Underwater

This review may contain spoilers!

This film imitates the Alien films so blatantly that it is quite frankly shameless. I would give Underwater a 4.5/10.

Underwater sees an advanced underwater drilling station devastated by a mysterious underwater earthquake that only leaves a fraction of the crew alive. The lone six survivors must now rely on their skills and each other to cross the ocean floor, reach the next exploration outpost and survive the creatures that seem to be hunting them. While the feature suffers consistently in regards to plot and dialogue there is no denying that this is one stellar example of a monster film. Underwater does a really good job at establishing and presenting something otherworldly and alien to the audience, enough to get you intrigued. The interest only grows as you begin to see snatches of the monster and realise that what you're seeing isn't limited to one creature. But all of this by no means prepares you for the big reveal around the monster come the end of the film, it was one of the only instances in which the feature both met and then exceeded my expectations. The special effects that accompanied the monsters was very well done, it felt like the vision around what they wanted to achieve with that was the driving force of the film and in that regard it paid off.

Kristen Stewart, who played Nora, does a reasonable job as the leading protagonist; Stewart suffers when she has to play more stoic but when she's delivering fear, a desperate scrabble for survival or just plain empathy then you get to see some of her better skill set shine through.

However, the best performance came from T.J. Miller, who played Paul. From the moment this role comes onscreen he provides something different tonally from the rest of the cast; not just a strong sense of humour but a persistent presence in the eyes of the audiences. Miller didn't let the camera play over him and move on, he was constantly switched on and coming at each scene with high energy. This character was definitely the film's comedy, he quick-delivery quips were absolutely brilliant and unrelenting. This was a role that the performer found the fun in inhabiting and allowed you to enjoy that too, a significant reason why Miller stands out.

Jessica Henwick, who played Emily, is a very flighty role wrapped up into a romantic subplot that no one leaves the theatre caring about; Henwick's role is never given much definition and I struggle to describe her actual purpose in the film. Vincent Cassel, who played the Captain, is a stoic role who seems to be completely devoid of the ability to portray emotions; Cassel blankly delivers exposition and repetitive dialogue right up till his exit and it is by far the laziest performance of the bunch. John Gallagher Jr., who played Smith, is by far the most forgettable member of the main cast; barring a pretty bland spouting of some exposition and machismo Gallagher Jr. spends most of the film flat on his back in the background. Mamoudou Athie, who played Rodrigo, really sets quite a mild beginning to the film; Athie is one of the first roles we meet and he is quite unimpressionable and continues to be so until the end of the first act.

Underwater really feels like a lazy script for the greater majority of the film, the base structure of the feature is almost completely a carbon copy of the Alien film and there are several instances throughout the story where plot details from Alien are utilised directly. Everything throughout the film happens out of circumstance or poor explanations; the film staggers through why the captain stays behind or that the whole facility is compromised for instance. The main cast of characters are a bunch of extremely stoic individuals who lack personality and never really matter much to the story unless they're the main role. Each character comes equipped with a particular backstory or relationship but once again the script doesn't do a great effort at explaining these so you're left to piece it all together yourself, only to discover it never really matters to the plot. The film really only evidenced a majority of extremely questionable exposition or straight up bad personal dialogue between characters. Underwater was a film that placed most of its budget into visual effects but still lacked the money to impress in every shot, you got a strong sense of the camera early on when it began pulling away from a more interesting angle to keep within the realms of possibility. The score for this film might very well not have existed, the tracks were so very few and far between that some scenes just felt like they weren't achieving what they wanted in terms of tone.

Bombshell

This review may contain spoilers!

This film had an incredibly serious topic it wanted to discuss and it never found a consistent way to present it. I would give Bombshell a 6.5/10.

Bombshell is a fictitious investigation about the sexual harassment cases lodged against former Fox News head, Roger Ailes. I think this film takes a while to get where it's going but once we get intothe second act the narrative hikes up in a big way. The film pauses to really lay out the unsafe work environment Ailes has created in order to sexually exploit young female workers, it becomes this mounting horror show of visual horrors and testimonials that will really rock you even if you are familiar with the source material. I found the multiple viewpoints that previously seem disjointed in the film start lining up well in order to give you the full picture of what the investigation into Ailes means, how it affects the culture at Foxs News and what it prompts to bring out in other workers. You feel like you're watching a set of scales suddenly tipping, the balance of the well oiled machine presented at the beginning of the film slowly tipping as more of the rotting interior is revealed.

