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. 

Back to the Future: Review of Blade Runner 2049

Blade Runner 2049

Director: Denis Villeneuve

By Alex Watson

After 30 plus years of questions, doubts, delays, and fears, finally, Blade Runner 2049 comes to our screens. Many doubted its credibility and others simply wanted to believe it was a bad idea. In the hands of Denis Villeneuve, we have been given one of the greatest sequels of all time. Still engrossed in the grimy and neon-soaked world that Ridley Scott delivered- this is a picture that has both heart and brains.

In 2049, LAPD officer KD6-3.7 (Ryan Gosling) is assigned with hunting down the obsolete Nexus 8 replicants. However, while investigating on a protein farms, K finds an old box which contains a big secret. The contents of this box could spark a war between human's and replicants and his boss Lt.Joshi (Robin Wright) is keen for it to disappear. While on the hunt for clues, K's investigation will lead him to old Blade Runner Rick Deckard (Harrison Ford).

Villeneuve has stayed true to his source material and the future he shows us is equally as bleak and haunting as the 1991's directors cut version. Veteran Roger Deakins' provides some lush and colourful cinematography which contrasts beautifully with Dennis Gassner's retro set designs. The old Tyrell corporation has gone broke and now visionary Niander Wallace (Jared Leto) creates all 'skin jobs' walking the streets. K as a character is almost like a blank slate- a dutiful officer who does his job without arguments and has a hologram for a girlfriend (Ana De Armas). Subject to hate and scorn by his fellow officers and neighbours for his 'Blade Runner' status, K is just a man doing a job. Watching him undergo a weird 'Voight- Kampff' type test will make your head spin as you hear 'integrated' so many times. His investigation begins with something so innocuous. While investigation old Nexus 8 farmer Sappar Morton (Dave Bautista)  he happens upon an old box containing bones. The secret behind them is truly mind-blowing and any preconceived notions of replicants are blown out of the water.

Anyone in a hurry to get results needs to be patient because this is one investigation that rolls along at a steady pace. Blade Runner 2049 is a movie intent on revealing the puzzle one piece at a time. We understand early on something earth-shattering is coming our way. Wallace, in particular, has his eye's on the big prize and sends his faithful assistant/assassin Luv (an impressive Sylvia Hoeks) out to stake his claim. Visually this is a stunning ride and we see such sights such as a scorched Las Vegas ruin (Deakins photography shines brightly against the neon orange glow) and a derelict orphanage in a junkyard that used to be San Diego which looks like a cross between Oliver meets Dune. Taking us beyond the rainy and snow-swept streets of urban LA, Villeneuve shows us the true decay of planet earth and how those left behind are playing the price.

Smartly the appearance of Deckard is left until almost the final act- giving us time to understand K's mission and his motives for giving chase. Very much a secondary character but still so vital to everything, Deckard still hasn't lost any of the old charms. Possibly the most beautiful looking movie of 2017, it's actually astounding just how much Denis Villeneuve has achieved with this sequel. Subtle nods to the old one are there in droves, but their presentation of life in 2049 makes for a much grittier and bleaker atmosphere. Humanity is on its last legs and is now reduced to using protein farms to avoid famine and death. In this universe, Replicants might just be the way of the future. Hans Zimmer and Benjamin Wallfisch's score is one that captures the mood and emotions that go with this sequel- while also saluting the legendary Vangelis score that came before it. Few sequels will achieve this level of brilliance in the next few years.

Ryan Gosling is perfectly cast as new Blade Runner K. His air of cool gives his character a much-needed edge. On the surface, he is a barely drawn character, but underneath he is far more complex. Driven to solve this mystery, K fears just what he may find and that he might just be an important cog in the machine. Harrison Ford also boasts his strongest performance in many years. Rather than just showing up, Ford digs deep and shows us a hollowed out wreck of a man who is conflicted about past actions. Ford's screen time is simply electric and but he also stays true to the principles of this character and 30 plus years on- Deckard is still a great character.

Blade Runner 2049 is simply magnificent- Denis Villeneuve has taken this sequel to heights never thought possible. As Gaff said in the original 'They've done a man's job sir!"

