After a few years gap I finally managed to get back into the short filmmaking process last year with INFERIS (2024). I wrote and produced it as a very low-budget psychological horror proof of concept short. It was filmed at Raindance Film School in August 2023 and post was completed in February 2024.
Here is the trailer:
INFERIS (2024) – Production Details
Tagline – “They make you work like hell!”
Logline – Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.
Thankfully 2023 was less turbulent year on the cultural landscape than the previous years impacted by THAT virus. Nonetheless, we remain in an era where streaming platforms continue to thrive. I have lost count how many there are now and have now drawn a line under the number of subscriptions I have.
Apple TV, BBC iPlayer, BFI, Channel 4 online, Disney+, MUBI, Netflix and Sky Movies subscriptions are enough!
I still have my ODEON membership and do attend the cinema too though.
So, here are my favourite TEN films of the year containing choices watched both at home and in the cinema. If they are new releases and I saw them in 2023, they qualify.
Obviously, I have not seen every new release from 2023, so if there are any glaring omissions from my list please recommend away!
As an aperitif I include my ten favourite films of 2022. Good luck and bon voyage in 2024!
TEN FAVOURITE FILMS OF 2022!
THE BANSHEES OF INISHERIN (2022) BONES AND ALL (2022) CODA (2021) DECISION TO LEAVE (2022) DOCTOR STRANGE AND THE MULTIVERSE OF MADNESS (2022) ELVIS (2022) EVERYTHING, EVERYWHERE, ALL AT ONCE (2022) THE MENU (2022) RRR (2022) TRIANGLE OF SADNESS (2022)
“. . . Anatomy of the Fall (2023) is an extremely complex film, both intelligent and thematically powerful. The courtroom exchanges between Sandra, her son Daniel, Samuel’s psychotherapist, the prosecution and defense lawyers are brilliantly written and acted. The flashback arguments between Samuel and Sandra are gut-wrenching and all too familiar to anyone who has been in or witnessed the crumbling of a marital or parental relationship. “
“. . .Asteroid City (2023) proves once again Wes Anderson is one of the most original filmmakers of this generation. Will he gain some more converts to his particular set of cinematic bag of tricks? Who knows. What I do know is that I was completely immersed in the colour, movement, pace, humour, aesthetics, performances and themes with the film. “
“. . . Broker (2022) arguably has too many intertwining subplots as it strives to redeem all of the complex characters, but the wonderfully believable performances and a brilliant screenplay really grabs you and rarely lets you go. Kore-eda’s direction is, as usual, masterly and assured as he balances the various tones confidently. Overall, this film makes you laugh, cry and is really moving as it highlights that family units can be lovingly born from collective experience, as well as blood. “
“. . . what unfolds is a superbly acted and understated drama which really gets under the skin and into the mind. While watching the ever-shifting points-of-view and identification with the characters May December (2023) became so compelling to me. . .Acclaimed director Todd Haynes directs this tonally awkward story with a deft touch drawing on the constant grey areas of drama so expertly. “
“. . . Where the film truly blooms is when Oppenheimer makes his scientific breakthrough, builds his team of geniuses and the actual construction of the nuclear weapons at Los Alamos. There is palpable suspense (even though we know what happens) in the race with the Germans to make the bomb first. I mean, imagine if the Germans had won the race. It does not bear thinking about. The history of the world would have been irrevocably altered beyond comprehension. “
“. . . Without explosions, or car chases, or superheroes or fast-paced cutting or extraordinary heroes defeating powerful foes, Past Lives (2023), is one of the most impactful and memorable films of this year. Celine Song achieves this with a delicate hand in the writing and direction, plus a purposeful naturalistic cinematographic palette delivered by Shabier Kirchner. Above all else Song creates two characters who you root for from the start, willing them to be together, as the one feels the romantic electricity build on the screen. ”
“. . . I cannot recommend Saltburn (2023) enough for its fantastically witty script, devastatingly brilliant cast and some quite disgustingly explicit, but contextually justifiable, character moments and scenes. Fennell takes the setting and structure of Evelyn Waugh’s Brideshead Revisited and turns it upside down, spinning a devious tale of infatuation, love, privilege and social climbing. Through the character Oliver Quick, and I really don’t want to give anything away, there is a powerful and jaw-dropping character arc of upward mobility. Rosamund Pike’s and Keoghan’s performances are both amazing and award-worthy. “
“Tár (2022) is a film which works on many genre and narrative layers. It is a psychological drama, an absorbing character study, a backstage musical, a complex morality play, with suggestions of hallucinatory horror during the final act of the film. It is a triumph of filmic brilliance expertly delivered by Todd Field. It is incredible to think this is only the third film he has directed. “
“. . . I realise Totally Killer (2023) seems so contrived and derivative, but I found it to be an absolute blast. The script is clever and knowing with energetic and fun characters. Kiernan Shipka as Jamie is especially brilliant with great comedy timing and delivery. The filmmakers embrace the joy of time-travel and horror film tropes, and there’s also some excellent set-pieces involving the obligatory 1980’s false-faced psycho with a grudge. “
“. . . Is there a better actor around than Florence Pugh? I am not so sure. She is formidably brilliant in every role I have seen her in. I think that Pugh is so clever, emotional and magnetic in her screen performances, none more so than in this intense period drama. Rich in themes including religious control, Catholic guilt and the English stranglehold over Ireland between the dramatic lines in an intimate epic, anchored by Pugh’s dominant force-of-human-nature performance.”
