Oppenheimer (2023)

Director: Christopher Nolan

Stars: Cillian Murphy, Florence Pugh, Emily Blunt, Matt Damon, Robert Downey Jr

This won’t bomb

I always imagined that starting with Oppenheimer and ending on Barbie would be the correct way to experience Barbenheimer. You’d get the dark one out of the way and then end on a more spirited, all-singing and all-dancing note. However, Oppenheimer is so relentlessly bleak and intense, it leaves you with zero desire to enter Barbieland and instead leaves you drained, viewing the world from a completely different point-of-view with the colour wholly washed out.

I’m going to be honest, I’d never heard of Oppenheimer before this film which seems pretty ignorant now after watching this film and hearing him be described as “the most important who has ever lived.” Which he just might be. All of the world’s anxieties and uncertainties that exist today seem to largely ride on what this man created or helped to create.

Christopher Nolan has long had a fascination with haunted and traumatised male protagonist’s with deep inner conflicts who go on a tortured journey involving some sort of obsession and so J. Robert Oppenheimer seems like the perfect person for him to focus on. It’s not just a fascinating biopic but also a rich character study on a man who was utterly brilliant but also deeply flawed.

It helps that Cillian Murphy gives an astonishing Oscar-worthy performance that’s never showy, but instead restrained. He does most of the acting with his eyes and that hauntingly strange face of his. He’s supported by other Hollywood heavyweights all bringing their A-Game including: A fantastic Emily Blunt, Robert Downey Jr, Matt Damon and even Florence Pugh in a small but hugely impactful part. In fact, her character was so interesting that I would have liked to have seen even more but I’m aware that the film is already 3 hours as it is.

It absolutely flies by though, I’m pretty sure that it’ll pick up a lot of Oscar nominations when the time comes but I’d bet on it winning editing now. It’s flawlessly put together and always building tension and intrigue, very much like Dunkirk. Nolan’s screenplay could very easily have felt bloated or messy with its non-linear structure (has he ever done a film in bloody chronological order?) but it feels so precise and sharp that it remains totally absorbing throughout its mammoth runtime.

It is very dialogue-heavy and demands a lot from the viewer. Admittedly, I did get confused about the twists unfolding in the final hour, but I’m sure that a few Youtube videos and rewatches will clarify things in my thick head. That’s not to say that there isn’t much to look at either because Oppenheimer is bloody gorgeous! As ever, it’s shot entirely on film and the close-ups of haunted faces leave as much of an impression as the beautiful vast landscapes and explosions.

The images that will stick with me the most are the one’s that lean on the surreal side, something we’ve not truly see Christopher Nolan do although he’s always been interested in presenting the impossible, it’s usually in a more objective way (for example, the streets of Paris folding in on itself in Inception or the bizarre backward antics in Tenet). Here, they’re presented in a very dreamlike and subjective way which had the hairs on my neck standing on end, especially when coupled with Ludwig Goransson’s thunderous score.

There’s an outrageous intensity to the whole thing, it feels like it’s throttling your neck for three hours straight before finally snapping it on the very last shot. There are moments where my heart was quite literally racing and one of those was (as you might expect) in the detonation scene. A scene that is so terrifying and awe-inspiring in equal measure, it showcases Nolan at the very height of his Promethean powers. How the hell did they film that without CGI?

Oppenheimer is basically as perfect as a film can get and fires on all cylinders with incredible acting, writing, directing, editing, cinematography and music. Christopher Nolan’s filmography is so impressive right now that if he delivers anything less than a masterpiece then it’s disappointing. Oppenheimer isn’t just a masterpiece though, it feels incredibly important and immediate too.

The final moments are so incredibly haunting that I was left completely dumbstruck in my seat, watching the credits roll with a terrifying sense of emptiness. It has been about four hours now since it finished and I still feel quite shaken and depressed. Much like, There Will Be Blood, the ending feels like a chilling warning of mushroom cloud proportions. Actually, can I watch Barbie again please?

50 Best Movies of the Decade (10-1)

10) Dunkirk (2017)

Christopher Nolan flipped the war film on its head with the release of Dunkirk. A World War 2 film with: Little dialogue, a disjointed narrative, no blood, Harry-bloody-Styles and one where no Nazi is shown on screen for more than a split second. And yet somehow it remains the most horrifying war film I’ve ever seen. It’s a real cinematic experience that can’t be put into words which to me is a sign of a true masterpiece. The fact that most of the action was done for real makes it ten times more intense and powerful than any of these CGI action fests we so often see today.