2016: A Year in Review

2016 was a sad year in terms of deaths as we said goodbye to legends such as David Bowie, Alan Rickman and Prince. It was also a devastating summer for DC as both Batman vs Superman: Dawn of Justice and Suicide Squad tanked with critics. However, we have emerged with one of the most competitive Oscar races in recent years and once more had it proven that The Avengers rule the roost of summer movies. Here are my highlights of another great film year.

Top 10

1. La La Land (USA.Dir: Damien Chazzelle)

Few pieces of cinema were as hypnotic as Damien Chazzelle's musical. Demonstrating the addictive highs and brutal lows of a relationship, our hearts went through the grinder. A modern musical classic, each song and dance number will leave you wishing life had more spontaneous moments. Emma Stone and Ryan Gosling made for an impossibly cute couple and together they made 2016's best on-screen pairing. Be prepared to go through the entire emotional spectrum and allow yourself to be entranced. Damien Chazzelle has proven himself in the musical category- what lies next? Comedy?

2. Manchester By The Sea (USA/Dir: Kenneth Lonergan)

Giving the picture only the runner-up spot was a tough one indeed.The sheer power of Kenneth Lonergan's film cannot be denied. Casey Affleck gives the performance of a lifetime which is a masterclass in suppression and grief. Forced into being a reluctant father figure, his character cannot be free of his past but cannot embrace the future. Lonergan's potent depiction of the how our ghosts can never truly leave us left audiences in bits. It also showed us the very meaning of family and how despite our differences, we are always linked together.

3. Arrival (USA/Dir: Denis Villeneuve)

After claiming my top spot last year, Canadian Denis Villeneuve is once more in contention. Delivering this year's smartest and most engaging thriller, this might be the closest example of the possibility of alien contact. A top draw performance from Amy Adams was the beating heart of Villeneuve's picture. Forging a bond with her alien subjects, Adam's Louise Banks felt like the one woman who was destined for this honour. Continually nerve-jangling as the ambiguity of this mysterious earth visit plays out. This picture has us wondering how alone we are in the big universe? Best start reading up on alien signs, it might come in handy if they should pay a visit for real!

4. Moonlight (USA/ Dir: Barry Jenkins)

The best-reviewed movie of the year, Barry Jenkins' movie was something very special indeed. His story a young boy navigating the tough roads of being a homosexual in a rough Florida slum was engrossing. The Brutality of youth and the harsh realities of growing up were painful brought forward as young Chiron gets the hard knocks education.  Mahershala Ali was the father figure all potential gangster dream of and Naomi Harris was the unbalanced mother all boys fear. Jenkins picture was a beautifully realised one and few pictures made better use of the carefully crafted camera work like this one. An unlikely but worthy story subject, Jenkins has finally arrived on the Hollywood scene.

5. Nocturnal Animals (USA/Dir: Tom Ford)

From fashion designer to Hollywood director, Tom Ford has had quite a ride. Nocturnal Animals was a blood pumping thriller from its bizarre opening of a fat, naked woman dancing with sparklers. Endless tense and sporting superb multiple interpretations, Ford's picture was one that played on your mind for days afterwards. Is the horrifying story of Texas revenge portrayed in Jake Gyllenhaal's book a reality? Or this is a sly dig towards his marriage to ex-wife Amy Adams? Frequently the lines between reality and fiction become crossed as Ford's two movies in one intertwine.


6. The Revenant (USA/Dir: Alejandro Gonzalez Inarritu)

Finally, this was the role that won Leo DiCaprio as deserved Oscar and this was quite possibly the most stunning visuals of 2016. Alejandro Gonzalez Inarritu's inspiring story of survival secured him back to back Oscars. Watching Leo's Hugh Glass being viciously mauled by a bear was hands down the most uncomfortable viewing experience this year had to offer. Literally, this explorer goes to hell and back multiple times and still keeps on crawling. Cinematographer Emmanuel Lubezki was the real star of this picture and his gorgeous photography makes even the worst hardship seems wonderful. You will not see a more committed performance than this one- worth the wait Leo!

7. Hell or High Water (USA: Dir David Mackenzie)

This tale of Texas revenge was a brilliantly smart one. Appearing as your standard bank heist thriller, the true genius of British director David MacKenzie's film won't be immediately apparent. Linking up with Sicario writer Taylor Sheridan, the result was a wonder story of brotherly love and bank robbing. Chris Pine and Ben Foster might have been the stories conscience, but Jeff Bridges calm and assertive Texas Ranger was what stole the show. Equally heartwarming and thriller, this picture also had a lot of laughs for good measure. Do not read up on this film before viewing because the revenge tactic is a beautiful one that raises a middle finger to the real crooks.