As an alternative to the usual Christmas films that are on our TVs, streaming platforms and cinemas now, I have spent the last few weeks watching many recent horror film releases. Like a big, black Christmas stocking I present to you some quick reviews of said bloody entertainment with the usual marks out of 11.
Merry Christmas and a Happy New Year to you and your family!
BIRDBOX BARCELONA (2023)
Spanish sequel to the Netflix original and it’s not quite as good. Some excellent filmmaking and deadly set-pieces are hamstrung by poor structure and over-familiarity with the central alien-suicide concept. The themes of religion, sacrifice and guilt are well explored and the pacey death rate make it worth watching though.
Mark: 6.5 out of 11
BULL (2021)
Brutal British B-movie with Neil Maskell on deadly form as a vengeful career criminal killing off his former gang members after they left him for dead. There are better revenge films out there, but there is some bone-crushing gore to please horror fans like me.
Mark: 6 out of 11
THE CLOVEHITCH KILLER (2018)
Slow-paced but suspenseful rites-of-passage-horror with Charlie Plummer’s teenager suspecting his father (Dylan McDermott) may be a notorious serial killer. Inspired by the evil crimes of BTK murderer, Dennis Rader, this compels throughout until the slightly unbelievable ending.
Mark: 7.5 out of 11
CONTAINMENT (2015)
Low-budget British horror-thriller set in a tower block during a viral outbreak and deadly lock-down. A prescient and chilling film which finds authorities attempting to stop the contagion by all means necessary. Some nail-biting suspense ensues and decent ensemble cast drive a film where chaos and paranoia feel all too familiar to recent global events.
Mark: 7.5 out of 11
EL CONDE (2023)
Pablo Larrain’s horror-comedy-satire is based around a very funny one-joke premise. The gag is Chilean dictator General Pinochet was in fact a blood-sucking vampire draining the life out of the common people. After a really powerful and amusing opening twenty minutes, the film devolves into a Pinochet family drama that runs out of steam until the frankly insane ending which has to be seen to be believed.
Mark: 7 out of 11
EVIL DEAD RISE (2023)
Some fantastically horrific and bloody gore cannot save this Evil Dead reboot/sidequel from feeling both redundant and unnecessary. Contrived plot, paper-thin characters and so badly lit I could hardly see anything. I recommend you watch the original films or the series Ash versus Evil Dead instead, with the awesome Bruce Campbell kicking Deadite ass!
Mark: 6 out of 11
INFINITY POOL (2023)
Another off-the-chart offering from Brandon Cronenberg after the spectacularly grim sci-fi horror of Possessor (2020). Infinity Pool similarly deals with themes of alienation, identity and duality as a writer, portrayed by Alexander Skarsgard, ends up on the holiday from hell. With obnoxious characters and a screeching Mia Goth going full gonzo I almost turned this film off, but such is the misery heaped upon the privileged James Foster, I eventually felt sorry for this tortured narcissistic soul. Trippy and bloody thrills contrast the luxury of the beautiful coastal resort with Cronenberg convincing us there is only ever trouble in paradise.
Mark: 8 out of 11
LUTHER: FALLEN SUN (2023)
Idris Elba returns in this big budget Netflix film version of the BBC maverick cop drama. Stylish, moody and effective thriller with a scenery-chewing turn by Andy Serkis as the nemesis from hell. Favours pace and action over plot consistency, Elba is always excellent value for money even if the Luther character has always been quite slight. Serkis’ fiendish plan is written for shock value rather than actually making any sense.
Mark: 7 out of 11.
PEARL (2022)
Prequel to Ti West’s porno horror X (2022) (see mini-review below), this establishes the early years of Mia Goth’s eponymous anti-heroine, Pearl. As a young woman in 1918 she dreams of escaping and becoming a silent movie star. Yet her dominant mother cannot contain the passionate darkness within Pearl. I much preferred this stylish period and character horror to the exploitative and nasty X (2022). There remains much gruesome violence here but Mia Goth finally convinces me as Pearl, delivering one the best film monologues I have seen in some time.