9) The Raid 2 (2014)

The first Raid was an impressively staged action extravaganza but didn’t have much going for it beyond that. Gareth Evans decided to take his masterful action sequences and drop them into an absorbing story involving the brutal world of Indonesian crime. This is an astounding film on pretty much every level. It barely lets up on the intensity throughout its hefty 150 minute runtime leaving you feeling as exhausted as the main protagonist.

8) Django Unchained (2012)

Once Upon a Time in… Hollywood and The Hateful Eight were both great contributions by Quentin in the 10’s but they pale in comparison to this searing Western. Some argue that it’s too long but I don’t think it’s long enough! Loaded with trademark snappy dialogue, thrilling action and wit, Django is easily my favourite film from the Western genre. Christoph Waltz and Leonardo DiCaprio also electrify as the gunslinging dentist and psychotic plantation owner.

7) I Saw the Devil (2010)

Kim Jee-woon has also dabbled in the Western genre with The Good, the Bad, the Weird but there’s no beating this electrifying serial-killer thriller from 2010. Lee Byung-hun is the vengeful copper on the trail of vicious psychopath, Choi Min-sik after the brutal murder of his wife, but is it all worth it?

6) Amour (2012)

Michael Haneke is one of our greatest living directors so it’s no surprise to find one of his films here. Amour is probably the most heart-breaking film I’ve ever seen and I’ve seen some depressing stuff! The late Emmanuelle Riva astonishes as the octogenarian slowly descending into bad health. Every frame feels frighteningly real and whilst it doesn’t belong in the horror genre, it’s every bit as horrifying as Funny Games.

5) La La Land (2016)

I adore everything about this musical romance from Damien Chazelle. What really sets it apart from everything else though is the sizzling chemistry between Emma Stone and Ryan Gosling which makes the jaw-dropping final sequence all the more devastating. It’s not for everyone but to me it’s pretty much a perfect film.

4) Inception (2010)

The spinning top is probably the most iconic image of 2010’s cinema and still elicits debate ten years on. There’s not much to say about Inception that hasn’t been said already but it’s probably the most intelligent and breathlessly entertaining blockbuster I’ve ever seen.

3) Interstellar (2014)

Somehow Christopher Nolan went one step further with this emotionally exhausting sci-fi romp. Interstellar doesn’t garner as much praise as Inception but I’d argue that it’s Nolan’s best film to date. Not only is it visually astounding but it’s also one of the most heart-rendering films I’ve ever seen which is pretty unusual to find in the sci-fi genre. I rarely cry in films but there are at least three moments in this which make me well up every time. Hans Zimmer’s score is also possibly my favourite of all time.

2) Black Swan (2010)

Nothing really matches the thunderous kinetic energy of Darren Aronofsky’s nightmarish vision of Swan Lake. It’s a surreal and intense delve into the mind of a madwoman, played so beautifully by Natalie Portman. I’ve been singing its praises for years so I won’t go on too much now petals.

1) Twin Peaks: The Return (2017)

OK so I know that technically this is a TV show but it’s appeared on many lists more prestigious than mine so I suppose there could be a strong argument for this being a film. It was written as 18 unbroken hours but you’d need an arse of steel to sit through that mammoth so they thought it best to split it into 18 neat episodes and what a journey it is. There’s no denying that this is the most ambitious and extraordinary achievement of the decade and David Lynch is the greatest director to ever walk the Earth. Words can’t describe how remarkable this 18 hour mind eff is but be assured that it will take you through every human emotion and maybe even affect you in ways that you’ve never before experienced. This is when entertainment becomes pure art. The ending is also quite possibly the most haunting and unsettling thing I have ever seen.

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50 Best Movies of the Decade (20-11)

20. 12 Years a Slave (2013)

Steve McQueen rightly won the Best Picture Oscar for this hard-hitting and powerful retelling of Solomon Northup’s nightmarish descent into the slave trade. It’s a film filled with memorable moments and many of them are one’s you might prefer to forget. It really puts you through an emotional wringer which is elevated by the superb performances from its all-star cast.

19. Shutter Island (2010)

Martin Scorsese’s twisty mystery was a triumph of writing and directing. It was a welcome departure from the gangster films he was renowned for and delivered a thoroughly riveting mystery wrapped in psychological clothing. The final moments are particularly intense and open the film up for a lot of interesting discussion.