John Lithgow, who played Roger Ailes, is a very compelling antagonist for this feature; Lithgow holds a controlling and erratic presence that makes him all the more dangerous in those hard to watch scenes. Kate McKinnon, who played Jess Carr, is a very blunt realist who provides one of the best glimpses into how Fox News operates; McKinnon's portrayal of someone who's true identity is at risk while working at Fox News was a fascinating watch. Mark Duplass, who played Doug Brunt, is one of the few redeeming performers in the Megyn Kelly storyline; his role as a compassionate source of advice lead to some of the nicer scenes.

However, the best performance came from Margot Robbie, who played Kayla Pospisil. This is one of the weirdest positions I've been in for a best performance slot because I really felt how abundantly clear it was that Kayla wasn't real from the roughshod writing in this film, however what Robbie did in spite of the script is exceptional. The character of Kayla first enters a little aloof, she does make a few bumbling errors and she doesn't come across as the smartest member on her staff. But Robbie reveals a neat cunning streak to the character, we see her make several wily moves to advance to the top in a multitude of ambitious scenes. I liked the depiction both Robbie and McKinnon did of a same-sex relationship in a workplace where that would be very dangerous, it felt like a true connection and both actresses had massive amounts of chemistry with one another. The scenes leading to Robbie being harassed and violated by Lithgow's Ailes were extremely hard to watch, it was a number of scenes in which Robbie really revealed fear and a type of vulnerability you never want anyone to experience. I was glad this film got the opportunity to show this role rejecting the work environment she was abused within and triumphantly walk away from them.

This film often falls into the trap of being aware it has an important story to tell but having absolutely no direction on how to tell it. The framing of events in the first act is very dry and only serves to separate out the main characters from one another, making the plot feel very disjointed early on. A number of tricks have been pulled that a few political biopics have done in recent years: fourth wall-breaking, delivering exposition directly to camera, using an outrage moment of comedy to highlight an unsettling reality to name a few. But, the problem becomes that the film doesn't seem confident in using these aspects enough; instead one of these conventions may appear and then we on't see it used again for nearly half an hour. The style just isn't consistent and it becomes a very disruptive film to watch in that regard. I was disappointed that the film painted such a clear cut and definitive silver lining ending, making it feel like a problem that was entirely resolved when it so clearly wasn't. Another major issue was that this was a film peppered with dislikeable roles who never really become more palatable as the feature progresses, the worst example of this is Roger Ailes. The antagonist for this film should be someone really vilified for nurturing a culture of sexual harassment but instead the film paints him in a sympathetic light at times even near the end of the feature which strongly conflicted with the overall message. The cinematography tries to play with a fast and loose mockumentary-esque style, but the film is so straight-edge in its delivery that it never really connects with what we;re watching. The editing for the film sets a slow pace and there are many scenes which linger far too long on a given shot or sequence. The score for the film enhances a couple of key scenes but otherwise it was highly forgettable, leaving me with the impression that the film really did not know how to capture tone.

Charlize Theron, who played Megyn Kelly, committed strongly to the role's accent and that was probably the biggest mistake; Theron 's role comes off as very flat and monotonous to listen to marking this as one of the worst protagonist roles she's portrayed. Nicole Kidman, who played Gretchen Carlson, is hard to like as the face of the movement against Lithgow's Ailes; this role feels very self-serving yet also is held up as a symbol for women united and the two qualities never come together. Connie Britton, who played Beth Ailes, is a big part of why the Roger Ailes storyline never worked out; Britton's portrayal of blind loyalty feels very two-dimensional and at times naive. Liv Hewson, Brigette Lundy-Paine and Rob Delaney, who played Lily Balin, Julia Clarke and Gil Norman respectively, never really function well in their role as confidantes to Theron; these are background roles that never bolster the major scenes they are in.

1917

This review may contain spoilers!

This film is a perilous journey that the audience is drawn into just as much as the characters. I would give 1917 an 8.5/10.