Mark: 8 out of 11.
RENFIELD (2023)
This vampire story from the point-of-view of the familiar, Renfield, contains the most horrific filmmaking in the very worst way. With a hopeless script, terrible acting and bad CGI it wastes the talent of Nicholas Hoult and Awkwafina. While I expected Nicolas Cage’s Dracula to be over-the-top, the film direction is so tonally awful that I have to say this is one of the worst films I have seen all year.
Mark: 3 out of 11
THANKSGIVING (2023)
A very effective by-the-numbers grind-house slasher film from Eli Roth. Set around the eponymous American holiday period, a masked killer starts murdering a small town’s occupants a year after a Black Friday sale turns into a mall riot. The functional script and generic teenagers lack the spark of the classic Scream (1996), however, Thanksgiving (2023) has some highly imaginative murder scenes, with Roth respecting both the genre and audience. A bit more social satire about greedy capitalism would have raised my mark.
Mark: 7.5 out of 11.
VIOLENT NIGHT (2022)
Die Hard (1988) is NOT a Christmas movie, but a film set AT Christmas. Here Norwegian genre movie director, Tommy Wirkola, unofficially remakes Die Hard/Die Hard 2 (1990), with Santa (David Harbour) replacing John McClane fighting criminals and mercenaries robbing a rich businesswoman’s house. Wirkola made an even better version of the violent home invasion comedy inThe Trip (2021). But this rattles along, rings a lot of bells and crunches enough calcium and funny bones to make it worth a watch. David Harbour as Saint Nick sleighs us with his usual fine character acting work.
Mark: 7.5 out of 11.
X (2022)
I know he is a very well respected low-budget film director, and I should like Ti West’s work. Yet, for some reason, I have never enjoyed his previous horrors or Western that much. I feel like his previous films lack pace, contain unsympathetic characters and his horrors lack actual suspense. X (2022) finds a number of unlikable characters setting out to make a porno film on a rural farm, only to encounter danger lurking in the woods, lake and the farmhouse. I really wanted to enjoy this more than I did because Ti West has such control over exploitative material that delivers some genuinely sickening moments of horror. Mia Goth is the standout and West certainly casts her imaginatively, but I just did not connect with this expertly made Texas Chainsaw Massacre (1974) homage.
CINEMA REVIEWS: BABYLON (2022) and THE FABELMANS (2022)
I have been extremely busy with the day-job, itself working with the filmmakers of the future at Raindance Film School, so I have a number of reviews backed-up in “pre-production.” Meaning I am thematically linking the latest films from Damian Chazelle and Steven Spielberg in one double-bill review show. Both Babylon (2022) and The Fabelmans (2022) celebrate the seismic and life-changing power cinema has had on the culture and society, from a historical, professional and very personal perspective.
While I love watching, writing and making films, cinema offerings about filmmaking and the love of cinema can be construed as somewhat of an indulgence on the part of the filmmaker. Quentin Tarantino recently achieved high level juxtaposition between homage and impressive narrative style with Once Upon a Time in Hollywood (2019). Moreover, there have been some brilliant films about filmmaking as this Six of the Best Films about Filmmaking article illustrates. But when two of the finest directors around produce extremely different visions of the filmmaking process, then one immediately takes notice.
BABYLON (2022)
Directed and written by Damien Chazelle
Main cast: Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, Li Jun Lietc.
Damian Chazelle has proved himself one of the most exciting cinematic voices of recent years. Whiplash (2014), La La Land (2016) and First Man (2018) are all masterpieces of filmic storytelling. The absolute control displayed within First Man (2018) when contrasted with the aggression of his debut film and romantic vibrancy of his Oscar winning musical is a wonder to behold. Thus, I came to gonzo-period-drama-jazz-and-coke-fuelled-black-comedy-mash-up,Babylon (2022) with high expectations.
The opening scene of an elephant shitting on the camera / audience from a great height sets the tone of Chazelle’s unofficial adaptation of Kenneth Anger’s scurrilous book, Hollywood Babylon. And so at breakneck speed we hurtle, from 1926 onwards and a orgiastic party through the on and off-set lives, loves, highs and lows of Margot Robbie’s wild “child” actress, Brad Pitt’s silent movie heartthrob, Diego Calva’s ever-optimistic, Manny Torres, and the squeezed-out-of-the-story, jazz musician, portrayed by the under-used Jovan Adepo. It’s brash, bold and challenging cinema that left me with, I have to admit, motion picture sickness.
