experience and depiction of the true reality of nature - it has to be seen the be believed.

The Revenant follows a group of fur trappers and hunters who are confronted by the Arikara and are forced to abandon their position and track a new course whilst still being pursued. The group are slowed down when the group's guide, Hugh Glass (Leonardo DiCaprio), is horrifically mauled in a bear attack. After being left for dead and witnessing the death of his son in the hands of his confidant John Fitzgerald (Tom Hardy), Glass must overcome his substantial injuries and navigate the treacherous terrain and environment to exact his revenge.

The immersive and wholly visceral experience of The Revenant is largely due to the cinematography by Emmanuel Lubezki. The opening sequence in which the hunting party is ambushed is truly a sight to behold, and reminiscent of Lubezki's work in Birdman (also directed by Alejandro G. Inarritu) where the impression of a long, continuous take is given. The camera swoops amongst the action, effortlessly gliding between one depiction of violence to another and encompassing the scope of the location and brutally capturing the events. However, the most brutal scene in the film is the attack on Glass by the grizzly bear who was protecting her cubs. The sequence is a cinematic landmark and will certainly develop a legacy in its own right. DiCaprio's performance is nothing short of brilliant in this sequence, especially taking into consideration that his screen partner was a CGI creation.

For the majority of the picture, DiCaprio's character is in the sole company of the wilderness, and Lubezki's inspired and ambitious creative decision to shoot the film using entirely natural light only enhances the feeling of the audience experiencing Hugh Glass' turbulent journey. The use of natural light allowed Lubezki to simultaneously capture the beauty and harshness of the environment and conditions that Glass (and DiCaprio) had to endure.

As previously mentioned, DiCaprio spends a great deal of time without a screen partner, resulting in a very physical as opposed to verbal and dialogue driven performance. However, he is nevertheless effective in communicating every human's basic instinct to survive and commands every single frame he is in; his performance here will most likely garner DiCaprio his long overdue and allusive Academy Award for Best Actor. Tom Hardy is also impressive as John Fitzgerald, the film's antagonist as he proposes the reasoning behind his character's actions and offers complexities far beyond the tropes of the moustache - twirling villain. For example, with the threat of the Arikara ever present, Fitzgerald's every-man-for-himself approach isn't hard to fathom. The film also has strong supporting performances from Domhnall Gleeson (Captain Andrew Henry) and Will Poulter (Jim Bridger), although their character's naive nature and evident lack of experience makes it too easy for Fitzgerald to succeed and deceive.

Although Hugh Glass' physical pain is thoroughly explored, his emotional pain as a result of losing his son is never fully realised - perhaps this is because the relationship and connection between the two wasn't written effectively, or arguably because DiCaprio's youthful appearance prevents him from convincingly playing the father of a young adolescent. Additionally, extensive portions of the film see Glass suffering from the elements and recovering from his wounds as he valiantly makes his way back to base. As previously stated, DiCaprio has little dialogue and is alone through long stretches of the film, resulting in occasional bouts of the audience's patience being tested as they will the action on.

Despite the long running time and the film's infrequent indulgent nature, the breathtaking cinematography and memorable performances ensures that The Revenant is one of the most truly cinematic films that you will ever experience.

'Room' - Review

Director: Lenny Abrahamson
Cast: Brie Larson, Jacob Tremblay, Joan Allen, Sean Bridgers, William H. Macy
Release Date (UK): January 2016

Although the film's stars Brie Larson and Jacob Tremblay and the director Lenny Abrahmson may be relatively unheard of talent, after watching Room, their presence will be firmly on your radar - and it's there to stay.

Held against their will in a single - room shed in a man's garden for years, a woman (Brie Larson) and her son 5 year-old son Jack (Jacob Tremblay) conceive a plan to be free of their captor and Room. They succeed and both mother and son have to adjust to the world as Ma struggles to acclimatise to freedom and Jack experiences interaction with other people (besides his mother) and much more for the first time.

As alluded to in the introduction, the performances of Larson and Tremblay are the heart and soul of the film. Larson, brilliant in Short Term 12, continues to astound with her raw honesty that she has demonstrated so many times. Her internalised and layered performance never falters as she plays Ma, the resilient woman who finds the will to raise her son under unfathomable circumstances with such valour whilst battling engrossing sadness and fatigue. Having recently won the Golden Globe for Best Actress in a Motion Picture - Drama, the Oscar statuette is firmly within her grasp and rightfully so, as she gives one of the year's best performances. However, Larson is never better than when she is sharing the screen with Tremblay. Tremblay gives one of the finest performances by a child actor in recent memory as Jack as his innate natural instincts and energy seeps from the screen. You don't feel like you are watching performances from either Larson or Tremblay - you feel like you are watching the truth.