18. Kill List (2011)

Another twisting tale only even darker! Ben Wheatley’s terrifying hitman horror left me in a state of shock when I first saw it and it’s a shock that hasn’t really ever gone away.

17. The Witch (2016)

Robert Eggers impressed critics recently with his black and white nightmare concerning Robert Pattinson and Willem Dafoe losing their minds in a lighthouse. I still think The Witch is superior, but it’s clear he has a unique talent for horror in a period setting. Anya Taylor-Joy impresses as the girl being tormented by a mystical hag, or is she?

16. Toy Story 3 (2010)

There’s far too much darkness going on here so let’s throw some light with Pixar’s finest offering of the decade. No one thought that Toy Story 2 could be improved upon but lo and behold they did it! The emotional weight to the third act was a particular surprise and the adventure as thrilling as ever. Toy Story 4 was good too but not quite on this level.

15. The Cabin in the Woods (2011)

Back to some murder and mayhem now with Joss Whedon and Drew Goddard’s inventive love letter to slasher movies. There are so many layers to this film and it remains entertaining throughout. The final moments are a particular joy to watch.

14. The Artist (2011)

The silent film which made a big noise! Most kiddies couldn’t be bothered with a black and white silent film in the 21st century but it’s their loss because The Artist was nothing short of being wonderful. It’s a celebration of the magic of film and proves that image can be ten times more powerful than sound. It also has a great story to tell and never fails to bring a smile to my face at the end.

13. Les Misérables (2012)

Musical-haters best steer clear of Tom Hooper’s epic adaptation of Victor Hugo’s seminal novel. It’s an ambitious and often spectacular film that really makes use of the epic set-pieces which could never be used in the theatre productions. There are many extraordinary moments scattered throughout the hefty runtime and the songs are timeless. Now, what happened with Cats?

12. The Dark Knight Rises (2012)

There are still some people who are conflicted on Christopher Nolan’s closing chapter to his Batman saga but I truly believe it’s the best of the bunch. It’s an intense roller-coaster ride from beginning to end with jaw-dropping sequences and a terrific villain in Bane. Who cares about plot holes when you’re watching something as epic and ambitious as this?

11. Parasite (2019)

Everything went downhill for the world after Parasite deservedly won four Oscars at the latest ceremony. South Korea have always produced some of the best films of recent times so it was delightful to see the Academy finally taking some notice. The less said about the plot of Bong Joon-ho’s comedy-thriller the better, just know that it’s one hell of a ride and it does not disappoint. You don’t often get films where you have no idea where they’re going next but this is one of them, it’s delightfully unpredictable and surprising.

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50 Best Movies of the Decade (30-21)

30. Zootopia (2016)

Easily one of the best Disney movies of the decade. Zootopia is funny, moving and timely in its underlying message regarding prejudice. It’s also more surprising and innovative than the majority of films made for ‘adults.’ There’s an insane amount of attention to detail in the animation and not least it’s howlingly funny. I dare you not to fall in love with Judy Hopps, the inspirational bunny rabbit and Nick Wilde, the misunderstood fox.

29. Midsommar (2019)

It’s an extraordinary achievement for a new filmmaker to make two of the greatest horror movies of the decade but Ari Aster did it! This time it’s the fabulous Florence Pugh being put through the wringer on a Swedish retreat. It’s a delightfully barmy rollercoaster filled with horrific shocks and jet black comedy. You won’t be forgetting the haunting ending anytime soon.

28. Holy Motors (2012)

Here’s arguably the weirdest film of the decade. Cult filmmaker Leos Carax throws the rules out of the window and paints a delightfully strange canvas unlike anything I’ve ever seen. Denis Lavant astonishes as the mysterious limo drama transforming into an array of characters ranging from a dying old man to a CGI python. Lavant gets to show more acting range in one film than most actors get in their entire careers. It’s monstrously entertaining throughout and a real celebration of the magic of film.

27. Mad Max: Fury Road (2015)

Here was another massive surprise of the decade. I wasn’t too impressed with the original Mel Gibson trilogy, in fact I preferred Thunderdome to the much-celebrated Road Warrior. Somehow though, George Miller (who’s most recent films included Happy Feet 2 and Babe: Pig in the City) bounced back out of nowhere to provide this extraordinary, adrenaline-fuelled thrill ride! Admittedly, it’s low on plot but who cares when the action is this breath-taking?

