2017: A Year in Review

Despite a number of scandals in 2017- there were also some great pictures. We saw the emergence of great directors such as Jordan Peele and Sean Baker. Several prominent new female stars threw their names into the ring such as Gal Gadot, Daisy Ridley, and the wonderful Sally Hawkins. Oscar season will be tough to predict this year!

Top 10 Films of 2017

1. Blade Runner 2049 (USA, Dir: Denis Villeneuve) 

It took 30 plus years for Ridley Scott's masterpiece 'Blade Runner' to get a sequel. When it arrived people were crying tears in the rain! Denis Villeneuve delivered a visual feast for his viewers along with a riveting and broad story. Again asking what it means to be human, Blade Runner purists were given the perfect reward for their time and patience. With a perfectly cast Ryan Gosling to anchor this movie, few could have expected the triumph this movie was. If you needed proof that Villeneuve is now one of the true greats, look no further. As Gaff once said, "They've done a man's job sir!" 

2.  Get Out (USA, Dir: Jordan Peele)

This year's most thought-provoking piece, Jordan Peele's debut was a something truly special. Against the Black Lives Matter movement and the growing concern of racism in America, Get Out was horrifying on many levels. With a stunning turn from British actor Daniel Kaluuya, Peele managed to make a film that is equally creepy and hilarious. Few others movies in 2017 had a premise quite as unique as this. 

3.  Three Billboards outside Ebbing, Missouri (UK/USA, Dir: Martin McDonagh) 

Irish director Martin McDonagh once again manage to hit levels of dark hilarity in his tale of revenge. Featuring the always reliable and strong Frances McDormand, Three Billboards was a movie that gave us great belly laughs alongside pure emotion. With great support from Woody Harrellson and Sam Rockwell- McDonagh gave us a multitude of unlikable characters for us to gradually warm too. It also made us think about how far you would go to avenge a loved one? 

4.  The Shape of Water  (USA, Dir: Guillermo Del Toro) 

Guillermo Del Toro has always been a visionary director, but The Shape of Water showed his pictures also have a big heart as well. Bringing us cinema's most offbeat romance, Del Toro was aided by a brilliant silent turn by the excellent Sally Hawkins. Unlike many of Del Toro's recent efforts, this one was more story focused and he gave us a tale that tugged at the heartstrings. Already an awards season favourite, this will be firmly tipped for glory. 

5. Dunkirk (UK, FR, USA, NL, Dir: Christopher Nolan) 

Few directors could have brought the Dunkirk evacuation to life quite like Christopher Nolan. Firmly emphasizing the constant danger the soldiers on the beach faced, Nolan had hearts racing throughout as Hans Zimmer's score ticks like a stopwatch. His refusal to use visual effects gave this movie a great authenticity. Just hearing the sound of real spitfires was worth admission alone. Newcomer Finn Whitehead was the very face of the young British soldier and through this performance, the horrors of war were brought forward. 

6. The Killing of a Sacred Deer  (EIRE, UK, USA, Dir: Yorgos Lathimos) 

Viewers may have been utterly confused and emotionally scarred this effort from Greek director Yorgos Lathimos. With the bizarre, often odd dialogue and the violent undertones, this one cinema at its most original. Colin Farrell and Barry Keoghan made for a glorious odd couple whose friendship slowly turns into something far more sinister. Lathimos always succeeds in pushing cinematic buttons and in The Killing of a Sacred Deer he showed us the extreme's he can take us to.

7. Call Me By Your Name (ITA, USA, BR, FRA, Dir: Luca Guadagnino)

Quite possibly 2017's most heartbreaking effort, Italian Luca Guadagnino gave us the pain of first-time love. Timothee Chalamet was a breakout star in this movie and through his excellent natural performance, he wore movie's heart on his sleeve. Making full use of the gorgeous Italian backdrop, Guadagnino's movie felt like a neverending summer vacation for us all. Armie Hammer also showed us there is far more to his ability than being supporting fodder in big films. Bring tissues in bulk for this one, you will need them by the end. 

8. Lady Bird (USA, Dir: Greta Gerwig) 

The best-reviewed film of the year, Greta Gerwig's debut behind the camera was one to remember. Saoirse Ronan was the perfect star to portray a young woman still coming into herself. Laurie Metcalfe gave the most complex turn as a control freak mother trying her best to keep a family together. Heavily inspired by Gerwig's own childhood in California, this movie had a wonderful realism to it. Set against the difficult economic's of Bush's 2002 America, Gerwig gave us a story that pulled us in all directions. 