1917 follows two young British soldiers as they desperately navigate behind enemy territory in order to save a regiment of allied forces from marching into a high casualty trap set by German forces. In a manner of speaking the plot is relatively simple, yet it thrives off this by framing the storyline as an experience for the audience too. 1917 is a no holds barred journey into danger, in which the main protagonists must travel throughout a treacherous landscape and face enemy traps and soldiers in their desperate bid to stop the attack and save Lance Corporal Blake's older brother. The film handles the magnitude of this mission rather well, the stretch of empty landscape our heroes navigate feel treacherous and indefensible, then the action transitions to a setting that is claustrophobic and suffocating just to drive home the point. The characters very scarcely feel safe and as such you are on the edge of your seat, tense and alert throughout. The cinematography for the film has a heavy hand in what makes it such a worthwhile experience, numerous long shots that stay with the protagonists and the surrounding action immerse you entirely into the film so that you become embroiled in the action. The editing is a huge aid to the fine camerawork, offering seamless transitions from shot to shot and crafting a near perfect illusion that the film was entirely done in a single take. The score for 1917 is a macabre mix of haunting, tension-building melody and intense pulse-pounding tempo when the action picks you; it complements every scene perfectly.

Dean-Charles Chapman, who played Lance Corporal Blake, is a really interesting introductory protagonist; Chapman is a more reckless leading man and takes risks in dangerous situations with the best of intentions. Colin Firth, who played General Erinmore, works well as the stoic top of the chain; Firth balances his scene out with great solemnity as he imparts the gravity of the mission parameters. Andrew Scott, who played Lieutenant Leslie, has a harsh resistance to his duty and seems to have a truly honest outlook towards the ravaged landscape about him; Scott plays to the hopelessness of war very well and is one of the more interesting pessimistic characters. Mark Strong, who played Captain Smith, is a stony man of duty with an insightful view of how the war machine operates; Strong is perfect as a military officer and works well as a minor confidant to MacKay's character. Claire Duburcq, who played Lauri, is a tender moment in amongst the dangerous action of the film; her careful plea for safety and family over conflict is an important message worth hearing. Benedict Cumberbatch, who played Colonel MacKenzie, is a very interestin role who almost appears as an antagonist for the feature; Cumberbatch's cold compliance and harsh view towards the necessity of war marks him as one of the true villains of the piece and an absolutely fascinating role.

However the best performance came from George MacKay and Richard Madden, who played Lance Corporal Schofield and Lieutenant Joseph Blake respectively. Normally I don't have multiple actors in this spot but this film was defined by MacKay's singular performance while Madden accomplished in his scene what I feel few members of the cast came close to achieving. MacKay has come a long way from his standout performance in Pride, the last feature I watched him in. This role is extremely exasperated at first, he has no great desire to be dragged into the mission and he grows increasingly frustrated at the impossibility of the task laid out before him. Yet after an incredibly gut-wrenching and realistic moment of grief and loss this role goes through a steadfast transition that changes his outlook entirely. The hardened determination you see in MacKay now is inexhaustible, his role consistently throws himself against obstacles or past them and he is unrelenting until he accomplishes everything he promised to achieve. The calming moment of reflection and recollection at the end of the movie is just the nice touch you can expect this actor to pull off well. Madden's role on the other hand centres on a powerful moment in which he is informed about the loss of a family member. Up until this point Madden has this resolute guise of a leader of men who is extremely capable at being a leader. The moment in which he learns of his brother's death is a moving moment in which he has a very real moment of grief in front of a fellow soldier. It's just a short scene but it's one of the best moments in the feature.

1917 does suffer from moments between high points of tension, not always filling out scenes inbetween with the most important content. Watching a lot of the offbeat scenes in which quick-flying empty dialogue is exchanged and little value is added meant the film had minor slumps where it wasn't really achieving much and seemed content with riding things out to the next moment of conflict or tension. Compromising on pace seemed like a good idea but I certainly feel moments between the action could have been enhanced somewhat.

Playing With Fire

This review may contain spoilers!

If this is the bar for comedy films in 2020 then we have a lot to worry about. I would give Playing With Fire a 1.5/10.

Playing With Fire follows a crew of Smoke-Jumpers who have their work cut out for them after rescuing and sheltering a trio of young children. At its best this film manages to find a couple of scenes where the absurd over the top comedic energy they're trying to capture works for a scene or two. There are certainly some moments worth laughing at within the film.