26. Whiplash (2014)

Damien Chazelle burst onto the scene with this breathlessly intense tale of a drummer being driven to the brink of insanity by his psychotic teacher. Sometimes it feels like you can taste the blood and sweat that’s dripping on screen, the film is that powerful. It’s an incredible debut and cinephiles have already cited the finale as one of the greatest in movie history.

25. Mommy (2014)

Another intense tale from a young director, this time it’s the supremely talented Xavier Dolan taking us on a character-driven journey of heartache. Anne Dorval is the stressed Mum of an ADHD teen, finding a new friendship in Suzanne Clément’s shy neighbour. It’s the incredible performances of the cast and raw directing style which really make this such an absorbing and powerful story. Every scene feels startlingly real which makes the final scenes all the more heart-breaking.

24. Nymphomaniac

Lars Von Trier shocked the film world again when this 5 ½ hour porn movie was announced! What was even more shocking was that it was actually really good. You might think that the runtime (like some of the penises featured in the film) is atrociously long, but somehow it flies by. The pace is speedy and the narrative is consistently surprising enough to keep you gripped throughout which is no easy task. Some scenes may be a little dialogue heavy but it’s rare to find a film with such ambition and innovation these days.

23. Finding Your Feet (2016)

It may seem strange following an epic auteur art film with a little Brit flick but I can’t stress enough how underrated this film is. Everything about it is wonderful and I find myself re-watching it more than I care to admit. It’s hilarious and heart-breaking in equal measure and has reduced to me to both tears of laughter and sadness. The characters are written so well and performed so brilliantly by the all-star OAP cast, I just fall in love with them all every time.

22. Joker (2019)

A phenomenon was created when this Todd Phillips supervillain origin story was released last year. Comic book fans were perhaps underwhelmed by its slow pace and lack of action, but those who enjoy character-driven, psychological films that delve into the mind of a psychopath found a lot to admire. Joaquin Phoenix also rightly garnered a lot of attention for his superb performance as the clown prince of Gotham himself. It’s an atmospheric and realistic look at a mentally ill man getting pushed over the edge much akin to Martin Scorsese’s Taxi Driver.

21. Inside Out (2015)

Pixar delivered another classic with this terrifically intelligent animated adventure. People were worried about a dip in quality from the studio but this proved that they were still on form. It’s so thoughtful and creative that children are unlikely to appreciate it as much as the parents! It also delivered another eye watering Pixar moment involving everyone’s favourite pink, cuddly, candyfloss elephant, Bing Bong.

50 Best Movies of the Decade (40-31)

40. Bad Times at the El Royale (2018)
I only just discovered this little gem from 2018 the other week and wasn’t expecting to be as bowled over as I was. Some have called it overindulgent, but Drew Goddard’s mystery thriller had me by the throat from the moment it started. It reminds me of a Quentin Tarantino creation – Colourful characters, snappy dialogue and completely unpredictable.

39. Three Billboards Outside Ebbing, Missouri (2017)
Here comes another stupidly long title. Martin McDonagh’s sparkling screenplay is what really jumps out in this one, as well as two terrific performances from Frances McDormand and Sam Rockwell whom both won well-deserved Oscars. It’s hilarious and heart-breaking in equal measure.

38. Kingsman: The Secret Service (2014)
This one was never going to win any Oscars but sometimes you need a palette cleanser. Matthew Vaughn’s Bond pastiche was even more ridiculously entertaining than Kick-Ass thanks to its larger than life set-pieces and characters. The Westboro Baptist Church massacre is one of the greatest fight sequences in cinema.

37. Mother! (2017)
A Marmite film which I loved from first viewing. Darren Aronofosky dropped this nasty horror film out of nowhere and it divided audience right into two. It’s a bizarre and disturbing journey into insanity which left me in complete shock.

36. We Need to Talk About Kevin (2011)
Lynne Ramsay’s gorgeous adaptation boasts stupendous performances from Tilda Swinton and Ezra Miller. It’s beautifully shot and a timely update on the devil child tale.

35. Mamma Mia! Here We go Again (2018)
Now here’s a film I wouldn’t expect to appear on this list when it first announced. A sequel to Mamma Mia! could be nothing but disastrous but by some sort of miracle, it was astounding! I’ve never been a fan of the first film but Here We Go Again is musical magic thanks to creative choreography and actors who can actually sing quite well. It’s also surprisingly emotional thanks to the genius decision to kill off Meryl. Lily James shines as young Donna and with Cher appearing in the last 20 minutes, what’s there not to love?