9. The Florida Project (USA, Dir Sean Baker) 

An indie darling this year, Sean Baker's film had the most gritty feel to it. Set in a dilapidated Orlando neighborhood, the exploits of six-year-old Moonee (Brooklynn Prince) were some of captivating innocence. The hard-bitten reality of the money struggles is often crushing and her mother Halley (Bria Vinaite) resorts to illicit means to survive. Baker along with Prince emerge as major new talents and this is movie that left both critics and audiences reeling afterwards. 

10.  God’s Own Country (UK, Dir: Francis Lee)

The best piece of British cinema the year had to offer, Francis Lee gives us a love story in the gruffest British style. Romanian Alec Secareanu and Brit Josh O'Connor made for a perfect pair of conflicted lovers. O'Connor, in particular, plays his character with such intensity that his struggle to accept his emotions is spellbinding. Lee showed audiences that love is always in the last place we look. The windswept Yorkshire Moors never looked so inviting. 

Best of the Rest

11. Baby Driver (UK/USA, Dir: Edgar Wright)

Cool and thrilling in equal measure- Edgar Wright gave us a movie of pure fun. With a star-making turn by Ansel Elgort and a thrilling soundtrack, heists never looked so great on screen. Jamie Foxx was also onboard as the resident psycho which was just one of many impressive supporting turns. This movie made car chases a thing of beauty- just look further down. 

12. Logan (USA, Dir: James Mangold)

The final installment of the Wolverine saga was the one we'd been waiting for all along. Unafraid to show a more violent side, this one was a fitting and poetic tribute to a character who deserved on go out strongly. Also, there are few things more delightful than Patrick Stewart dropping F-bombs! 

13. The Big Sick (USA, Dir: Michael Showalter) 

The depiction of the real-life romance between star Kumil Nanjiani and wife Emily V. Gordon was one of the most touching portrayals. Nanjiani alongside the always watchable Zoe Kazan and Holly Hunter emerged a new talent both in front and behind the camera. It also tapped into family tradition and the desire to rebel against what you know. 

14. Hello Destroyer (CAN, Dir: Kevin Funk) 

Showing the devastating effect of when a young man is thrown on the scrap heap- this was Canada's strong film of 2017. Jared Abrahamson to devastating effect showed us a young hockey player abandoned by people he loves after one horrific incident. Its sparse feel and minimal dialogue only intensifies the isolation of our hero. 

15. War for the Planet of the Apes (USA, Dir: Matt Reeves) 

As finales go, few could have been more glorious than War! Andy Serkis confirmed his status as the go-to man for motion capture and Woody Harrelson played his Colonel as an old-school villain with surprising depth. With many brilliantly executed set pieces, this piece was as much about thrills as it was about the future of the human race. Caeser is a character who deserves his own spin-off. 

Male Star of 2017: Colin Farrell

In the past, many have always questioned Colin Farrell's ability. In 2017, he showed his true acting colors. Suitably charming and dangerous in Sophia Coppola's 'The Beguiled', Farrell's John McBurney was a lady killer come wounded animal. His best work proved to be in 'The Killing of a Sacred Deer' where his father character is soon faced with every man's worst nightmare. Farrell is now one of Hollywood's underrated talents and hopefully will see him rewarded come award season. 

Female Star of 2017: Daisy Ridley

Its a tough job looking cool with a lightsabre, but Daisy Ridley managed it with ease. Officially the new hope of the Star Wars franchise, Ridley provided 'The Last Jedi' with the tough and go-getting presence it so badly needed. She also got to show her acting talents outside this universe in 'Murder on the Orient Express'. In a middle of the road picture, Ridley made the most of limited screen time to befuddled Kenneth Branagh. One of the most exciting new British actresses on the block, Daisy Ridley is at one with the force. 

Best Director: Jordan Peele- Get Out

Ok, hands up who thought that one half of comedy duo 'Key & Peele' could have made a movie like Get Out? In his first feature film, Peele had the kind of debut few directors dream of. Showing a confidence behind the lens and unafraid to tackle difficult subject matters, Peele should definitely be among the nominees come Oscar time. His ability to blend sheer tension along with a more goofy side marks him out as a special talent. 

