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2020 in Movies - My Top 30 Fave Movies (Part 3)

10. WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination. Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work. It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020. I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look. It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves. Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area. One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create. Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself. This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9. WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be. A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam! Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future. In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings. Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us. She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon. Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure. Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do. It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power. Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie. After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8. LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas). Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises. Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons. The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up. Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him. He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero. Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface. The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed. Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in. One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7. PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all. It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers. Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity. Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically. But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon. This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect. The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon. This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away. Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade. Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6. THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered. Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan. The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here. Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’. They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story. Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large. After this, a sequel is not only inevitable, it’s ESSENTIAL …

5. MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year. The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs. I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA. How? Why? It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be. Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then? Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again. The only catch? The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances. As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history. Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times. The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story. Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”. Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane? Boy, that’s a tough one …

4. ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now). Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way. Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer. Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings. Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady. Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years. Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade. Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers. Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon. Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3. 1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed. Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed. The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from. Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league. It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack). They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos. That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING. I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same. Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2. BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen. It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies). It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist. Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to. Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about. Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain. Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy. My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT. Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz. This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms. It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!). It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists. Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020. Give it all the love you can, it sure as hell deserves it.

1. TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with. I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March. Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT. Still with us? Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine. The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic. As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals. Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven. As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

#wolfwalkers #wonder woman 1984 #ww84 #love and monsters #parasite #parasite movie #the old guard #mank #enola holmes #1917 #1917 movie #Birds of Prey #birds of prey the fantabulous emancipation of one harley quinn #tenet #tenet movie #2020 in movies

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ultrahpfan5blog · 3 years

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My very belated thoughts on Game of Thrones and season 8 in particular

I feel like I have a somewhat unique perspective on GoT. The show has been such a pop culture phenomenon that I feel that fans have been invested in it for years, either having been book fans who watched the show, or those having watched the show for the better part of a decade. For me, I was never a part of the fandom because I never watched the show until it was in season 7. The books sound great but because I can’t stand reading incomplete series, I have never read them, and at this point, it just feels unlikely that GRRM will end up finishing the series. That sucks because its just the sort of fiction that I would love. I started watching GoT in season 7, and then in season 8. Obviously, I had very little clue what was going on other than the broad strokes and I was watching purely because the spectacle and scale was something I had never seen before on tv. On that front alone it was entertaining. Given the incredibly divisive reaction, I didn’t feel like spending the amount of hours required to watch the show from scratch, but because covid ended up impacting so many ongoing tv shows and movies, I ended up deciding to give it a go. I started a couple of months ago and just finished season 8 a couple of days ago. Its been quite an experience, belated as it may be.

I still feel that I view the show differently than a lot of people. Obviously, its a very different emotional commitment for me, having watched the show in 2 months whereas other have watched the show for about 10 years. Having not read the books, I don’t have the issue of comparing the quality of the books to the show. And given I saw season 8, I watched the show with the ending in mind, so I could understand if the ending made sense to me or not.

On the whole, the show is worth a lot of applause. The production, acting, music, writing, visuals etc... is something I have never seen on tv. Juggling such a huge cast of characters with so many ongoing storylines is an incredible achievement. Say what you will about season 8′s writing, but from a production, scale, and performance standpoint, the show remained stellar all the way through. And for that, I do think D&D deserve credit. I know that is an unpopular thing to say but they still have created something that is truly one of a kind. The show is definitely not perfect, even before season 8. There are storylines that drag, storylines that aren’t given the time they deserve, character developments that don’t completely work etc... but I feel that is part and parcel of every long running show. There are very few that are perfect, and for the sheer complexity of the narrative, its amazing that the show isn’t more convoluted. I do agree that the final 2 seasons are the weakest seasons of the lot. I still think season 7 is very good, and the first half of season 8 I also like a lot, but seasons 1-6 are superb. Its difficult for me the select my favorite season. I suppose season 4 is probably at the top. Its kind of the end of the era season, with the death of Joffrey, Tyrion’s trial, then him leaving Westoros. Arya and Sandor’s time together coming to an end with her traveling to Braavos, death of Tywin, and Jon rising in the ranks of the Nights Watch and becoming a more prominent character in the show. I love seasons 5-6 because of the rise of Jon. Season 2 arc of Tyrion as hand of the King was also excellent. My favorite episodes all come from these seasons. I love the battle episodes, with Blackwater, Hardhome, and Battle of the Bastards being 3 of my favorite eps. The Laws of Gods and Men is another episode I love just for the climax where Peter Dinklage just tears into the scene with his full might. I also loved Pedro Pascal as Oberyn in season 4. He added a unique quality and I was sad to see him not last past season 4. There were a few storylines that I wasn’t completely fond of. The early years of Daenerys weren’t the most compelling, Arya in Braavos was just too slow for my taste, the Littlefinger and Sansa storyline in season 4 also felt like they were treading water and then they backtrack on Sansa’s development in season 5. Also, Staanis was someone who went a little too batshit crazy in his lust for power. Felt a little out of character.