34. The Hunt (2012)
If Mamma Mia’s a little too sweet for you then why not sink your teeth into this dark Danish pastry? There’s a touch of the Lars Von Trier to this nihilistic beauty which is unsurprising considering it’s directed by his Dogma pal, Thomas Vinterberg. Mads Mikkelsen stars as the nursery teacher getting tarnished with the paedo brush after a horrifying misunderstanding. It’s dark, depressing and feels uncompromisingly real.

33. Under the Skin (2013)
Hidden cameras were actually used to show Scarlett Johansson tricking pervy Scottish men into picking her up. Little do they know that she’s an alien and they wouldn’t be quite so impressed with what’s under the skin. Jonathan Glazer’s Lynchian horror is slow and hypnotic. Not for everyone but I found it incredibly haunting.

32. Hereditary (2018)

Toni Collette’s strained screaming has already become an iconic image in Ari Aster’s disturbing debut. It’s a scary slow-burner which delivers a powerful blow in its final moments.

31. Phantom Thread (2017)

Paul Thomas Anderson and Daniel Day-Lewis teaming up again was a cinephile’s wet dream and this period chamber piece didn’t disappoint. Certainly one of the best looking films of the decade with its sumptuous costumes, period detail and sublime cinematography. The story and characters are suitably bizarre with Vicky Krieps and Lesley Manville impressing as the domineering women in the dress designer’s life.

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50 Best Movies of the Decade (50-41)

50. The Woman (2011)
Lucky McKee’s striking slow-burner isn’t an easy watch but it’s certainly a memorable one. Pollyanna McIntosh is brilliant as the feral woman being used and abused by family man and lawyer, Sean Bridgers. Some feminists angrily branded it misogynistic, but it certainly doesn’t show men a good light. It’s a terrific horror anywho.

49. Train to Busan (2016)
Thanks to Parasite, everyone’s beginning to discover the joys of South Korean cinema. Here’s a superior zombie thriller which never stops ratcheting up the tension and the thrills. Like most Korean films it also recognises that we need some good characters to care about which makes the action doubly thrilling.

48. Her (2013)
Who would’ve thought that a man falling in love with Siri would be so heart-warming? Spike Jonze’s offbeat romance is funny, charming and weirdly relatable. Joaquin Phoenix is of course fabulous as the bored greetings card writer beginning to get the hots for Scarlett Johansson’s raspy voice.

47. Moana (2016)
You might laugh but I bloody love Moana! There isn’t a duff song in this Disney cartoon and it beautifully shines a light on Maori culture. The animation is gorgeous and the adventure captivating. I think it’s better than Frozen.

46. The Wailing (2016)
Another Korean gem from 2016. The Wailing is an intriguing mix of supernatural horror, comedy and emotional drama. It balances all of the genres beautifully to deliver an unpredictable and absorbing tale of mystery and murder. It also features an astonishing performance from youngster Hwan-Hee Kim.

45. The Skin I Live In (2011)

You can usually count on Pedro Almodóvar to deliver something memorable and The Skin I Live In might be his best to date. To say anything about the plot would be a travesty because part of the fun is trying to guess where the hell the narrative is going exactly. It doesn’t leave you disappointed.

44. It Follows (2014)
Horror fans were delighted with David Robert Mitchell’s clever slasher which created a unique premise. Imagine being constantly stalked by a shapeshifter that won’t stop until you shag someone? Not nice. It delivered some terrifying scenes, the scariest being one involving a very tall man.

43. The Babadook (2014)
Jennifer Kent also terrified audiences in 2014 with her supernatural shocker involving a stressed mum and a cursed pop-up book. This is much more than a jump scare ghost train ride! It’s a metaphoric and compelling character study beautifully played by Essie Davis.

42. Nothing Bad Can Happen (2013)

This isn’t particularly well-known unless you’re a big follower of the depraved like I am. This German drama is one of the most disturbing and challenging films I’ve ever sat through but there’s no denying the sheer power of it. It follows a hardcore Christian finding his faith being brutally tested by a group of sadists. It’s nasty and uncompromising but I couldn’t recommend it enough.

41. Untouchable (2011)

If you need something to cheer you up after that then why not follow it up with this charming French comedy which found sensational popularity in its homeland. It’s a funny and heart-warming film which makes you fall in love with its two leads. I’ve not seen the American remake, The Upside and I have no desire to.