Babylon (2022) is not so much a love letter to Hollywood as a ratcheted-up-to-eleven tribute to the tragic heroes of the past who were chewed up and spat out by the relentless Hollywood machine. Despite Chazelle and his production team’s incredible dedication and attention to detail in creating a slew of astounding filmmaking set-pieces, I rarely cared about any of these mostly obnoxious characters and could not wait for this Hollywood rollercoaster to stop. Sadly, it goes on for far too long, with too many endings. Don’t get me wrong there are moments of genius, hilarity and grotesque pleasure to be had during Babylon (2022), however, this type of dysfunctional character-driven drama was done with way more heart by Paul Thomas Anderson’s far superior, Boogie Nights (1997).
Mark: 7 out of 11
THE FABELMANS (2022)
Directed by Steven Spielberg
Written by: Steven Spielberg and Tony Kushner
Main cast: Michelle Williams, Paul Dano, Seth Rogen, Gabriel LaBelle Judd Hirsch, Jeannie Berlin etc.
“Movies are dreams!“, says a glowing, Mitzi (Michelle Williams), to her young son, Sammy, as she presents him with a camera. So it proved for Steven Spielberg with his career in filmmaking working like a dream, both behind the camera and up on the cinema screen. Indeed, there is no doubting Spielberg is one of the greatest directors of all time, having delivered a succession of incredibly popular film blockbusters and some seriously impressive genre films of spellbinding quality. Jaws (1975) is regularly screened on Sky Cinema and there isn’t a wasted scene or action or performance or line of dialogue in one of my favourite films of all time. The rest of Spielberg’s cinematic curriculum vitae isn’t too bad either.
So, what about The Fabelmans (2022)? Well, it’s a more loose and episodic when compared with Spielberg’s tightly plotted genre films. But if anyone has earned that right it’s one of the finest film storytellers. It’s such a personal project Spielberg even thanked the audience for coming to the cinema to watch it in a recorded clip. At the heart of the action is the aforementioned Sammy, who after his initial visit to the cinema is smitten at first sight. So much so he strives to create the spectacle on his Dad’s 8mm camera. As Sammy’s love affair with film grows into his teenage years he finds himself in the midst of a tug-of-war between his mother’s artistic and highly emotional personality and his father’s (Paul Dano) scientific, more logical mind.
Beautifully filmed, designed and edited, The Fabelmans (2022), is a majestic experience from an emotional and visual perspective. Spielberg’s love for cinema and his family is palpable, as he and Tony Kushner’s screenplay cleverly juxtaposes the filmmaking process with key emotional scenes from the director’s life. One specific moment where teenage Sammy (Gabriel LaBelle) edits a home movie only to reveal something very painful is certainly one of the most memorable scenes of the year. Performances are intriguingly varied with LaBelle and Dano both impressing. The usually superlative Michelle Williams was great, but her character felt like she was from an otherworldly realm. I imagine that was Spielberg’s intention. In conclusion, The Fabelmans (2022), is a stunning and big-budgeted home movie. If you are captured by Spielberg’s personal journey and enjoy watching characters on a cinema screen as they stare in wonder at the cinema screen, then you will love this.
Produced by: Brad Pitt, Dede Gardner, Jeremy Kleiner, Tracey Landon, Scott Robertson
Main cast: Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Julianne Nicholson, Evan Williams, Toby Huss, David Warshofsky, Caspar Phillipson, etc.
Cinematography: Chayse Irvin
*** CONTAINS HISTORICAL SPOILERS ***
Aside from expertly directing episodes of the Netflix drama, Mindhunter and the documentary One More Time with Feeling (2016), filmmaker Andrew Dominik’s directorial output has been sparse of late. Indeed, he hasn’t released a feature film since quirky gangster drama, Killing Them Softly (2012). I imagine this is due to many reasons including: slow-gestating methodology, several unrealized projects failing to see a greenlight, and the dreaded COVID-19. It’s a shame as I believe he is one of the most compelling filmmakers around at present. Chopper (2000) remains one of my favourite cult stories about a charismatic, larger-than-life criminal anti-hero. Similarly, The Assassination of Jesse James by the Coward Robert Ford (2007) is one of the best films I have seen from the last twenty years. It was pretty much a box-office flop but everything about it screamed greatness to me: stunning cinematography; brilliant cast; and resonating themes regarding celebrity and legend in the Wild West.
After Chopper Read and Jesse James, once again Dominik explores the iconic life of a real person in Blonde (2022). You may have heard of her, Norma Jean Mortenson/Baker, or as she was more famously known: Marilyn Monroe. Using Joyce Carol Oates’ book as a springboard, plus no doubt many other written, visual and media sources available, Dominik has crafted a stylish and singular vision of the peroxide icon’s life and career. In no doubt should a viewer believe this to be a “true” story in the documentary-drama style, but rather an impressionistic, poetic and compelling imagining of Marilyn’s short, yet tumultuous, existence on this planet.