8. Jackie (USA/ Dir: Pablo Larrain)

Few first ladies were more iconic than Jackie Kennedy and Natalie Portman's performance as the former Mrs Kennedy was a mighty one. Pablo Larrain drags his audience into a wife's worst nightmare and Portman shines brightly bringing her trauma and distress forward. Afraid of JFK's legacy being cast aside while the grieves, Larrain makes full use of Jackie's determination to see his final send off being memorable. Rarely do biopics like this feel like genuine reconstructions and you will like an unwanted guest watching her cling to her husband's lifeless body during that fateful day in Dallas.

9. The Hateful Eight (USA/ Dir: Quentin Tarantino)

Movies like this one remind us of what a great writer QT can really be. His tale of eight mysterious strangers cooped up during a heavy snow story was one that always kept us guessing. In its 70MM glory, watching the blood splatter was a thrilling experience and it lets way to a magnificently claustrophobic feel. After the script was previously leaked, it seemed like this project had hit a dead end. Never one to take things lying down, Tarantino thankfully resurrected this from the dead and this tale of continuous side switching might have been lengthy- but it never once got old. Try listening to Samuel L Jackson's 'Black Dingus' story without squirming!

10. Gleason (USA/Dir: J.Clay Twill)

Rarely does a documentary picture get under your skin quite this like one. The tale of former NFL player Steve Gleason being diagnosed with ALS will ensure there are no dry eyes in the house. A humorous and forever spiritly subject, Gleason refuses to let his declining body beat him down. Facing the prospect of not seeing his newly born son Rivers grow up, Gleason is determined to make the most of his time on earth and together with his incredible wife Michel, this duo puts up a good fight. All throughout Steve battles with his fears, but always seem to find a joke in-between. His tear-jerking interview with Pearl Jam's Eddie Vedder is one of the impassioned moments this picture has to offer.

Best of the Rest

11. The Birth of a Nation (USA/Dir: Nate Parker)

Overshadowed by the controversy of director Nate Parker's past, the tale of former preacher turned slave rebel Nat Turner was a jarring one. Showing the violent and often poor living standards African-Americans were forced into, this picture was a racially charged timebomb.

12. Christine (USA/ Dir: Antonio Campos)

The suicide of Christine Chubbuck shocked TV audiences back in 1973, Antonio Campos brought us one of this year's most tragic bio pictures. Rebecca Hall was finally given a role to sink her teeth into and as the fated Chubbuck she showed us a fame desperate woman struggling to connect with people.

13.The Innocents (FRA: Dir Anne Fontaine) 

Shocking yet beautifully stark and uplifting, Anne Fontaine's tale of a Belgian nurse tended to a convent of raped Polish nuns hit home hard. A viciously honest performance from veteran Polish actress Agata Kulesza was what gave the picture its bite. Especially when she what homes she really gives the newly born babies.

14. The Nice Guys (USA/Dir: Shane Black) 

Not many directors in Hollywood can give the hard and funny approach like Shane Black. This story of two vastly different private eyes thrust into each other paths was a belly full of laughs. Russell Crowe and Ryan Gosling together made for a wonderful awkward pairing- please give these guys a sequel!

15. The Witch (UK: Dir: Robert Eggers)

Possibly the scariest and most unorthodox tale of the year, Robert Eggers movie was a psychological masterstroke. Making full use of Ye Olde English and the Puritans setting, Eggers continually found ways to mess with our heads and refused us the closure we so desperately need. Always be wary of buying black goats in future!

Male Star of the Year: Ryan Gosling

We couldn't get away from Ryan Gosling this year as he dominated our screens. Hopelessly goofy and clumsy in The Nice Guys (don't let this guy into a bathroom stall alone) and sporting his trademark charm and suaveness in La La Land- Gosling is the man to beat in Hollywood right now. Few actors have a presence like this man and can hold our attention no matter what the film. Gosling is a man who likes to find ways to keep surprising us- keep it going buddy.