Now, when it comes to season 8, There are a lot of complaints about a lot of things. I will say that the main issue with season 8 is that it crams what should be 2 seasons of storylines and crams it into a single 6 episode season. I think virtually every complaint can be traced back to that. I actually really like episodes 1 and 2. Especially episode 2. Brienne’s knighting is actually very touching. Its great to see characters reuniting and characters meeting for the first time. I know lots of people complained about episode 3 and while its not as good as the other 3 battle episodes that I mentioned before, I still think its excellent. I did not have the lighting problem that others had. I watched it on my laptop and I could see everything. The episode is titled ‘The Long Night’ so I expected things to be dark, but it isn’t as if I had trouble seeing what happened. The episode is incredibly intense and while its a bit difficult o figure out how so many survived and there are some questionable tactics for sure, its still quite a spectacular spectacle. My only issue with the episode is really all Jon related, which I will get back to in a bit.

I know that Daenerys turning into the mad queen is a huge point of contention for the season. While I absolutely agree that that character arc went from 0 to a 100 way too fast, I don’t think it was completely out of the blue. Knowing the ending, I kept an eye on Daenerys, and I think there are a lot of instances where her first instinct to fixing problems has been to unleash her dragons. She has had characters around her like Selmy, Jorah, later Tyrion, even Daario, who have tempered that instinct somewhat. But that is still a natural instinct for her. Not to mention, in Essos, she was dealing with a fairly black and white issue when it comes to slavery. And she mistakenly thought, her experiences in Essos would translate to Westoros. She came with the idea that the common people would support her without fully processing the idea that she was bringing foreign armies into their land and three dragons, which had not been seen by people for generations. So they had legitimate reasons for fear. So it wasn’t completely out of the blue that she unraveled when confronted with the revelations that she was feared more than she was loved and that she did not have the sort of universal support she thought she would have. Obviously, that was compounded by the losses that she tacked up one after another. Definitely, one more season was required to make that a satisfactory arc, but I don’t think it was completely random. And honestly, once she did what she did in episode 5, she was never going to survive the show. I will say this, Emilia Clarke was outstanding in season 8. She was never the cast member who stood out in seasons past, but season 8 was really her season. While the character development was rushed, she sold every scene and earned her lead actress emmy nomination.

There are some endings which people hated which I understood. Like Jaime’s ending, which people were pretty pissed about, is an ending I quite get. As much as we love the story of redemption, the Cersei and Jaime bond was just too deep and toxic for him to so easily extricate himself. I get why he would be drawn back to her when he knew she was in danger. I think Lena and Nikolaj really sold their final scenes together. I felt for Lena as an actress. As a result of the short season, she really didn’t get much to do all season. Her death scene is really the only time she gets material to chew on. So that was a pity. I think Brienne and Sandor Clegane were two characters for whom their endings were perfect. Brienne becoming a knight of the six kingdoms and Clegane finally getting revenge on his brother was extremely satisfying. Theon’s ending was pretty much perfect. Sansa becoming queen in the North makes sense. The show seemed to be building towards it. Sophie Tuner gets some good material in the final season where you can see that there is a lot happening in her head and not all of it is altruistic. She does have a power hungry side to her, even if she’s not self destructively so. Maisie Williams was strong again. I wasn’t a huge fan of her getting to kill the Night King over Jon but there lots of good moments she has with Jon, Sandor, Gendry, Sansa etc... Bran becoming King of the six Kingdoms is definitely not the greatest ending. I don’t know whose decision it was to turn Bran into a robot and have him do nothing other than sit and stare, but it definitely wasn’t the greatest. I can’t imagine it was a particularly satisfying experience as an actor for Isaac. I did enjoy a couple of moments with him and Jaime, harking back to season 1.