For me, Marilyn Monroe was one of the most stunning movie stars who ever existed. She lit up the screen and was a mightily under-rated actor also. In her heyday she was the biggest star in the world. Her role as Sugar in Some Like it Hot (1959), is one of the most gorgeously funny, beautiful and vulnerable performances ever committed to celluloid. Enter Ana De Armas as Marilyn in Blonde (2022). De Armas is a revelation on-screen in terms of her looks, movement, body language and the nuanced depth she brings to the screen siren. It’s a brave role too as the script demands much of her. Throughout many exquisitely filmed and edited scenes lies the ugly degradation of Marilyn’s body and soul. De Armas gives her all in these vignettes of domestic abuse, sexual assault, rape, abortions, overdoses, miscarriages, mental breakdowns and further sexual gaslighting at the hands of people she believed were friends.
So, why should you want to watch Blonde (2022), you may ask yourself. Well, De Armas’s performance alone is worth enduring much of the emotionally draining misery. Moreover, Dominik again proves himself to be a director of the highest quality. He’s a maverick and iconoclast who has an impressive and intelligent cinematic eye. The opening sequence where Norma, as a young child, is driven by her unwell mother through Los Angeles forest fires is a frightening and imperious interpretation of mental health, full of fear, heat, and portentous symbolism. Such fire and trauma foreshadows the distress and torment that is to come to young Norma throughout her life. A schizophrenic Mother also echoes the schism of persona that impacts Norma the individual, and Marilyn the movie star. The division of personalities is a theme which the screenplay sensitively explores, despite being buried in the more lurid and shocking events of Marilyn’s sad life.
Overall, Blonde (2022) is a startling and shocking rendition of Marilyn Monroe. Of course, hers was an existence full of drama, intensity, darkness and tragedy. But you have to think there was some light in there, some happiness, humour and joy. On some fleeting occasions during Blonde (2022), Dominik presents this, but ultimately this is a beautifully filmed yet ugly-hearted cinematic tragedy. On the surface the film genre is biopic, but it really is a horror film, as Marilyn’s exploitation by the men in her life is laid bare on the screen. I’ve read some critics describe the film as exploitational, however, this is a film ABOUT exploitation. Marilyn was exploited by agents, photographers, directors, producers, the press, the Hollywood system, the audience, her doctors, her lovers, her husbands and a President of the United States.
Dominik is perhaps suggesting Monroe did not kill herself, but was disintegrated by those who should have loved and cared for her. The ultimate tragedy is that Norma/Marilyn could not find the love and mental strength inside herself to survive those who perpetually sought to profit from this beautiful shining star. If the events realised inBlonde (2022) are to be believed, what person could?
NETFLIX FILM REVIEW: THE DEVIL ALL THE TIME (2020)
Directed by: Antonio Campos
Produced by: Jake Gyllenhaal, Riva Marker, Randall Poster, Max Born
Screenplay by: Antonio Campos, Paulo Campos
Based on: The Devil All the Time by Donald Ray Pollock
Cast: Tom Holland, Bill Skarsgård, Riley Keough, Jason Clarke, Sebastian Stan, Haley Bennett, Eliza Scanlen, Mia Wasikowska, Robert Pattinson, Harry Melling, etc.
Narrated by: Donald Ray Pollock
Music by: Danny Bensi, Saunder Jurriaans
Cinematography: Lol Crawley
***MAY CONTAIN SPOILERS***
Netflix’s latest major film release is a literary adaptation of Donald Ray Pollock’s psychological thriller, The Devil All the Time (2020). One has to believe it is a pretty faithful adaptation because the novelist himself narrates the tale to us via voiceover. Set in the years after World War II, the grim events unfold in the states of Ohio and West Virginia, respectively. While the action is not located in the deep South, the story has many of the tropes synonymous with the Southern Gothic genre, notably: religious fanaticism, explicit sexuality, flawed characters, sickening violence, poverty and human alienation.
The film, directed by Antonio Campos — who helmed the under-rated character study, Christine (2016) — starts extremely purposefully. Returning soldier, Miller Jones (Bill Skarsgard), meets a waitress on his bus journey home and eventually marries her. Both Skarsgard and Hayley Bennett, portraying his wife, inhabit empathetic characters working hard to bring up their son and saving for their own place. Jones, however, is haunted by a traumatic incident in the Pacific, and strives for solace in God and family. Indeed, the corrupt force of religious mania spreads like a cancer throughout The Devil All the Time (2020), becoming a constant threat and reason for many of the characters downfall.