John Leguizamo, who played Rodrigo, works well in the over the top comedic tone; he plays well with the material he's given and manages to find some genuine laughs in a few scenes. Brianna Hildebrand, who played Brynn, feels like a tough, yet loyal caretaker to her siblings; Hildebrand generates this compassion and genuine care for her onscreen family that's great to watch. Dennis Haysbert, who played Commander Richards, is this excellent, intense fire-fighting legend who is placed on quite a funny pedestal; Haysbert manages the stoic, overly serious firefighter persona better than the film's lead.

However, the best performance came from Keegan-Michael Key, who played Mark. Key is a veteran comic performer and knows how to deliver to the tone of a variety comedic pieces. In this film he really played to the over the top comedy in all the right ways, he knew just how far to take it in every scene he was and it was clear that was a big help to a number of his co-stars, particularly Cena. The role of Mark is this very high strung, overly organized Captain who likes to micro-manage every small detail of the job his superintendent hasn't already overseen. I like how Key played to the close bond he and Cena's role shared, it was a best/friend/work colleague relationship that was a lot of fun to watch.

This film was a mess right from the beginning, from the poor quality production value, overacting and cringeworthy pratfall humour. The story for this feature takes so long to actually get anywhere of worth; in fact the entire plot is about a third of the runtime, the shoddy generic romance subplot another ten minutes and the rest is very easy comedic jokes that a ten year old could have conjured up. The dialogue is awful and each scene feels like the actors were told to play extremely over the top beyond the realms of which was enjoyable to watch. Every comedic instance seemed built around a cheap gag or somebody injuring themselves in a funny way, nothing that ever actually made the film itself funny. I never connected with the characters because the film never made the effort to try, the few scenes that did often pulled the rug out from under itself by throwing a dumb joke in and the cheesy happy ending at the end wasn't deserving. The cinematography for this film doesn't belong on television let alone the cinema screen, the poor framing and boring angles might have made an impression in a Youtube video. The editing for the film was dull and tired, setting a slow pace that dragged the film out longer than the writing was already doing. The soundtrack for the feature was a mish-mash of pop songs and fire-themed tracks that indicated a confusing tone and a lack of interest in achieving something musically, including the My Little Pony theme song was the hardest scene I've ever watched. 

John Cena, who played Jake Carson, was not the best leading performer for this film; Cena is consistently so wooden to watch and never matches up to being actually funny in a comedic film. Christian Convery, who played Will, is the type of child acting I've seen a million times before; Convery is sweet and moronically naive that leads to bumbling scenes not at all worth watching. Finley Rose Slater, who played Zoey, can't act and the editing often reveals this; I get the need for a cute young kid but at least cast one who can manage being in a large number of scenes. Judy Greer, who played Dr Amy Hicks, seems very poorly cast as she doesn't have much compatibility with Cena at all; Greer's overacting gets more uncomfortable to watch the more the film relies on her in comedic scenes. Tyler Mane, who played Axe, is this stoic, unbelievable role who often feels comfortable in the background; Mane doesn't seem to know how to turn this strange role into something funny to watch.

The Gentlemen

This review may contain spoilers!

Guy Ritchie goes back to his mobster film roots and I honestly couldn't be happier. I would give The Gentlemen an 8.5/10.

The Gentlemen is about Cannabis kingpin Mickey Pearson attempting to sell his drug empire and get out of the criminal game. Unfortunately for Mickey it's not easy staying on top and in no time at all competition smells blood in the water. I am an avid fan of Guy Ritchie films, he's one of my all time favourite directors and this sort of feature takes me right back to films like Snatch or Lock, Stock and Two Smoking Barrels. The film is packaged and guided really well by an unreliable narrator, in the form of a sleazy private investigator looking to make top dollar and this style, while jarring at first, winds up forming a great frame for the delivery of this film. There are so many diverse and interesting characters and factions who all want their own piece of the pie, all of which is based in the future of Pearson's criminal empire. It is a classic feature that showcases the criminals with hearts of gold, pitted against the upstarts who only wish to backstab and rock the boat. Ultimately the film is a strong dispensation on karmic justice and the rule of the jungle, it is mean streets and meaner justice. True to Guy Ritchie's normal black comedy style I had a lot to laugh about while watching this film, if you're a fan of his classics then this is a must watch. The cinematography feels really well mapped out, each scene dotted with precise and deliberate shots to balance out who holds power in character exchanges. The editing plays a major part in the precise visual flow to this feature, a number of scenes move with great pace and timing for effect. The score for the film is a tone of intrigue and tense musical numbers, while the soundtrack consistently hits all the right notes and is served best by the original number, 'Bush' by Bugzy Malone.