The two other major characters are Tyrion and Jon. Certainly the finale is very heavily centered on those two. I do agree with the notion that they really dumbed down on Tyrion’s intelligence as he makes a lot of wrong moves in the last couple of seasons. But Peter Dinklage the actor has never disappointed. His performance in the finale ranks as one of his finest on the show. There has never been a time when he has not given his all. Him ending up as the hand is pretty effective ending. He is a humbled man, admitting that he’s not as smart as he thought he was. So maybe he would be a better hand as a result of that experience. Jon’s ending is another controversial one. I am in the audience who really wasn’t a fan of how Jon was treated in season 8. Kit Harington was quite poorly served in season 8, which was a bit of a whiplash since Jon was arguably at his most badass in season 5-7 and became a huge a fan favorite. Certainly he took over from Dinklage as the de facto male lead of the show. The character only comes back to life at the very end of episode 5. Part of that is probably the point. That Jon became too bent to Daenerys’ will, as Varys said.to Tyrion. It took Daenerys burning down King’s Landing to wake him up. I get that from a narrative standpoint, buts its dissatisfying from a character perspective when its the final season. Certainly I found it very strange how little role he played in The Long Night, given the White Walker storyline was Jon’s primary storyline on the show. Put aside killing the Night King, a showdown which was promised on the show, he didn’t even do much else in the episode. At the very least he should have gotten to destroy the undead Viserion. The memes about his dialogue in the season aren’t unfounded. But, I will say that Kit Harington is fantastic in the series finale. He arguable has the centerpoint scenes of the finale, the two scenes with Tyrion, and then the scene with Danaerys where he is literally begging her to give him a reason not to kill her and she keeps saying the wrong thing. Certainly Peter and Kit end the season on a high note. Him ending up with the Wildlings seems appropriate because Jon never seemed cut out to be King, nor did he ever want that responsibility. He probably would have been better than Bran, but its a decent enough ending for him. In the end, the way the show ends I was mostly ok with, but the path to getting there should have come with one extra season at least.

In the end, the production and the acting will always be something I will remember. I didn’t even mention great performances from Sean Bean, Charles Dance, Alfie Allen, Stephen Dillane, Conleth Hill, Aiden Gillen, Diana Rigg, Jerome Flynn, Liam Cunningham among many others over the years. So even though I do have issues with the final season, I feel that the good far outweighs the bad when it comes to the show. Its not a show I foresee rewatching any time soon since its one of those shows that requires some digestion and a lot of hours, but I certainly don’t regret the time I gave to it.

#game of thrones #a song of ice and fire #jon snow #daenerys targaryen #sansa stark #arya stark #jaime lannister #cersei lannister #tyrion lannister #bran stark #ned stark

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crystalnet · 3 years

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Top 5 007 Films

Click through for the definitive guide to the crème de la crop of the greatest spy-thriller saga in all of film history!

#1. North By Northwest (1959)- A staggering achievement for every artist and performer involved. Directed by peak middle-period Hitchcock, and written by Ernest Lehmen, this production stands as a defining role for both Carey Grant and Eva Marie Saint alike. Released only 6 years after the inception of agent 007 (still a creature of spy-thriller novels at this point, another 4 years out from the silver-screen debut), Grant’s performance would leave an indelible mark on the collective unconscious and would surely go on to influence the likes of Connery’s own portrayal years later.

Case-and-point for why Grant excels here is his undeniably amorphous quality. Sure he’d proven his sheer on-screen magnetism for decades by this point, but the dynamic quality of his “character arc”--as the kids like to call it-- in this film speaks for itself. He goes effortlessly from buffoonish in the introductory and more comical part of the movie, to suave and inter-personally-entangled in the middle third, to finally making good on all the romancing and endangerment that the character is thrust into by the final frame.

Meanwhile Eva Marie Saint undergoes multiple transformations herself-- a feat pulled off by both her deft acting and the writing/directing alike. She sets a precedent for Bond fatales that isn’t fulfilled for years and years by Bond’s own franchise in that she maintains complexity-- and more importantly agency-- until the last.

Lastly, Hitchcock himself with Lehmen’s script is able to craft a narrative with visual thrust which balances humor, tension and pacing better than most of his very finest productions. The well-loved cropduster chase-scene is a masterclass in tension and directorial pyrotechnics, and all the heartbreak and salacious revelations that unfold from that moment onward seal the deal for this film as pure unmatched brilliance.

#2 Charade (1963)- A year after Connery’s debut as Bond, a lighter thriller shows a possible alternate-universe for the franchise; one in which Carey Grant maintains his stranglehold on the archetype in lieu of the mad Scotsmen himself.

Director Stanley Donen and writer Peter Stone, clearly taking some inspiration from Hitchcock’s work with Grant, tease out one of the actor's greatest performances in the process, and similarly to North By Northwest, it has equal-parts to do with Grant’s acting as it does the air-tight screenplay and the myriad twists and turns found within.

If North By Northwest starts from a hijinks-ridden tone and works its way towards spy-thriller seriousness, Charade stays madcap and light-hearted throughout its runtime, while only hinting at the tension and stakes that one would come to be accustomed to glimpsing in a proper 007 endeavor.

The fantastic chemistry between Audrey Hepburn and Grant throughout maintains an emotional center around which a whole satellite of criminal and comic figures can orbit in perfect narrative symmetry.

The suspension of clarity when it comes to the nature of Grant’s character might be the ideal pocket from which this renowned thespian operates from, keeping both the audience and Hepburn’s character guessing until the final moments of the runtime. And as the mystery unfolds, Donen is sure to center Paris itself as the immaculate stage from which all of this cinematic pleasure plays out.