Just as I was connecting with Jones’ life and becoming absorbed by Bill Skarsgard’s commanding performance, tragedy strikes and the narrative takes one of several jarring switches between characters. As such the film does not really have a strong plot, meandering from one character to another witnessing all manner of horrific events fate throws at them. Because, let’s be honest, The Devil All the Time (2020), is no way close to being a feelgood film. In fact, it revels in representing the evil acts of so-called human beings. Thus, throughout I felt a constant sense of dread and anxiety. Barely had Skarsgard misery ended and we are then introduced to the tragedies of characters portrayed by Harry Melling and Mia Wasikowska. Simultaneously, Jason Clarke and Riley Keough join the fray as two violent and sex-driven thrill-seekers. Yet, they are weakly written characters who again drive the mood of the film into pitch blackness.
The film gathers some strength and momentum n the middle act when Tom Holland’s son of Miller Jones comes of age. By focussing on his story we get more drama and emotion, especially where his relationship with his step-sister (Eliza Scanlan) is concerned. Holland gives an excellent performance as the young man attempting to make his way in this filthy and ungodly world. Similarly, Robert Pattinson’s oily Preacher oozes repugnant charm in another sterling piece of acting work. Alas, Sebastian Stan’s Sheriff and Douglas Hodge’s rural gangster are given short shrift in another crime subplot which goes nowhere.
Overall, Antonio Campos delivers an extremely solid thriller from an acting and thematic standpoint. Unfortunately, the fragmented screenplay should arguably have been given a more committed plotline. Of course, it has most likely shadowed the structure of the source novel so therein lies the rub. Having said that, despite the structural shortcomings, there are many shocking and violent set-pieces to satisfy horror fans. Ultimately though, The Devil All the Time (2020) lacks redemption, catharsis and even some decent suspense. By the end we are given few characters to care about and delivered the pessimistic vision that life is a belt of misery. Even a suggestion of sugar helps the poison go down and this film offers very little in the way of sweetness or light.
One of the main reasons I watch films is because I love a good story. I especially like working out the ins and outs of the plot lines too. So, it stands to reason that some films may have inconsistencies in their story or even plot holes. I would define a plot hole as a gap in the story which remains unexplained by the writer or writers. Sometimes these can spoil the film, but more often than not it can add to the enjoyment. They may in fact be known to the writers, however, they may have left it as an enigma for the audience to work out. Either that or the writers made a mistake or they could not be bothered to, or were unable to close the hole. In fact, they may be hoping we don’t notice or care.
There are so many films out there and I’m sure one could nitpick holes in most stories. Here I have picked out six of my favourites. I have chosen well known films so as to differentiate between good and just plain bad storytelling. Moreover, I have also omitted horror films where people just make stupid decisions. Likewise fantastical, surreal and dream logic narratives are avoided. Lastly, the major Marvel franchise plot hole is skimmed. You know the narrative hole that occurs in the stand alone entries. E.g. in Spiderman: Far From Home (2019), if the world is being threatened why don’t the other Avengers help poor Peter Parker? Oh, they’re conveniently busy. . . hmmm. Anyway, here are six of the best plot holes I like. If you can think of more please let me know.
***CONTAINS MASSIVE SPOILERS***
KING KONG (1933 / 1978 / 2005) – how did they get King Kong back to New York?
This question is not always one that is brought up as an obvious plot hole. However, think about it. Kong is captured on Skull Island, but is suddenly revealed in New York. How did they manage to find a boat big enough to carry him to America? And what if he woke up? He would destroy any ship carrying him with a yawn and stretch. Plus, because we do not SEE him being transported a massive hole in the narrative occurs.
HALLOWEEN (1978) – who taught Michael Myers how to drive?
It chills the bones when Donald Pleasance’s Dr Samuel Loomis finds on a dark evening on October 30th, the day before Halloween, his most feared patient, Michael Myers has escaped from a maximum security facility. Myers has stolen a car and sped off into the night. The big question is, given Michael was six when he committed the murder, how the hell did he learn to drive? Obviously given Myers is a manifestation of pure evil, he somehow mastered driving through psychic force.
STAR TREK: THE MOTION PICTURE (1979) – the V’Ger probe would be coded as Voyager!
Talking of William Shatner masks, Star Trek is a wonderful science fiction television series and film franchise. It’s loved by many and given the numerous narratives involving time travel and alien species there are no doubt more plot holes in there. I mean the number of aliens who talk English and look human is quite something. However, in Star Trek: The Motion Picture (1979), there is a major plot hole involving the “V-Ger” probe. Indeed, the entire twist of the plot centers around “V-Ger” actually being “Voyager,” as demonstrated by the corroded name plate on the probe. It seems weird though that nowhere in its programming (or anywhere else) did Voyager have its name recorded. It would be like if a label of a computer, say “Dell”, had the “D” covered up, the boot-up screen would not read, “ell” during post, it would still read, “Dell”! Thus, the plot hole is entirely illogical, Captain.