Matthew McConaughey, who played Mickey Pearson, is one cool level-headed ringleader; McConaughey quietly works a scene so that you are ever aware of the power he holds without him ever losing his cool or blasting into significant outbursts. Charlie Hunnam, who played Raymond, is a very calculating loyal right hand to McConaughey; I was particularly impressed with the barbed back and forth Hunnam held with Grant throughout the feature. Colin Farrell, who played Coach, is really intriguing as the local legend boxer; Farrell leaps onto the scene and immediately steals the show with his street smarts and genuine morality not seen by many others in the cast. Hugh Grant, who played Fletcher, is playing a part that is unlike anything you've ever seen him do before; Grant is a nasty conniving character with a strong desire in his own self-interests and financial gain. Bugzy Malone, who played Ernie, brings out one of the most fun characters I've seen in a Ritchie mob film; watching Malone show off his hip hop talents as a young social media influencer trying (and failing) to find the straight and narrow was really great to watch.

However, the best performance came from Michelle Dockery, who played Rosalind. I really liked seeing a character at the head of the table who held a stronger game than some of the male mob bosses. Dockery has a cold, ruthless deposition to the handling and closing of business onscreen that makes her a real equal to McConaughey's Pearson. The pair have such great chemistry together that you see the relationship as one held in equal footing, both being aware of the power one another holds and respecting each other appropriately. I believed in their love story because it felt solid as a rock throughout, this pair was stronger together than apart. However, what sets Dockery apart continuously is the way she steps into a frame and immediately begins commanding the attention of a scene. Even in a tense life or death moment in which she's being threatened you can see that she's quietly wrestling control back with incredible aplomb. One of the best leading actresses in a mobster film for a while now.

The Gentlemen is a film I found myself immensely enjoying as it pressed on but the first act was by far the weakest aspect of the feature. Establishing Fletcher both as a skeevy unreliable narrator and a cinema aficionado early on was a necessity but it really took a moment to find its feet. The introduction to the main story felt a bit gratuitous and self-obsessed before it began hitting all the right notes. I also feel that some of Guy Ritchie's mobster films can get quite busy as the plot wears on because more characters and involved parties are constantly being introduced. It can feel like a chessboard juggling all those pieces as you watch and the important aspect of how everything connects isn't always as deftly explained as the film hopes it is.

Jeremy Strong, who played Matthew Berger, is rather underwhelming as the film's main antagonist; Strong lacks the ability to be intimidating or convincing as a master manipulator in his scenes. Henry Golding, who played Dry Eye, goes a bit far down the over the top route; his bold young upstart character has been done before and Golding never finds his own take on it. Eddie Marsan, who played Mike, is a role that feels all bluster and no bite; Marsan has had a slew of painstakingly bad or similar background roles of late and this is sadly another nail in that coffin.

Spies In Disguise

This review may contain spoilers!

This feels like a fresh animated film that knows how to entertain audiences of all ages. I would give Spies In Disguise an 8/10.

Spies In Disguise follows elite spy, Lance Sterling, and outcast scientist, Walter, as they are forced to work together after one of Walter's experiments turns Lance into a pigeon. Now they only have a few hours to stop rogue villain, Killian before he unleashes an army of drones upon the spy agency. I really enjoyed Spies in Disguise because it felt like a pulse-pounding spy thriller yet had all the trimmings of a fun, family-friendly animated feature.The two characters are extremely interesting; all of the scenes with Lance Sterling are epic moments of action that will have you on the edge of your seat, while Walter comes across more as the heart and conscience of the film. I really liked how this film that had so much action embroiled within it ultimately pushed an anti-violence message consistently throughout. The animation for the film is visually stunning, I liked the sharp features and bold colour palette. The soundtrack for the film is a cool blend of hip hop and well-utilised classical pieces for comedic effect, it also really served the film's themes quite well which you don't always see so strongly from a feature soundtrack.