Female Star of the Year: Amy Adams

November was very much Amy Adams month and she gave us a big one-two combo. Both roles showed what sets her apart from other performers in this game and Adams gave two very different performances. Smart and assured in Arrival and filled with regrets and doubt in Nocturnal Animals. Adams is a true chameleon in every sense of the word- hopefully, 2017 will finally see her rewarded at awards season.

Best Director: Tom Ford- Nocturnal Animals

After impressing us with A Single Man, many wondered if there would be a Tom Ford follow up. With Nocturnal Animal's he gave us one hell of a return and his fascination with the ugly side of life was impossible to look away from. Visually jarring and heart racing, Ford has emerged from the fashion world as a major talent behind the lens. You can only wonder what his next opening scene will feature? A one-armed man directing traffic on rollerskates?



Scene of the Year: Arrival- First Contact

Gripping from even before Louise Banks (Adam Adams) and Ian Donnelly enter the spaceship, going into the unknown made audiences eyes bulge. Making full use of Johann Johansson's blasting soundtrack, Denis Villeneuve is sending us deep into the heart of darkness. What lies beyond the white screen? And will they get out of this ordeal intact?

Close Encounters: Review of Arrival

Arrival

Director: Denis Villeneuve

By Alex Watson

Opening to an overwhelming hype, Denis Villeneuve's Arrival is an intelligent thriller and a breathtaking visual experience. A smart and thought-provoking script by Eric Heisserer fuels the picture and leaves the audience second-guessing.  Villeneuve cranks up the tension early on and gives his film and a great dramatic edge. For a film of this genre, there is a highly emotional feel which will capture the hearts of adults everywhere.

When 12 mysterious spacecraft arrive on earth, naturally humanity assumes the worse. Dr. Louise Banks (Amy Adams) is a world-renowned linguist who is approached by Colonel Weber (Forest Whitaker) to make the first contact with the species. Teamed with scientist Ian Donnelly (Jeremy Renner) they must assess whether the aliens intentions are hostile or peaceful. Fighting the clock both Banks and Donnelly must uncover why the aliens are here, what they find will change both lives.

Arrival is a slow burning affair as Villeneuve builds up the suspense to the first encounter. Banks is teaching a linguistics class when the aliens first arrive hovering over a field in Montana. She has previously assisted the army translating Farsi documents so when Weber arrives she already has security clearance. We learn that every 18 hours the aliens ship door randomly opens. Other scientists have attempted contact but are unable to make any sense of the bizarre ramblings. When Ian and Louise first step inside the ship, our stomachs tighten. Set against Johann Johansson's foghorn-like score we see a pair of tentacled creatures behind a gleaming wall. When the humans first speak, the aliens just throw back what appears to be random signs. Through Louise's intelligence, it begins to transpire that these signs might mean something else entirely. Nicknaming their cephalopod friends Abbott and Costello, both attempt to forge a relationship. Taking both linguistic and scientific approaches, Louise and Ian are split on what the signs could suggest?

Things are complicated by other nations perceiving the aliens messages as threats. China led by General Shang (Tzi Ma) are refusing cooperation. Other nations are also panicking about the discoveries they have made and wish to engage the aliens in warfare. This ticking time bomb threatens to disrupt the peace on earth and could lead to something potentially dangerous. Agent Halpern (Michael Stuhlbarg) is intent on following directions to the letter and his short-sighted approach is derailing all progress made. Louise is convinced that when the aliens tell them to "Use Weapon" it is a phrase that is misunderstood. Intercut with scenes from her past where she reminisces about the daughter she lost,  this ordeal is emotionally taxing on Banks.  As you will learn through Villeneuve's picture, not everything is as it appears. The bond Louise forms with Abbott and Costello is genuinely moving and you get the sense that her involvement here was meant to be. Around all the military and government personnel, she is the only one able to see the bigger picture.

Although Villeneuve lets his audience down slightly with a polarizing big reveal, the sheer amount of adrenaline during the final act makes up for it. With time against them, Louise has to resort to a bold piece of thinking to save the day. What follows is a poignant moment of discovery that changes everything we know. The realization of what is to come is heart rendering but also hopeful. Arrival is a love letter to the value of language and reinforces Louise's belief that this is "the cornerstone of civilization" Smartly Villeneuve expresses what power the values of words carry and how we need to understand the meaning behind them. Bradford Young's cinematography deserves credit too. His stark and gloomy photography gives this picture a hypnotic effect. During the first contact scenes, it's like looking a new and scary vortex of beyond. Denis Villeneuve is becoming one of the strongest talents in Hollywood and gives hope that his Blade Runner 2049 will give us the sequel we have always wanted.