THE TERMINATOR (1984) – why not just destroy the time machine and stop Kyle Reese going back?
There are loads of plot queries in James Cameron’s classic sci-fi thriller. The one I like the most is more paradoxical than plot hole, but similarly this illustrates flaws in Skynet’s overall plan. Given Skynet and The Terminator have detailed files on everyone, why didn’t they know Kyle Reese was John Connor’s father? If so, just destroy the time machine to stop him going back. If killing Sarah Connor in the past stops John from ever being born, perhaps killing Kyle or stopping him time travelling would have the same effect.
SHAWSHANK REDEMPTION (1994) – when Andy escapes, how does he put the poster back so perfectly?
This is one plot hole I love and is in fact, given Andy Dufresne’s incredible struggle to escape, one you can certainly understand. I mean, thematically speaking, Andy is coded as a spiritual Christ-like figure throughout the film. It’s very subtle, but it is there. Thus, perhaps, he had some divine intervention during his escape. He definitely earned it. Lastly, I also love that it is literally a plot hole and Andy escaped right through it.
SIGNS (2002) – why did the Aliens raid a water-based planet when it hurt them?
While the director has had his fair share of critics, I generally enjoy most of his early films and some of the more recent ones. Signs (2002) is a fantastic sci-fi thriller with themes of faith, family and alien incursion. The major hole is the aliens have to be incredibly stupid to want to invade a planet that is 70% their biggest weakness. However, as some have pointed out, it wasn’t an invasion, but a raid to get some people. However, given people are made up of water and water is in Earth’s atmosphere, perhaps Shyamalan should have made their weakness alcohol or even actual acid. Still a very entertaining film though.
5 REASONS THIS COULD BE GOOD – THE INVISIBLE MAN (2020)
Directed by: Leigh Whannell
Screenplay by Leigh Whannell – based on H. G. Wells The Invisible Man
Produced by: Jason Blum, Kylie du Fresne
Main cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Oliver Jackson-Cohen
UK Release date: 28th February 2020
*****SPOILER FREE*****
THE INVISIBLE MAN (2020)
A contemporary version of the science fiction classic The Invisible Man has been made. Here are five reasons it could be good.
1. LEIGH WHANNELL
Whannell has great experience writing and producing low-budget horror films including: Saw (2004) andInsidious (2010). His directorial debut Upgrade (2018) was a fantastic mix of 1980’s, sci-fi and horror movies. I loved it and it proved to be one of my favourite films of 2018.
2. ELISABETH MOSS
Elisabeth Moss is one of the best actresses around as she has proved with her brilliant work in television classics Mad Men and The Handmaid’s Tale. Moss is now breaking out in cinematic releases and proved she excels in horror having starred in Jordan Peele’s frightening film Us (2019).
3. BLUMHOUSE PRODUCTIONS
The prolific Blumhouse Productions certainly turn out a lot of product each year. Their modus operandi is to keep film budgets low in order to maximise profits on release. You could be forgiven for thinking Jason Blum greenlights just cheap exploitation films, however, Whiplash (2014) The Gift (2015), Split (2016), Get Out (2017),BlackKklansman (2018) and Us (2019) transcend the low-budget model to provide excellent cinematic experiences.
4. BASED ON A LITERARY CLASSIC
H. G. Wells original novel is an absolute genre masterpiece. It has been made, remade, re-imagined and re-booted in horror, comedy, thriller and romance genres. Arguably the most famous version was filmed in 1933 with incredible practical effects and an exceptional performance from Claude Rains. In this new version the conventional scientist-goes-mad following successful experimentation into invisibility remains, but he now seems to be targeting Elisabeth Moss’s character.
5. THEMES
The trailer reveals a slightly conventional female-protagonist-as-victim narrative. But I expect Leigh Whannell will have a number of twists and surprises up his sleeve. Indeed, science fiction and invisibility are ripe for the exploration of themes relating to toxic masculinity and hidden identity. Either that or it will simply be a fun, scary and suspenseful experience in the hands of the reliable Whannell.
It’s no surprise there are an abundance of films about the actual process of filmmaking. Firstly, if you follow the idea of “writing what you know” literally, a filmmaker, screenwriter or director will certainly have first hand experience of this. Secondly, and most importantly, is that the film industry is full of rich possibilities in terms of drama, action, tragedy, romance and comedy. Lastly, cinema down the years is replete with imaginative, tough, evil, spoilt, egotistical, eccentric and frankly insane individuals working in the film industry.