See 40-31 here

10 Best Horror Movies of the Decade

As 2020 has come to a screeching and rather sudden halt, why not look back on some of the glorious horror films the last decade has had to offer. Unfortunately, I couldn’t find a space to include the wonderful likes of It Follows, The Babadook and Train to Busan etc. but that just goes to show what a fabulous decade it was for horror.

10. Mother! (2017)

Darren Aronofsky’s barmy chamber piece polarised audiences and divided them into two extreme camps: Those who thought it was the most pathetic film of all time and those who thought it was a masterpiece. Needless to say I fall into the latter camp, but I can certainly understand why this wouldn’t be everyone’s cup of tea. It’s an intense and claustrophobic ride which takes you on one of the most insane journeys in cinema. Whether you buy into the narrative or not, there is no denying the sheer visceral power this film possesses. It’s a real shocker.

9. We Need to Talk About Kevin (2011)

A gorgeous adaptation of Lionel Shriver’s novel of the same name and boasting two powerhouse performances from Tilda Swinton and Ezra Miller. We Need to Talk About Kevin will put you off ever having kids in the same way The Omen did for audiences back in the 70’s. It’s stunningly directed by Scotswoman, Lynne Ramsay who soaks every frame with unsettling atmosphere and menace. Allow yourself to be taken along by its slow pace and you will find a gripping dreamlike quality to this film.

8. Hereditary (2018)

Here’s one which critics seemed to love but audiences really didn’t! Perhaps those expecting what was marketed as the scariest movie since The Exorcist were disappointed to find a slow and meditative drama on grief with a chilling horror lurking underneath rather than in-your-face jump scares at every corner. Ari Aster’s debut is an expertly executed horror film centred around an Oscar-worthy performance from Aussie Toni Collette. The horror really reveals itself on repeated viewings once you realise the haunting secret to what’s been going on the entire time.

7. Under the Skin (2013)

Another polarising chiller unlikely to win most audiences over, Under the Skin is Jonathan Glazer’s attempt at adapting Michael Faber’s novel and it’s art which couldn’t be replicated on page. Scarlett Johansson stars as a sexy alien luring horny Glaswegian men into a fate which no one really understands. There’s a Lynchian quality to the slow and nightmarish atmosphere which can be very all-consuming if watched properly. The ending is shockingly memorable and the film also contains one of the best jump scares of the decade.

6. Midsommar (2019)

Ari Aster’s sophomore effort was arguably even better than Hereditary and has gone on to find a strong (ahem) cult following amongst fans of weird cinema. Florence Pugh stuns as the final girl being led into a whimsical Swedish festival which gets progressively darker as time goes on. Shot almost entirely in daylight, Midsommar is an insane and frightening journey into the bizarre. It contains some of the most indelible images in modern horror which is mainly down to the downright gorgeous cinematography.

5. Kill List (2013)

From one cult to another, Kill List leads audiences into another unsettling journey into the unknown only this time the punchline is even more terrifying. Whilst the film starts off as more of a thriller with a hitman completing three last hits, it builds up into a super scary third act with one of the most terrifying endings I’ve ever come across in film. Ben Wheatley is yet to top the intense and gripping atmosphere found in Kill List.

4. The VVitch (2015)

Yet another film which general audiences didn’t really appreciate upon release. The Witch is a slow burner but not one which I found boring for a second. It’s a tight 90 minutes and manages to conjure up a chilling atmosphere with some genuinely terrifying scares. It also contains the best performance by a goat on film. Robert Eggers has continued to impress with his latest disturbing horror The Lighthouse so I look forward to what other disturbing delights he can offer us in the future.

3. The Cabin in the Woods (2012)

If you’re a lover of the slasher genre like I am then there’s a lot of cleverness to find in The Cabin in the Woods, I’ve even done a whole other blog post on arguing why it’s the best slasher film ever made so I won’t go into too much here. It is another marmite film but once you understand its meaning then it’s impossible not to at least admire. It also contains probably my favourite ending to a film ever as it’s the opposite of what you’d expect.

2. I Saw the Devil (2010)

Parasite has come and knocked Korean cinema into the mainstream which is glorious to see as the Korean’s have been producing some of the finest films for years! My personal favourite being this serial killer thriller which rockets along at 100mph and never really lets up. It follows a detective trying to avenge the brutal murder of his wife from Oldboy himself, Choi Min-Sik. Filled with thrills, chills and buckets of blood what’s not to love? It’s far too gruesome to be Oscar-worthy but horror fans will adore it.