Scene of the Year: Baby Driver- opening sequence 

This opening car chase in Edgar Wright's thriller was everything you could want a beginning scene to be. Soundtracked to 'Bellbottoms' by Jon Spencer Blues Explosion, this chase sequence is slick, unpredictable, breakneck and best of all, rousing! Elgort's Baby looks like a youthful Steve McQueen behind the wheel and this scene easily challenges Bullitt for one cinema's great chase scenes. 

Summer Lovin': Review of Call Me by Your Name

Call Me By Your Name

Director: Luca Guadagnino

By Alex Watson

Fair warning before you see Luca Guadagnino's latest- this movie is heartbreaking in all kinds of ways. Call Me by Your Name is a movie that expertly and breathtakingly showcases the pain of true love. Set against the lush and stunning Northern Italy backdrop, this movie is far more just a feast for the eyes. Two magnificent central performances by Timothée Chalamet and Armie Hammer is what brings this piece to life and Luca Guadagnino emerges as Europe's new directorial threat.

During the summer of 1983, Elio (Timothée Chalamet) is spending his summer sunbathing, transcribing music and casually dating his girlfriend Marzia (Esther Garrel). His peaceful existence is interrupted by the arrival of Oliver (Armie Hammer) who arrives to assist his father (Michael Stuhlbarg). Over the next six weeks, a romantic connection ensues and Elio's world is turned inside out.

Any lovers of Guadagnino's previous work I Am Love and A Bigger Splash will be aware of how he can combine subtle humor with crippling emotional blows. Call Me by Your Name is a romantic film that sizzles in the summer heat. However, Guadagnino's brilliant piece is one that forces its audience to endure and as this tale slowly progress our hearts slowly crumble. A smart and well read 17-year-old, Elio is a confident and respected young man. Used to owning every room and dinner he visits, the arrival of Oliver automatically sends him into a flat spin. At first, disliking Oliver's natural charm and charisma, Elio attempts to avoid him. Its made apparently obvious that this unease is definitely physically related and the pair has a chemistry that is undeniable.  As the attraction between them intensifies, this sparks crackle all around.

Guadagnino's film fills its summer days with a variety of parties, dinner, dancing and endless relaxing by the pool and lakes. There is a lazy and peaceful feel to the flow of this movie, each day Elio dwells on his feelings is another lost opportunity. His parents seem aware of the budding romance between the pair and seem even to encourage it. One particularly emotional monologue by Stuhlbarg at the movie's climax is particularly heartbreaking. The pangs and longing of first love are beautifully expressed here- Guadagnino also finds some borderline creepy moments such as Elio smelling Oliver's bathing suit. Once the awkwardness melts away, a passionate love is born. Guadagnino isn't at all interested in showing explicit sex, instead, he focuses on the intimacy and the warm glow it brings. Before long the pair is becoming inseparable, but there is that inevitability that this will have to end soon.

Call Me by Your Name comes down hard on its audience during an overwhelming third act. The most poetic things about this movie are how little effect words have on the story. Every gesture, longing embrace, and pained expression tells us the whole story. Elio is shown to be a young man coming into his element but is shaken to the core over how raw and deep his feelings go. There is also a vibrancy and depth to the supporting characters too- Marzia is only a few brief moments of screen time has a profound effect. Even Elio's mother Annella (Amira Casar) is there to bring a tenderness when the movie most needs it. Few movies in 2017 are as earth-shattering as this one, the final shot is one of pure emotion. Take a moment to sit in your seat and get yourself together, you will definitely need it

Timothée Chalamet is a stunning find in Guadagnino's movie. Wearing the movie's heart on his sleeves, the young actor feels so natural it's impossible to believe he's acting. Feeling at ease with the movies rollercoaster of feelings, Chalamet is a talent that deserved to rewarded at this year's Oscars. Armie Hammer is also superb as the cocksure yet big-hearted Oliver. Coming across as the dreamy 'Odd Jew Out' All-American, Hammer draws both Elio and his audience to his brand of charm. One of the most dependable actors around, Hammer shows a newer and more rounded side to his talents. Never thought of as one for romance, this could a new career renaissance.