One of the Hollywoods best talents, Amy Adams is having a career year. Along with Nocturnal Animals, Adams is very much the name on the lips of awards shows in 2016. Here she puts in a strong and ambitious turn as Louise Banks. A clever and fast thinking personality, Louise can see what no one else can. Adams also handles the emotional weight of the character well and gives her a depth that serves her well in the closing stages. All throughout there is no doubt that somehow she is connected to her alien counterparts. Jeremy Renner gives a solid supporting turn as Ian, a scientist who initially scoffs at her language beliefs. However, this is very much Amy Adams' picture.

Arrival is a spellbinding experience which will change what you think about alien encounters. Denis Villeneuve is a director who always finds a way to audience heart rate increase. Expect big things for Blade Runner 2049.

2015: A Year in Review

It's been another fine year for film on Closer to the Edge which included a Rocky resurrection, Tom Cruise proving he is still top of his game in the action genre and Shakespeare being beautiful. The Fantastic Four boomed yet again and was even slated by its director and Terminator: Genisys taught us to basically ignore everything we learned. Despite these blips it was an otherwise great year, here are the highlights.

Top Ten Films of 2015

1. Sicario (CAN/USA Dir: Denis Villeneuve): Tension personified from the very opening frame, Denis Villeneuve brought us 2015's most pulsating and heart-stopping thriller. Aided by Roger Deakin's stunning photograph of barren landscapes, Villeneuve sucks his audience into the dark underbelly of the drug cartel world. The lines between law and order are completely blurred and learn that in the place, there is no coming down on the right side. With star turns from Emily Blunt, Josh Brolin, and a quietly threatening Benecio Del Toro, this picture is deserved of the top slot. Read Review. 
2. Mad Max: Fury Road (AUS/USA Dir: George Miller): After spending years in development hell, the wait for The Road Warrior's return was worth every minute. The tale of there and back again might have some on the fence, but when you look at the sheer adrenaline and pure thrills from each action sequence- they pay for the ticket price alone. Tom Hardy was a worthy replacement for Mel Gibson, but as Furiosa, this was Charlize Theron picture. Will there be a fifth installment for Max? At this point, we all hope so. Read Review
3. It Follows (USA Dir: David Robert Mitchell) Sporting one of cinema's most clever story ideas and an excellent advertising campaign, David Robert Mitchell delivered the best horror film in years. Its premise of a person being infected with an unknown entity through sex and having to pass it on to survive was chilling. Even more so was seeing star Maika Monroe being pursued by a variety of creepy individuals. The fear of the unknown ensured a tense ride was to follow and both Monroe and Mitchell emerged as real stars. This also taught you the think twice about who you hook up with! Read Review 
4. Amy (UK Dir Asif Kapadia): After delivering big with Senna, director Asif Kapadia did it again with his homage to one of music's lost talents. Conducting over 100 hours of interviews with Amy Winehouse's nearest and dearest, he succeeded in giving another portrait of the woman we saw stumbled about. Showing her a young woman who loved her music but was lead astray by those closest to her was heartbreaking. By the film's climax, you will have wished that she had stayed away from mulish father Mitch. Watcher her shambolic final gig in Belgrade is certain to bring a tear. Read Review.
5. Room (CAN/EIRE Dir Lenny Abrahamson): Winner of the big prize at the Toronto Film Festival, this picture ensured that Brie Larson has finally arrived in the big time. Adapting Emma Donaghue's beloved novel was never going to be easy, Lenny Abrahamson however, was the man for the task. Larson along with stunning newcomer Jacob Tremblay stole audience hearts at the mother/son duo. This tale of two people confined to a room was a rendering one, the movie's second half in outside world was a surreal but life changing one. Read Review.
6. Red Army (USA: Dir: Gabe Polsky): Reflecting one of hockey's greatest teams was a brutal yet entertaining one. Slava Fetisov made for a humorous yet pained commentator, the former Soviet skipper loved the game but hated the pressure. Under ruthless and widely loathed coach Viktor Tikhonov, players were constantly pushed to the limit for glory. The scene of watching this team dominate the ice with skills and precision were mesmerizing. Defecting to the USA however, brought a darker cloud over the movie as players had to deal with all whole new hostile society. Read review. 
7. Carol (USA Dir: Todd Haynes): This year's greatest and most forbidden love story, Todd Haynes has given us two award-worthy performances from Cate Blanchett and Rooney Mara. Set against the backdrop of the repressed 1950's this love is full of pained longing and unspoken words. There was more to this picture than two ladies in love and Haynes gave us a realistic impression of what people go through when picking up the pieces in life and having to forge their own identity. Rich in both story and characters, Haynes delivered one of his finest in years. Read Review.
8. Creed (USA Dir Ryan Coogler): Resurrecting the Rocky franchise was one of 2015 most pleasing surprises. Reuniting Fruitvale Station's Ryan Coogler and Michael B Jordan resulted in a stunning one-two punch. New Creed offspring Donnie has paved the way for an excellent new side project. A hungry and determined presence, he has our attention from the outset and Coogler emerges as a real talent behind the lens during the fight sequences. Sylvester Stallone was the real star and showed us the  Rocky from old and how good he can be out of the ring. Bring on the next episode. Read Review.
9. The Martian (USA Dir: Ridley Scott): Back in the sci-fi saddle again, Ridley Scott delivered his most enjoyable recent effort. Expertly walking the line between drama and comedy, this tale of Matt Damon stranded on Mars never fails to entertain. Character Mark Watney makes a funny yet adaptable lead and his constant use of brains is what keeps things afloat. What could have possibly been Interstellar type heaviness is dealt with the needed light touch thanks to the smart writing of Drew Goddard and a multi-talented cast. Read Review.
10. Wild Tales (ARG Dir: Damian Szifron): Possibly this year's strongest foreign film offering, Damian Szifron's six tales of revenge were a unique mix. An opening sequence to remember as all passengers of a plane to their horror realizes they all know the same man. 'The Bomb' sequence proved the most as Ricardo Darin takes out his frustrations out on a shady towing company. The most offbeat black comedy we will likely see in a long time, it would be fascinating to see Szifron get his hands on a Hollywood picture. Read Review 