Therefore, over the course of cinematic history there have been many great films about the movie-making business. I personally love the sub-genre and probably could’ve have chosen a top twenty. Indeed, the following could also have been picked too:8 1/2 (1963),Dolemite is My Name (2019), Shadow of the Vampire (2000), Sullivan’s Travels (1941), Barton Fink (1991), State and Main (2000), Once Upon A Time In Hollywood (2019), Hugo (2011), Living In Oblivion (1995) etc. However, as is the case with this feature, I’ve selected just six of the best.
**CONTAINS SPOILERS**
BOOGIE NIGHTS (1997)
“Wait a minute. You come into my house, my party, to tell me about the future? That the future is tape, videotape, and not film? That it’s amateurs and not professionals? I’m a filmmaker, which is why I will never make a movie on tape.” Jack Horner
THE DISASTER ARTIST (2017)
“Not closed set. Open set. Life is not closed set! I want everyone to see!”Tommy Wiseau
ED WOOD (1994)
“Really? Worst film you ever saw. Well, my next one will be better. Hello. Hello.”Ed Wood
THE PLAYER (1992)
“I was just thinking what an interesting concept it is to eliminate the writer from the artistic process. If we could just get rid of these actors and directors, maybe we’ve got something here.”Griffin Mill
SINGIN’ IN THE RAIN (1952)
“Why bother to shoot this film? Why not release the old one under a new title? You’ve seen one, you’ve seen them all.” Cosmo Brown
TROPIC THUNDER (2008)
“First, take a big step back… and literally, FUCK YOUR OWN FACE! I don’t know what kind of pan-pacific bullshit power play you’re trying to pull here, but Asia Jack is my territory. So whatever you’re thinking, you’d better think again!”Les Grossman
THE CINEMA FIX PRESENTS – TWELVE FAVOURITE FILMS OF 2019!
Hello 2020!
So, here are my TWELVE FAVOURITE FILMS I watched last year at the cinema, at film festivals and on streaming platforms such as Netflix, Curzon and Amazon etc.!
It was another very good year full of entertaining and thought-provoking cinema. If I have missed any films out it’s because I did not enjoy them as much as you — or have not seen them yet. If I have missed any must-see films then please point out any glaring omissions.
For comparison here are my FAVOURITE FILMS OF 2018:
A Quiet Place (2018)
A Star is Born (2018)
BlacKKKlansman (2018)
The Favourite (2018)
First Reformed (2018)
First Man (2018)
Game Night (2018)
Peterloo (2018)
Phantom Thread (2017)
Sorry To Bother You (2018)
The Shape of Water (2017)
Upgrade (2018)
12 FAVOURITE FILMS OF 2019
So, here are the films I enjoyed watching most of all last year. Films I also really liked but narrowly miss out on this list are: Doctor Sleep (2019), Green Book (2018), Harriet (2019), Little Women (2019), Paddleton (2019), Ready or Not (2019), The Report (2019) and Vice (2018).
AD ASTRA (2019)
“James Gray’s existential space epic finds Brad Pitt journeying into the abyss of space with tremendous results.“
AVENGERS: ENDGAME (2019)
“…the Marvel production team deserve so much credit for bringing this multi-stranded story home in such a thrilling fashion.”
CAPERNAUM (2018)
“…With incredible scenes of documentary realism the director Nadine Labaki has delivered a powerful piece of cinema.”
DOLEMITE IS MY NAME (2019)
“… it’s a testament to the ability, talent and infectiousness of EddieMurphy. Comedian and B-movie star, Rudy Ray Moore, is a part he was born to play.”
THE FAREWELL (2019)
“… Awkwafina provides subtle brilliance in her role as Billi, yet, Zhao Shuzhen steals the show as the effervescent Nai-Nai in this funny and moving drama.”
THE IRISHMAN (2019)
“… Netflix have an absolute monster of a gangster film here, with Scorsese once again delivering a very special cinematic offering.”
JOJO RABBIT (2019)
“… Taika Waititi just manages to balance parody and pathos in this risky, but brilliant rites-of-passage comedy-war film.”
JOKER (2019)
“… marrying Taxi Driver (1976) with a DC comic-book super-villain is a masterstroke; making it one of the most compelling films of 2019.”
KNIVES OUT (2019)
“… Rian Johnson is back on the form with this breathless murder mystery, which works brilliantly as fast-paced, witty and intricate film entertainment.”
MARRIAGE STORY (2019)
“… an emotional and funny relationship drama that’s full of standout scenes, with Adam Driver and Scarlett Johansson on top form.”
ONCE UPON A TIME IN HOLLYWOOD (2019)
“… a near three-hour arthouse classic, especially if you like films about film and TV making, driving, feet, cinema-going, Los Angeles, more feet; and hanging with the marvellous DiCaprio and Pitt.”
US (2019)
“… Jordan Peele skilfully delivers another great horror film, thanks to clever writing, masterful film production and an incredible cast.”
The Cinema Fix presents 