Call Me by Your Name will bend your heart into so many ways you will need to requisition a new one. A real romantic juggernaut, Luca Guadagnino's Suspiria remake will now be even more anticipated.

A Disturbance in the Force: Review of Star Wars: The Last Jedi

Star Wars: The Last Jedi

Director: Rian Johnson

By Alex Watson

Life in the galaxy rolls on and in the hands of Rian Johnson it still feels thrilling. Keeping the twists and turns coming thick and fast, there is also a heavy emotional core to Star Wars: The Last Jedi. Characters are forced to look inside and make some tough internal choices. Some Star Wars fans might gripe over its feel along with its more humorous and heavy-hearted approach. But you can't deny there is potential here and finally, this new batch of characters are beginning to come into their own.

The Resistance led by General Leia Organa (Carrie Fisher) is being forced to fall back against the might of the First Order. Low on numbers and morale, the only hope they hold is for Rey (Daisy Ridley) to convince reclusive Jedi Luke Skywalker (Mark Hammill) to return. Meanwhile, Kylo Ren (Adam Driver) is also fighting his own personal battle against his own conscience. 

Johnson wastes no time thrusting Star Wars: The Last Jedi into light speed. Starting with a thrilling dogfight which sees hotheaded but heroic Poe Dameron (Oscar Isaac) take on the First Order fleet and permanent sneer of General Hux (Domnhall Gleeson). This side of the story provides the unpredictable thrills of the story. Dameron along with former First Order trooper Finn (John Boyega)  and newcomer Rose (Kelly Marie Tran) are on a mission to disable an enemy tracking device. Dameron in this story emerges as the new Han Solo in the making- charismatic yet immature and brave yet ballsy. Always drawing the wrath of new commander Vice Admiral Holdo (Laura Dern), Dameron is both indispensable and a wild card all in one. The Kylo Ren/Ben Solo side story also holds its own as the conflicted Jedi is pushed and pulled by Supreme Leader Snook (Andy Serkis once again rocking motion capture) to embrace his evil side. Rey can still feel the human side of him but is he past the point of redemption?

The real heart of this picture comes from the unlikely alliance of Rey and Luke Skywalker. At first glance, this would seem like the movies Achilles heal. Not only does it succeed but it is by far the movies most glorious aspect. After the lightsaber hand over at the end of Force Awakens- Johnson makes this scene an unlikely moment of hilarity. Skywalker wears the ghost's of the past in this flick- scarred by his failure of his nephew Ben he at first stubbornly refuses to help Rey. However, the new protege never backs down and a caring and strong bond forms. As talented as she is with a lightsabre, Luke also greatly fears the influence of the dark side. Also during this time, a mysterious connection arises between Rey and Ren which could potentially alter the course of either life. Johnson during this sequence brings a tender touch which could bring big things in later movies. Of course, who won't enjoy the nostalgia of watching Luke board the Falcon after so many years?

While the Star Wars: The Last Jedi has plenty of ideas that hit, there also some that just fall flat. During an overly long sequence to rich planet Canto Bight, Johnson's movie comes a little unstuck. This whole plot device just feels added to draw out the mileage and becomes little more than a wild goose chase. Was the introduction of Benicio Del Toro's codebreaker DJ really necessary? This trickster comes and goes while making little impact or weight to the story. This is easily the strongest Star Wars effort since Empire Strikes Back, but Johnson is all about the changing of the guard. Seeing Carrie Fisher on screen for the last time will bring a tear to some eyes. Luke Skywalker along with many others are present but by no means are the focal point of the story. Some fans may not like the more jokey side or the almost video game like approach during the battle scenes. But you cannot deny that this franchise is at once with the force again.

Firstly it feels amazing to see Mark Hammill once again holding a lightsabre as Luke Skywalker. Turning in a career-high performance, Hammill reminds us why this character is so special. Playing a more jaded and afraid version of Skywalker, he shows a man unable to let go of the past. Oscar Isaac emerges as the new king of cool for this franchise. Poe Dameron is a man who plays by his own rules but is also the leader the Resistance desperately needs. John Boyega once again is superb as Finn and matches Isaac for strength of character. Daisy Ridley, however, is the real ace in the deck in Johnson's movie. Effortlessly looking cool with a lightsabre, Ridley is the picture's backbone. Able to handle the difficult of upstaging Skywalker, Rey is very much the franchises future Jedi master.