Rachel Brosnahan and Jarrett Bruno, who voiced Wendy and Young Walter, have a really heartwarming point of connection at the start of the film that sets the tone for the whole feature; Brosnahan does a great job at setting the moral compass the main characters ultimately follow. Reba McEntire, who voiced Joyless, has that stern government agency overseer tone perfect; McEntire's stoic presence feels like a familiar role yet is well-suited to this unique story. Ben Mendelsohn, who voiced Killian, is a merciless antagonist who is hardened by prior conflict with one of the film's protagonists; Mendelsohn really manages to put a bit of fear into the audience with the grim direction he takes his main villain. Tom Holland, who voiced Walter, is a pretty bizarre yet highly likeable main character; Holland delivers blind optimist who sees all the best that can come out of any potential conflict or situation. Rashida Jones, Karen Gillan and DJ Khaled, who voiced Marcy, Eyes and Ears respectively, are really engaging and impressive as the elite team on the trail of rogue Lance and Walter; Jones in particular gets to show a cool streak as a spy on equal level to that of Smith's Lance.

However, the best performance came from Will Smith, who voiced Lance. I think almost the minute we heard Smith oscreen it became abundantly clear that this was going to be the coolest character. Lance is effortlessly good at what he does and boy, does he know it. Smith has a very cocky, arrogant and self-assured spy on his hands, all things his character has gained by being the best in the business. I think it was really great to see how Smith was challenged by Holland's role and the changes his character went through. Ultimately what I liked was seeing this character change their viewpoint, not only becoming a team player but denouncing a violent approach to saving the world.

Spies In Disguise really pulls at the heartstrings and delivers a powerful message but it really needed to trust that the audience could understand this message. Watching this film I often felt like the message was being dumbed down or delivered in an overly repetitive manner so that we would 'get it'. After a point the film was just telling it's message and not showing much trust in the average moviegoer to understand which I felt was a poor move in terms of script. The film also got a bit goofy with how it treated the pigeon transformation, at times the story was really serviced by this and at others we were given awful comedic moments that failed to deliver.

Masi Oka, who voiced Kimura, is a bumbling antagonist often used for the sake of easy comedic relief; Oka's role really doesn't lend a hell of a lot to the feature and the way he's used for comedy doesn't enhance the feature at all.

The Best And Worst Films Of 2019

When I reflected upon 2018 it was clear to me that film had declined somewhat over the past couple of years, I certainly had a margin of films that didn't make the top end of my rating list. 2019 felt like a major step up, with over half of the films I've reviewed achieving a 6/10 score or higher. As anyone who reads my reviews knows I tend to go for the feature of the week that errs on the side of what is most popular and I felt this year saw some surprising growth in this type of film. There was a lot of effort made towards releasing something outside of the box; audience expectations were challenged and I think there was a lot of effort put into crafting narratives that were definitely much more original.Films like Spider-Man: Into The Spider-Verse, Knives Out and Booksmart have been some of my favourite films coming out of 2019 as they've played against genre expectation and redefined what we can expect from these types of films. In a lot of ways 2019 laid down the proverbial gauntlet and I think the biggest challenge 2020 has in store is finding a way to match up with original, out of the box films that challenge audiences in all the right ways.

I honestly didn't expect this year to have such a positive trend but I'm really glad it did, going to the cinema felt like a treat again. Some readers out there might have noticed the whole controversy this year when a few film-makers, Scorsese included, decided to denounce popular blockbuster films as 'not being cinema'. I found that interesting and it gave me pause, a moment in which I reflected what cinema means to me. I thought back to some of the recent years and how seeing some films has really felt like a chore, something that is a real trudge to watch through. I compared that to 2019 where the viewing experience was a real rollercoaster, I was thrilled to see such positive pieces of cinema again from all genres and productions. In spite of my own process around rating a film, cinema doesn't end with a 'best out of ten' or five star system. Those are expressions of enjoyment and why we did or did not enjoy such a thing. Cinema is not a higher art form hierarchy, where everything on the top shelf is cinema and everything on the bottom shelf a 'popcorn flick'. Cinema is what thousands of us experience every week, these brilliant visual narratives that can show us the best, worst and wackiest of what our creative minds have to offer. For me personally I'm looking forward to showing you exactly what my cinematic experience was like from the past year...