The film is deftly directed by Lenny Abrahamson (director of Frank) who handles the subject matter with such regard whilst adding his own artistic flourishes. Like the novel of the same name, Room is largely told through the eyes of Jack. However, Abrahamson also goes to greater efforts to see Larson's character as more than just Ma as she reconciles regaining her freedom with the feeling of being more isolated than ever; as it develops, the film sees Jack blossom with his new surroundings as Ma (her name is revealed to be Joy) regresses into an almost childlike state.

The screenplay (written by the author of Room, Emma Donoghue) was incredibly faithful to the source material, ensuring fans of the book will be thrilled with the final result. Whilst some scenes are omitted, others are harrowing with their visual realisation. Surprisingly, one of the film's most traumatic scenes is when Joy gives her interview about her experience in Room. The line of questioning and manner in which the interview is conducted is infuriating to witness and highlights the media and public insensitivity and feeling of entitlement to survivor cases. In addition, the fact that Joy has to participate in the interview to pay her legal bills is sickening, and evokes such a strong and visceral reaction, both from Joy and the audience.

This life affirming and suspenseful story of survival reminds us how time and circumstance can turn us all into a captive, resulting in one of the most powerful and emotional films in years.

'The Hateful Eight' - Review

Director: Quentin Tarantino
Cast: Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Tim Roth, Michael Madsen, Walton Goggins, Bruce Dern, Demian Bichir, Channing Tatum
Release Date (UK): January 8

Whilst promoting The Hateful Eight, Quentin Tarantino has expressed a keen interest in adapting his latest writing/directorial effort into a stage play. After watching the film, I can only support Tarantino's desire as the almost lyrical dialogue and tense atmosphere would no doubt transfer seamlessly into a theatre production. However, as this development does not seem to be taking place any time in the foreseeable future, the masterful and impeccably crafted film will fortunately have to suffice.

After convincing John "The Hangman" Ruth (Kurt Russell) to board his stage coach along with his bounty Daisy Domergue (Jennifer Jason Leigh), Major Marquis Warren (Samuel L. Jackson), later joined by the new Sherrif of Redrock Chris Mannix, head to the renowned Minnie's Haberdashery. Upon arrival, they find four eclectic men in residence. As ferocious weather conditions force the group to spend three days together, Warren plays Poirot as not everyone seems to be who they claim, increasing the suspense to Hitchcock - esque levels.

Due to the Hitchcock-ian vibe the film boasts, the 167 minute running time flies by as the shocking potential twists and turns of the narrative ensure the audience's attention is planted firmly on the screen and don't dare risking a glance at their watch in fear of missing a crucial plot point. Despite the film's gory and violent elements and categorisation as a drama, The Hateful Eight elicits laughs from the audience larger than the laughs that would typically be produced by a straight comedy; this only further exemplifies the strength and diversity in Tarantino's writing that he has proven time after time.

Not only does Tarantino write humour incredibly well, he casts impeccable actors, each of them incredibly worthy of assuming his creations, Although Jennifer Jason Leigh is garnering the most attention in the awards circuit (deservedly so), Walton Goggins is a revelation and equally deserving of critical recognition. The Hateful Eight also reminds you of how criminal it is that Samuel L. Jackson (a Tarantino staple) has never gotten an Academy Award - after acting professionally for over 40 years, Jackson remains just as committed and enigmatic as ever. Other notable standouts include Kurt Russell as John "The Hangman" Ruth, the no-nonsense but largely naive bounty hunter and Tim Roth as Oswaldo Mobray, the chipper Englishman who happens to be the town's hangman. Oswaldo proves to be one of the most amusing characters and increases the levity and energy of the picture every time he is on screen. Every single one of these actors depicts disgusting and, well, hateful characters - however, they were some of the most enthralling individuals I had witnessed in a long time.

Although incredibly well-realised, there were some occasional character moments that felt more for the audience's benefit than to serve the character. For example, there is a brief and fleeting moment with Roth's character that goes entirely unexplained once all of the twists in the story have been revealed. Additionally, Russell's John Ruth is immediately suspicious of the inhabitants of Minnie's Haberdashery and believes someone is not who they claim to be. Arguably, there are no grounds for these suspicions other than to inform the audience and make them aware of the complexities and potential deception going on.

Overall, The Hateful Eight is a suspenseful, violent, engaging and well acted picture, indicating the director at the helm is at the peak of his film-making prowess. Tarantino has claimed that he will only write/direct two more films, but The Hateful Eight only increases my need for more of his work, because simply, there is no one like him.

'The Danish Girl' - Review

Director: Tom Hooper
Cast: Eddie Redmayne, Alicia Vikander, Ben Whishaw, Amber Heard, Matthias Schoenaerts
Release Date (UK): January 1

Never has a film felt more timely or potent in regards to social matters than The Danish Girl. With Caitlyn Jenner and Orange is the New Black's Laverne Cox propelling transgender issues into the mainstream, The Danish Girl continues to bring the transgender community to the forefront of conversation.