Star Wars: The Last Jedi brings new hope to the galaxy- just a shame Johnson won't be returning for episode 9.

The Lady in the Water: Review of The Shape of Water

The Shape of Water

Director: Guillermo Del Toro

By Alex Watson

The most unique and offbeat tale this year can offer, Guillermo Del Toro has created something very special. The Shape of Water is a movie unlike any the Mexican maverick has made before. Known for his stunning visuals in movies such as Pacific Rim, Crimson Peak, and Hellboy, this movie is all about heart and soul. With a clutch of wonderful performances to compliment the touching story, this will be an award's season favourite.

Set in Baltimore during the 1960's, Elisa Esposito (Sally Hawkins) is a mute yet big-hearted cleaner at a government science facility. She helps care for her elderly neighbour Giles (Richard Jenkins) and she also has a strong bond with co-worker Zelda (Octavia Spencer). One day a mysterious creature known as 'The Asset' (Doug Jones) arrives along with hard-nosed and brutal security officer Colonel Richard Strickland (Michael Shannon).

Alongside DP Dan Laustsen's bright colored and vivid cinematography, Del Toro display's a delicate touch with his directing. This picture goes above the level of emotion displayed in his masterpiece Pan's Labyrinth and shows us that love isn't just bound by species. Elisa is a character who views herself as an 'incomplete' human due to her muteness but yet she brings little pockets of joy to those who know her. Giles- a gay and rather scatterbrain artist relies on her heavily to get by. At first, a mousy person who doesn't dare rock the boat, the sheer courage she displays, later on, make us adore her. When she first comes across the creature- she is naturally very curious. Slowly, she bonds with it by feeding it boiled eggs and little by little a deep bond is formed. What makes this so poetic is the fact they have to communicate without words. Connecting through music and simple gestures, Del Toro shows how the smallest actions can be the most effective.

Despite the fact, this creature poses no threat to anyone- Strickland is all about protecting national security. This picture's equivalent to Captain Vidal, Strickland is a harsh man armed with an electric cattle prod who always believes that the end justifies the means. Although a family man, the Colonel lives a very regimented existence both in and outside work. He likes to keep his wife quiet during their passionless sex and seems to have little interest in his two children. Inside work, he bullies and terrorizes the creature for little other reason than he can. What is wonderful about Del Toro's The Shape of Water is that each supporting character has their own story to tell. Scientist Robert Hoffstetler (Michael Stuhlbarg) is a man who desires to protect this creature- but yet is also a Russian spy! Giles is a failed artist who is unwanted by both his old company and the attractive male diner worker he desires. Zelda in any other movie would have been the comic relief aspect, but in Del Toro's universe, she's a key player whose devotion to her friend Elisa is unconditional.

Coming together as an unlikely army of protectors, this band of cast off's are determined to protect the Asset with all their might. The growing love between Elisa and this amphibian being is unique because both are considered not completely human. From the beginning she doesn't see this creature as something to be feared- instead, she notices a being that needs to be nurtured. Unable to express her love- there is a beautiful scene in which she imagines singing 'You'll Never Know' which gradually turns into a full-on black and white musical dance number. Credit also needs to be given to production designer Paul Austerberry whose transforms 60's Baltimore into a sparkly place of wonder. His use of teal, in particular, is stunning and his underwater scenes wouldn't look out of place in a Disney picture. Even Strickland at one stage purchases a teal Cadillac- these subtle nods towards nautical themes is one of many fascinating elements this picture possesses.

Sally Hawkins gives a performance of the highest order. Boasting arguably the finest silence turn since Jean Dujardin in The Artist, Hawkins is simply mesmerizing. Excellently projecting her character's inner torment at being unable to express herself- Hawkins brilliantly uses her sign language to both highly comical and extremely devastating effect. Reliable baddie Michael Shannon is once again memorably nasty as the button-down psycho Strickland. Heavy on 'protocol' but unafraid to bend the rules- Strickland is hulking and violent menace whenever on screen. Richard Jenkins stakes his own supporting claim with a wonderful turn as the rejected Giles. A fun reverse on the old cat person spinster character, Giles like Elisa is unloved by the world. Jenkins gives a gentle yet potent supporting turn. Octavia Spencer will most definitely be among the nominees come award season. Zelda is a character that goes deeper than expected, on the surface, she is the typical chatterbox but underneath she has the heart of a lion.