Best of The Rest 

11. Macbeth (UK Dir: Justin Kurzel) A barnstorming, violent and hypnotic adaptation, Kurzel breathes new life into Shakespeare. With great lead turns by Michael Fassbender and Marion Cotillard, these two give Macbeth and Lady a wonderful human touch amidst the madness. DP Adam Arkapaw delivers some of 2015 most beautiful cinematography.

12. Crimson Peak (USA Dir Guillermo Del Toro): Mexican maestro Guillermo Del Toro delivered his strongest American offering yet. Suitably creepy along with being hauntingly lovely, Mia Wasikowska had her hands full with any number of vengeful spirits. Let's not forget the weird brother and sister combo of Tom Hiddleston and Jessica Chastain either.

13. Goodnight Mommy (AT Dir: Veronica Franz & Severin Fiala): Any person who has ever considered having children may want to reconsider. The eerie ambiance of the lakeside house is disturbing from the get-go as two twins believe their heavily bandaged mother (Susanne Wurst) is an imposter. A growing malice takes over in the movie's second half and things take a nasty turn. 

14. Ex Machina (UK Dir: Alex Garland): Writer Alex Garland showed his directing credentials and gave us a thought provoking film on what is means to be human. Three-way tug of war between Domnhall Gleason and reclusive inventor Oscar Isaac for the affection of lady AI Ava was scintillating. With a star turn from Alicia Vikander, this movie proved a rare beast. 

15. Brooklyn (EIRE/CAN Dir: John Crowley): All movie tipping its hat to anyone who has ever moved to a strange new land, Crowley's film was a delight. Saoirse Ronan shone brightly as an Irish girl lost in homesickness in 1950's New York. Fitting into a new society is never easy, but sometimes life teaches us strangers are the best cure.

Male Star of 2015: Michael Fassbender

By far this year's stand-out figure, Fassbender has captured the screen with force in each of his efforts. Bold and stubborn in Steve Jobs, mysterious in Slow West and a mad wonder as Macbeth. Fassbender is now officially among the finest talents of today.