The beginning of the film depicts Einar and Gerda Wegener, a married couple who are both artists living in Copenhagen. Although a talented portrait artist, Gerda has not garnered the same success and acclaim that her husband has. After the subject of a painting that she has been working on fails to show, Gerda asks her husband to stand in. However, posing as a female figure leads to the unveiling of Einar's true identity that he had been struggling with his entire life; a woman called Lili Elbe. This incident is the catalyst for the rest of the film's events as both Lili and Gerda struggle to cope with the realisation.

The performances given from the film's two leads, Eddie Redmayne and Alicia Vikander, are extraordinary. Redmayne so viscerally conveys the pain of being born into the wrong body; in the moments where Lili is forced into returning to the identity of Einar, her discomfort and desire to transform back into her true self is almost tangible. Although his performance is arguably perhaps too external, Redmayne's work in The Danish Girl and 2014's The Theory of Everything establishes him as one of Britain's finest talents.

Whilst Redmayne is excellent, Alicia Vikander gives the finest performance in the picture and continues her winning streak; whether she's playing a double agent in The Man from U.N.C.L.E, a manipulative A.I in Ex Machina to her role here as a woman conflicted between supporting Lili throughout her transformation and being unwilling to let Einar go. It seems Vikander can do no wrong.

The audience are certainly positioned to care deeply for and sympathise with both Lili and Gerda as the film proposes an interesting and mirroring journey for the two characters. As Gerda and her art career begin to succeed, Lili descends into turmoil as she can't reconcile her real identity with the body she was born into. Alternatively, as Lili embraces her true self, Gerda increasingly struggles with her husband's transitioning.

Whilst the themes and issues raised withing The Danish Girl are arresting, the exceptional film-making and cinematography elevates the picture where the script fails it. Hooper and cinematographer Danny Cohen make the entire film feel like a painting as they echo Einar and Gerda's profession and create a visually immersive experience for the audience, demonstrating the level of thought and intelligence put into the picture. However, the film occasionally feels slightly too calculated and polished, resulting in moments that are robbed of their emotional weight.

Although not a perfect film, The Danish Girl will hopefully continue to provoke conversation regarding issues faced by the transgender community and further encourage Hollywood to tell bold and inspiring tells.

'Joy' - Review

Director: David O. Russell

Cast: Jennifer Lawrence, Robert De Niro, Bradley Cooper, Edgar Ramirez, Diane Ladd, Virginia Madsen, Isabella Rossellini.

Release Date (UK): January 1

Cert: 12A

Jennifer Lawrence, Bradley Cooper and Robert De Niro re-team with auteur David O. Russell once again for the director's eighth full-length feature film. However, the dynamic group continue to surprise audiences and tread unfamiliar ground as Joy is O. Russell's first film featuring a female lead and is "inspired by the stories of daring women", as seen effectively in the opening credits.

Joy tells the story of, well, Joy Mangano, a budding inventor who finds herself the victim of societal conventions and a dysfunctional family who seem to quell the fire simmering within Joy - an ex-husband and father living in the basement and a soap opera obsessed mother don't exactly sound like the most supportive bunch. However, after cutting her hand on a glass whilst wringing out a mop, Joy's creativity and ambition is reignited and she designs her finest invention - the Miracle Mop.

Although significantly younger than the real Joy Mangano, Jennifer Lawrence provides a mature and controlled performance as the unlucky and downtrodden housewife turned business powerhouse. Even in the most subtle and muted moments, Lawrence is able to convey the conflict within Joy; the position of passivity and duty placed upon her and her passion and desire for something greater. Lawrence once again proves to us why she is the most sought after star in Hollywood and will more than likely receive her fourth Academy Award nomination.

Lawrence particularly shines during the films more emotional and serious moments which only enhance the audience's investment in the narrative. We are positioned to defiantly root for Joy and celebrate her triumphs and commiserate with her downfalls. For example, the scene in which Joy and her family gather around their television and witness their financial investment fail is utterly heartbreaking, demonstrating the film's unflinching look at the business world. In comparison, the sequence where Joy becomes the face of her own product at QVC and sees her Miracle Mop sell by the thousands is fist-pump worthy.

Whilst the emotional moments in Joy are sublime, the more quirky and experimental elements don't connect as effectively. The opening scene depicting a soap opera is a disconcerting way of beginning the picture, and Joy's nightmare sequences are jarring and perhaps too unconventional. Although they are interesting notions, they never really seem to gel with the more poignant moments throughout the rest of the film, creating an uneven and unpolished first third act.

Additionally, not all of the characters are given as much development and nuance as the titular character. Joy's half-sister Peggy is merely portrayed as a jealous sibling whilst only Joy's relationship with one of her children is realised, reminiscent of Christoper Nolan's Interstellar.

Joy may be the weakest installment of the O. Russell/Lawrence/Cooper/De Niro collaboration thus far, its stellar performances and emotional hooks should keep you talking about Joy's extraordinary story long after you've left the cinema.