The Shape of Water is a movie that will undoubtedly grace many top 10 and awards lists this winter. Guillermo Del Toro has shown us another beautiful side of his directing, where he goes from here will be fascinating.

The Wiseau One: Review of The Disaster Artist

The Disaster Artist

Director: James Franco

By Alex Watson

Tommy Wiseau's 'The Room' is a movie that was truly awful. Savaged by critics, it opened on one screen and was expected to disappear into obscurity. Since 2003, a cult following has ensued and the movie holds a special place in the 'So Bad its Actually Good' category. The making of his picture was another story entirely and James Franco has come up with one of the funniest pictures of 2016. The Disaster Artist feels like the Ed Wood of the 21st century and Franco gives us the most offbeat character in Wiseau.

Greg Sestero (Dave Franco) is a semi-talented actor living in San Francisco. One day during acting class he witnesses the bizarre yet utterly fearless Tommy Wiseau (James Franco). From this, an unlikely friendship is born. Both attempt fame and fortune by moving to Los Angeles, but their severe lack of talent and contacts extremely hinders them. Frustrated by the Hollywood machine, Wiseau decides to create his own movie titled 'The Room'. His lack of experience behind the camera and his strange script will ruffle more than a few feathers though.

The Disaster Artist faithfully adapts Sestero's memoir. The story of the worst movie ever made is one that is a lot of love and respect. When we first meet Wiseau, he's a character with instant magnetism yet you feel a great sense of unease. Sporting an obvious Eastern European accent and looking like he's half asleep, question marks hover over him throughout. Where precisely does he get his seemingly endless supply of money? How old is he? Wiseau can give us laughs from the strangest of places "Don't look at robot crab, he shy!" Franco beautifully sums up his lack of talent and presence acting-wise. Frequently quoting and overacting Shakespeare, at one stage a famous producer (Judd Apatow) angrily tells him "You because you want it, doesn't mean it's going to happen!" suggests he become a villain. He may lack any kind of acting gift, but Franco respects his determination and his desire to become a star really draws us to him.

Sestero is a man with his own issues- although totally faithful to his friend this putting a strain on his relationship with girlfriend Amber (Alison Brie). Wiseau emerges as an insane genius during filming and Franco brilliantly recreates some The Room's most infamous scenes. Making full use of his heavily accented voice- the dreadful dialogue has never sounded better "URR TARRING ME APART LEESA!" From day one its apparent that this movie is a real stinker. Script supervisor Sandy (Seth Rogan) is the weary and frustrated voice of the crew as he picks apart some of the movie's many glaring errors. Fans of The Room will no doubt delight at this aspect. From Wiseau weirdly laughing during a supposedly serious scene to his awkward love scene where his 'position' makes everyone squirm. Although everyone tells Tommy to stop and to give up- he refuses to give in. The cast and crew are suspicious of this picture throughout and question and are confused what the movie is even about? Acting pro Carolyn (Jacki Weaver) is quick to point out that the infamous breast cancer reveal "Never comes back!"

Seemingly realizing his production is doomed- Wiseau soon becomes a tyrant on-set. Showing up late, refusing to provide air conditioning or water and now extremely jealous and petty with Greg. Tommy soon alienates everyone. Although he acts like a jerk we do hold a small amount of pity for him because he knows this is his one shot and it's going up in flames. The comedy aspect of The Disaster Artist is put on the backburner during the third act as Franco shows us the pain of art being misunderstood and the bewilderment of failure. He does provide us with an ending which is glorious in its failure. Showing us the disastrous premiere and the hilarious reaction of the audience members to this awful film. Franco also captures the spirit and the affection that filmgoers hold for this movie. A financial and critical failure upon its release- but despite this Tommy Wiseau has achieved his dream!

You couldn't have chosen a better Tommy Wiseau than James Franco. Superbly capturing his bizarre voice and his weird persona, this role fits Franco so well it hurts. Effectively channeling his softer side along with his more toxic one- this character comes across as a man with no quit in him. Coming up with moments of comedic gold, Franco is able to get laughs from audiences wherever possible and this might just be the funniest character of 2017. Brother Dave Franco also impresses as the more rational but equally talentless Greg Sestero. Against the unpredictable and often volatile Wiseau, Greg is the calm voice of reason whom his friend slowly grows to resent.