1. Black Swan (2010)

We started with Darren and so we shall end with Darren. Black Swan is one of the finest films I’ve seen period. It blew me away when I saw it in the cinema ten years ago and continues to do so to this day. It contains one of the most extraordinary performances from Natalie Portman and is a masterclass in directing and camerawork. Every bit as intense as Requiem for a Dream, Darren really outdid himself with this intelligent and moving ballet of horrors.

Midsommar (2019)

Director: Ari Aster
Stars: Florence Pugh, Jack Reynor, Will Poulter

Won’t do the Swedish Tourist Board Any Favours

Ever wanted to travel to Sweden? Well you might be able to get a few cheaper last minute Ryanair flights thanks to Ari Aster’s new shocker, Midsommar which concerns a group of friends getting sucked into an insane cultish vortex which they can’t escape. Why didn’t they just stay in the ABBA museum?

Ari impressed last year with the critically acclaimed, Hereditary which saw Toni Collette facing some serious supernatural issues after the death of her mother. Audiences didn’t take too kindly to its slow pacing and sizzling surrealism so they’re likely to vilify this one too as it offers more of the same. Florence Pugh is put through the horrifying wringer this time and dazzles just as much as Toni did in her electric performance. Florence suffers a similar grief and decides to tag along on a trip to Sweden with her insensitive boyfriend and his friends to get her mind off things.

Comparisons to Robin Hardy’s The Wicker Man are bound to be made as Midsommar dares to hold a similar candle to the folk horror sub-genre. It has the same sense of mounting dread throughout which most young audiences will probably find boring, however I was constantly gripped throughout its hefty 150 minute running time. Ari really takes his time to establish character and setting which really makes more of an impact when the scary stuff starts happening.

The film is masterfully shot by cinematographer, Pawel Pogorzelski who has the troubling job of creating a chilling atmosphere in broad daylight. Horror films are classically low-lit but the lighting in Midsommar couldn’t be more high-key which makes for a jarring change. It makes scenes no less terrifying, however. In fact, the final act of Midsommar descends into an intense nightmare comparable to Lars Von Trier’s Antichrist or any horrific scene directed by David Lynch.

The bizarre nature of the film is likely to alienate most viewers. In fact, a few scenes towards the end elicited laughter from the audience who I saw it with which I can kind of understand. It’s not for everyone, but there’s no denying that it’s expertly made and acted. If you succumb to its nightmarish charms then you’ll likely to find it a satisfyingly horrifying experience to treasure.

Nothing Bad Can Happen (2013)

Director: Katrin Gebbe

Starring: Julius Feldmeier, Sascha Alexander Gersak, Annika Kuhl

Jesus Christ!

It’s rare to find a film which manages to disturb and horrify without ever being exploitative or using cheap shock tactics like you’d see in the August Underground movies but Nothing Bad Can Happen manages to do exactly that. I came away from the film feeling drained and disturbed in a way that I haven’t felt since Pascal Laugier’s Martyrs which should certainly ring alarm bells if you can’t handle upsetting subject matters in your films. Although Nothing Bad Can Happen is undoubtedly a superb piece of filmmaking, it’s something I’d recommend with caution due to explicit sequences involving abuse of all kinds and cruelty to animals.

The film follows the true events surrounding a young self-proclaimed ‘Jesus freak’ called Tore who happens to have some form of autism which makes him think and act very differently to others. Tore places all of his faith in Jesus Christ and is naively taken in by a truly evil family who take advantage of his absurdly good nature. It’s a fascinating meditation on evil in society and the dangers of religion. Despite being an utterly gruelling watch, Nothing Bad Can Happen never gratuitously relishes in the violence and is always focused on character and delivering a powerful message. The fact that these events are true makes the film all the more relevant and important.

First-time director Katrin Gebbe shows astonishing confidence behind the camera. Despite the ugly subject matter, the images always try to find beauty and light through the bleakness. There’s a hypnotic sense of realism to the whole film which reminded me of Justin Kurzel’s equally uncompromising Snowtown. The acting from the unknown cast is similarly impressive, particularly breakout star Julius Feldmeier in the lead who manages to make Tore an engaging and sympathetic main character. Sascha Alexander Gersak also feels toe-curlingly real as the malevolent patriarch determined to break Tore’s Holy spirit.