Female Star of 2015: Alicia Vikander

The Swedish beauty has been an effortlessly gracefully presence in each of her movies in 2015. An ambiguous but lovely robot in Ex Machina, a butt kicking vixen in The Man From UNCLE and now Oscar-tipped for the Danish Girl. This may have been a career year, but Vikander hasn't even got started.

Best Director: David Robert Mitchell: It Follows

Directing this year's most original work, Mitchell delivered a movie with such raw scares that it made walking down the road impossible. Showing a real eye for the fears of real people along with the spookiness of the unknown, Mitchell is a director with an exciting future ahead. 

Scene of the Year: Macbeth: Battle Scene

Justin Kurzel showed that battle sequences as almost be as entrancing as they can be savage. Cutting in and out of this slo-mo scene is simply glorious and the power of Adam Arkapaw's work is brought forward.

https://www.youtube.com/watch?v=puV69CWPfP8

South of The Border: Review of Sicario

Sicario

Director: Denis Villeneuve

By Alex Watson

Slowly burning tension from the opening frame, Denis Villeneuve delivers one of the finest efforts of 2015 with Sicario. This story of the FBI attempting to bring down a Mexican cartel is one that is thoroughly heart-stopping and excellently creates a sense of unease about the situation unfolding. Aided by some gorgeous and striking cinematography by veteran Roger Deakins and a cracking and unpredictable script by Taylor Sheridan, Villeneuve succeeds in drawing us in a world where the law has been long forgotten. 

Kate Macy (Emily Blunt) is a member of the FBI Kidnapping team, but when a raid in Arizona goes wrong a media firestorm ensues. A Mexican cartel has operated dangerously close to the border which prompts official Matt Graver (Josh Brolin) to convince to join a task force to bring them down. When she arrives in Juarez, Mexico she discovers that this teams approach to bring down the enemy is a bewildering one. Also the arrival of shady operative Alejandro (Benecio Del Toro) only heightens her suspicions. 

"This is a land of wolves" says Alejandro at one stage and Villeneuve early on throws into a world where ruthlessness reigns supreme. A thrilling opening raid on a cartel safe-house sets the tone, purely for the fact the aftermath is one of extreme horror. Shaken by this revelation, Kate desires to do good joining Graven, only to find a more frightening discovery. Everywhere there is a lurking sense of dread and the lack of explanation about Alejandro only adds fuel to the fire. A buttoned down and silence presence who goes "where I am sent" underneath there lies a traumatized and unscrupulous figure who idea of justice is a nauseating one. 

Kate is always struggling to understand what motives are at stake with Graven's operation? When it becomes clear that his wish is to break the rules of engagement and strike fear into cartel hearts, events take a turn into more dangerous territory. One moment while transporting a key figure back to US soil sees them stuck in traffic on the Bridge of the Americas. Knuckles tighten as they look around for potential shooters, only to Kate's horror they casual execute several members in broad daylight! There are blurred lines of procedure and Graven's macho and cynical attitude only serves to push her ideals even further down. 

What starts as a simple operation broadens into a much wider picture and Villeneuve skillfully alert us that wiping out this cartel might be the main idea. Sicario boasts a superb paranoid edge to it and we are able to engage with Kate's fears and doubts about what has become involved with. Villeneuve's shows himself a capable director and masterfully handles the movies heavier qualities with ease. His finale set against an all or nothing raid on a key cartel site is almost like something out a video game with its infra-red camera use. His last message though is the most potent that law is sometimes brutally enforced by the lawless. 

Emily Blunt is an inspired piece of casting for the picture and she is able to bring across a steely resolve mixed with a heavy fragility. Kate is a woman who brings across a sense of confidence in what she wants to achieve, but gradually Blunt gives her character a terrific sense of disillusion in the movies later stage. Josh Brolin is a forceful presence and his jokey and scornful approach to bring down his enemies makes him almost as much of a villain as it does ally.  Benicio Del Toro steals the supporting honors with a masterclass in repressed emotion combined with fearlessness. 

Denis Villeneuve has finally made the cross over from his earlier more psychological work and proves a stunning and adept action thriller director. Sicario is one of the most tense and absorbing films you will have the pleasure of seeing in 2015

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