A love letter to the worst movie ever made The Disaster Artist is a picture that shows that sometimes even failures can make an impression. Remember to bring your spoons though!

Life on the Farm: Review of God's Own Country

God's Own Country

Director: Francis Lee

By Alex Watson

Against the windswept and grey plains of the Yorkshire Moors- debut director Francis Lee has created 2017's most affecting love story. Unfairly labeled 'The British Brokeback Mountain', God's Own Country was a surprise hit at this year's Sundance Film Festival. With a minimal use of words, the sexual tension bubbles all around. Lee also delves deeply into male insecurity and coming to terms with your identity.

Twentysomething Yorkshire lad Joe (Josh O'Connor) is a hard-drinking farmhand who has little in the way of meaningful relationships. Aside from the odd casual male hookups, Joe lives a busy life of keeping the farm together. His father (Ian Hart) is a cold and distant man recovering from a stroke and his nan (Gemma Jones) is simply trying to keep things together. Desperate for help, the family hires Romanian immigrant Gheorghe (Alec Secareanu). As a result, Joe's world is turned upside down.

The way God's Own Country explores relationships is brilliantly observant. Joe's doesn't have much in the way of interaction- the first scene we see him rising and puking his guts out from a night at the pub. A man who expects nothing out of life expect work- we see him going about his isolated existence against the harsh yet beautiful landscape. Lee excellently emphasizes the bleakness and the continually grey sky seems to reflect his mood. While alone we see him kindly tending to the cattle on the farm and lovingly stroking a pregnant cow's body. Here we get a sly glimpse of the love that Joe is capable of giving and in this one moment, he can be something more. Unexpectedly we soon see him engaging in rough sex with another guy in the back of a cattle trailer. The way Joe casually disposes of him afterward says volumes. He prefers to keep things quick and distant as its the only way he knows how. His relationship with his father is limited to orders and him constantly berating him for his failings. Love is a luxury that cannot be afforded so Joe expects nothing in return for his efforts.

Gheorghe's arrival is at first interpreted as a threat. Few words are spoken between the pair- but Lee makes sure each feeling fills the winds in the air. The tension and unspoken desire is almost unbearable at first. Joe treats his new colleague with a barely concealed contempt. When a reaction is finally provoked from Gheorghe, Lee breaks the hostility. For the first time in his life, Joe is treated with a kindness which is completely alien to him. One tender moment sees Gheorghe lovingly treating a graze on his hand- in this one moment you can almost feel Joe's heart swelling. Gheorghe's comes across as a gentle and heartfelt soul which Joe is unaccustomed to seeing in these parts. The way he desperately tries to save a runt sheep from dying is a truly uplifting moment. This man is the answer that Joe has been seeking- yet he refuses to acknowledge it. Lee fills his picture with wonderful little moments which are so simple yet cause the biggest waves. Gheorghe's setting the table for a meal seems to open up a new world of possibility. 

At its purest God's Own Country is a movie about how love can change a person. There is a notion of racism and xenophobia- particularly during the pair's opening scenes where Joe degradingly refers to Gheorghe as 'Gypo'. Post-Brexit, this is all the more relevant and believable. But Lee doesn't see the need to portray their love as a forbidden romance. This movie is more about someone being unable to come to terms with the possibilities in front of them. Joe believes in simply getting things done and is unable to return love or affection because he is unaware how to. Slowly the hearts of the audience are torn to shreds as we see our hero struggling against accepting something wonderful. Slowly as his world opens up, Lee's movie starts to radiate joy.

Josh O'Conner is a revelation as Joe and as the young lad, he gives a performance of extreme depth. A character of few words, O'Connor says more in his silence than dialogue ever could. Giving a raw depiction of a man finally experiencing love, O'Connor is simply brilliant. Alec Secareanu is the picture's beating heart though and as Gheorghe, he brings a loving and sweet side. His simple gestures to Joe are what makes this picture widen. Secareanu has a presence that is undeniable and he makes full use of this character's soft side but is unafraid is to be tough when called upon.

God's Own Country is quite possibly the best piece of British cinema that 2017 can provide. A love story that will make its audience feel the entire spectrum of emotions.