You could easily mistake Nothing Bad Can Happen as being the kind of lost film in Lars Von Trier’s ‘Golden Hearts Trilogy’ which correspondingly follows mentally-challenged protagonists as they battle through life’s brutal hardships. It’s just as tough to watch as seeing Emily Watson getting stoned by feral kids or Bjork dancing desperately through life despite the world crumbling around her. It’ll be just too depressing for some people and it does get harder to watch as the film progresses but the reason I watch films is to be moved and provoked by some sort of emotional response. Nothing Bad Can Happen does this in spade loads.

Initially appearing to be the ideal father figure, Benno, played by German actor Sascha Alexander Gersak in Nothing Bad Can Happen, shows his dark side as he mocks and violently tests a young boy’s religious fai

This is a haunting piece of work which will bury itself under your skin and stay there long after the credits roll. It’s a torturous watch at times but it carries an important message which is extremely relevant to society today. The pacing is very slow at the beginning but it’s also immersive and character-focused meaning that it’s always easy to engage with. There was not one moment where I was bored or distracted in its 110 minute running time. It’s a heart-breaking watch which will surely shake you to your core. A stunning debut but proceed with caution.

Twin Peaks Just Gave Us The Weirdest And Most Astonishing Hour Of TV Ever!

It’s official! Showtime are the coolest network on television. They gave David Lynch a load of dollars and said, ‘go ahead and make whatever you want’ and he did. We’re eight episodes in to Twin Peaks now and it has promised to be just as ground-breaking as the original series back in 1991. We’ve had: talking electrical blob trees, charred tramps with floating heads, stab-happy dwarf hitmen and a haunted box amongst other demented things. There has been a narrative drive but the pace is so unapologetically glacial and ambitious that it has almost been impossible to follow. The show has been incredibly experimental and an absolute delight for Lynch fans so far.

However, with the latest episode David Lynch has broken the test tube. Just when you thought that this season couldn’t possibly get any weirder, Lynch brings us something which has never been done on film or TV before. It’s essentially a 50 minute acid trip designed to utterly assault your senses and it succeeds in the most mesmerising way. The episode starts off normal enough (normal for this show anyway) with evil Coop and his crony talking in the car on a Lost Highway-inspired night drive. Things go wrong though and evil Coop gets shot which results in the weird stuff happening. Lights flash in typical Lynchian fashion and ghostly tramps covered in black tar appear and tear apart Coop’s body for what feels like an eternity.

We’re then left to contemplate this horrifying image whilst Nine Inch Nails play a full song at the Double R Club. It’s an interval which would feel distractingly out of place in any other show, but we’ve become so accustomed to the unpredictability of Twin Peaks now that the scene somehow works entirely and feels somewhat ordinary compared to what happens next. Bad Coop jolts up and all hell breaks loose.

Suddenly we flash back to New Mexico in the 50’s and move painstakingly slowly into an atomic bomb. Once the camera enters the cloud we’re treated to what can only be described as pure cinema. It’s something which cannot be described with words akin to the final moments of Kubrick’s 2001: A Space Odyssey and segments of Gaspar Noe’s Enter the Void. Bizarre images and a frightening score combine to create a hypnotic and alarming experience which feels like you’re taking a dreamlike journey into hell. It’s a scene which has to be seen to be believed and is reminiscent of the earliest short films by Lynch which used paintings and drawings as animation.

Once we’re done with having a seizure, we move onto a slower and more soothing Eraserhead-type scene which sees the giant and a strange woman wondering slowly around a ball room of some sorts. It’s visually arresting and the black and white monochrome is startlingly beautiful. The giant floats into the air and a golden ball with Laura Palmer’s face rises out of his chest and melts into a projector screen which displays the world. It makes little sense, but I think we’re witnessing the birth of BOB in the atomic bomb and the birth of Laura’s soul in the red room. Perhaps Laura was created to lure BOB into the red room?

Moving forward a few years a pair of young sweethearts take a stroll home, an ugly bug hatches out of an egg and the blackened tramps are back terrorising people. In the previous episode, Jerry Horne stood outside looking terrified and shouted ‘I think I’m high!’ which is probably what most viewers felt like during this episode. You can theorise about what it all means, but it’s much better to just go along with the ride and feel what you’re watching. It’s pure art and it’s astonishing. People thought that we had reached the peak golden age of TV but David Lynch has proved just how powerful television can be and how it can be used as a medium for art. Drama conventions were torn apart in 1991 and Mr. Lynch has reinvented TV again in 2017. Damn fine.