#3- To Catch a Thief (1955)- This film may have traces of North By Northwest-in utero (with plenty more influence for Charade in store), but it's still a phenomenon of its own kind. Hitchcock, working from a John Michael Hayes-penned screenplay is able to catalyze a wholly different kind of thriller from what he’d go on to accomplish with Grant later, and the elusive, mysterious atmosphere would have echoes in masterworks such as Vertigo just a few years later.

While the plot-beats and the atmosphere may differ heavily from North, the strange twists and turns of Grant and Grace Kelly's characters echo that of Grant and Saint’s roles in the aforementioned film, if perhaps in inverse. Grace Kelly brilliantly-- and a bit psychotically-- somersaults from the role of a mute wallflower, to a coy would-be detective and thrill-seeker, to that of a scorned-- if confused-- romantic throughout the runtime; finally settling as a willing participant to Carey Grant’s ex-cat burglar escapades. Grant’s character is anything but the everyman that he would go on to portray in North, while Kelly’s is far more complex-- and potentially much more unlikeable-- than her character in the then newly minted classic Rear Window.

The coastal French Riviera is the setting for this reverse caper in which nothing is as it seems and everything is worth questioning. The script has aged a bit more roughly than other Hitchock masterworks, but the atmosphere-- well supplied by the natural beauty of the Riviera and the green-tint filter of Hitchcock’s nocturnal lens alike-- are a fantastic foundation on which Grant and Kelly flex their adroit acting chops. Grant-- here a still-lithe middle-aged career-criminal-- holds every card except that of Kelly’s heart, and that romantic tension alone sustains the pacing expertly.

#4- The IPCRESS File (1965)- Tracking down a blu-ray for this early spy-thriller classic is tough but, hey, Michael Caine as the thinking-man’s Bond? Sign me up!

#5 From Russia with Love (1963)- Okay, okay, I give. I’ll give you freaks what you want. A taste of legitimate MI6 realness. This is the grade-A real deal, and it may not feature the stabilized quality-control of Roger Moore’s era or the unwieldy set-pieces of the Brosnan/Craig eras (or the darkness of Dalton’s stint) but it is the follow-up to the premiere of Bond as we know it, and its influence would ripple out for over half a century and counting.

If the previous years’ Dr. No was a test-run, then Russia was proof-of-concept and more. Connery--now equipped with the toupeé he so quickly developed a need for between productions of his premiere as Bond and this--rises to the occasion and makes good on the promise of the first film and then some.

In this outing, we find a lot of ‘firsts’ for the long-lived series: the first gadgets, the first larger-than-life villains and the first-- if not long-lived in this case-- signature vehicles. While the Bentley Mark IV would soon be replaced, the other tropes start to take root. The first sequel in a decades-long series has a lot of responsibility to shoulder in terms of solidifying what aspects of the series will continue ad infinitum, after all, and From Russia largely does a fantastic job of it.

Daniela Bianchi-- an actor too Italian to not be dubbed reportedly-- does an excellent job as an early Bond-movie heroine with some depth, but is outshone largely by Kerim Bay, played by phenomenal Mexican actor Pedro Armendáriz.

Armendáriz as a British consulate in Istanbul makes a fantastic second-fiddle to Connery’s Bond and fills shoes that often aren’t filled at all-- those of a proper side-kick’s, if not mentor’s that is. His role along with the equally show-stopping villain-de-juor Donald Grant, played by an incredibly menacing Robert Shaw, are the highlights here.

Indeed, his fight-scene with Connery in a train-car towards the end is one of the unique pinnacles of the film and sets high standard for future showdowns. Elsewhere, we find many of the highs that we’ve come to associate with the series at large: rollicking adventure, suave and shady dealings, tension abound et al. And also some of the lows: indeed, towards the middle we find a belly-dancing scene and a Romani cat-fighting scene in close succession which both exemplify the detached misogyny that often factors into much of early Bond. This, on some level, must be expected from the series I suppose-- a transgression readily accepted by actual 007 films yet not found in any of the progenitors that rank higher on my own list, alas.

Following the fantastic fight-scene-- a culmination of shenanigans in Istanbul and Connery’s budding-yet-relunctant romance with Bianchi-- we have a North By Northwest homage, except with a helicopter in place of a cropduster, as well as the destruction of a sex-tape of Connery and Bianchi, and that's pretty much the movie! It’s almost a perfect Bond flick.

Runner-ups:

Goldfinger (1964)- Incredibly cast and acted villain, an extended golfing sequence and the debut of the iconic, tricked-out Aston Martin DB5 many would come to associate with the Connery-era films. Sure there’s a bit of rape, but it was the 60s! (so sorry)

[Also the original 'Casino Royale' (1967) and 'A Fish Called Wanda' (1988) almost made the list.]

The man with the golden touch, indeed. Sorry for trolling so hard and.... Bond forever~

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