The Best:

5. Spider-Man: Into The Spider-Verse- 9/10

Spider-Verse was one of the first films I watch this year and it has managed to hold a place in the top consistently throughout. This year the top five doesn't have a Disney or Dreamworks animated feature leading the charge but instead an animated feature that I really believe has paved the way for big changes in animated films. This film delivers the high intensity, action-packed content we've seen in live-action superhero films to a much greater extent, it's a film that takes itself seriously and delivers a story both kids and adults are going to love. The animation is really fresh, making nods to classic comic book art styles while also playing with style to craft stunning visuals that other studios just aren't even attempting. I'm also a big fan of the soundtrack which is another impressive game-changer, in a film that celebrates popular African-American hero, Miles Morales, it's nice to see African-American artists bringing representation to the sound of the film.

Check Out my Spider-Man: Into The Spider-Verse review!

4. Green Book - 9/10

Green Book was another top contender that I saw back in January and loved the whole year round. The only biographical drama to make top five and it well and truly earned its place. This film is nothing short of a character piece about a friendship between a white man and a black man in the 60s. I was really impressed with how this film told the nature of this friendship honestly and openly, this was by no means a film that portrayed the civil rights movement through rose-coloured lenses. It had a lot of heart and taught me more about how we should come together as human beings than any other film I watched this year.

Check Out my Green Book review here!

3. Spider-Man: Far From Home - 9/10

What?! Two Spider-Man films in the top five?! Yeah I'm a sucker for the superhero genre, this is no great shock. And honestly? This was the year that really put Spider-Man back on the map as a character for me. It's been exciting seeing Tom Holland as Spider-Man in the MCU but I haven't really been sold on what made his character greater than any other Spider-Man out there. But this film right here? This is it for me. No longer is Spidey defined by his relationship to other MCU characters, instead Peter Parker has to struggle with the fallout of losing his mentor, stopping a new threat abroad and trying to live a semi-normal life. It's the sort of story Spider-Man fans will view as a classic and it is without a doubt one of the most character-defining films I've seen for the wall-crawler. Plus Jake Gyllenhaal as Mysterio was exceptional casting, I personally feel he's one of the best antagonists the MCU has been graced with.

Check Out my Spider-Man: Far From Home review here!

2. Avengers: Endgame - 9.5/10

For over a decade Marvel Studios has been reshaping what audiences have come to expect from the blockbuster genre, while squarely revitalising the dwindling superhero genre. What they achieved with Endgame was the culmination of all those years of work. This film boasts one of the largest and most impressive casts this year, visual effects that were never topped in 2019 and the conclusion to one of the MCU's long-running story arcs. It was globally considered one of the cinematic events of the year and I couldn't agree more. The last bow for a couple of MCU cast members, who do a spectacular job and a bold look forward and just how much these great series of films still has to offer.

Check Out my Avengers: Endgame review here!

1. Knives Out - 9.5/10

I'm not a Rian Johnson guy; I'm not just talking about Star Wars: The Last Jedi here, I was never a big fan of Brick or The Brothers Bloom either. So suffice it to say I was a bit sceptical heading in to see Knives Out. Humble pie was feasted upon, let me tell you. The film takes the 'whodunnit?' feature from a very unique narrative perspective and promptly journeys the audience along a plot that will constantly leave you guessing. Everything about this film was well crafted be that moments of homage, the consistent visual style or the atmospheric score. This film has the best ensemble cast of the year, which considering my second placeholder is saying something. Worth a watch on the big screen at least once.

Check Out my Knives Out review here!

There were some films this year that I would love to continue talking about, certainly some honourable mentions among the bunch that only just missed out on the top five. However, even in a solid year of cinema there are a couple of bad eggs that manage to make up my bottom five films for the year...

The Worst:

5. Stuber - 2.5/10

Action-comedy seems to be on the rise more and more of late, and for all your Deadpools and Jumanjis you get their weirdly bad offspring. Enter Stuber. Stuber as a concept is already pretty bizarre, a half-blind cop drags his Uber driver along while trying to take down a big drug runner all inside of 24 hours. You hear that concept and think of those weird midnight fuel film ideas that are bounced around conceptually but never made. This one managed to slip through and see the light of day which is a shame because it is just as messy a story as the brainstorm leads you to believe. For over half the film one of the main characters is begging to leave the events of the main narrative and I could not blame him, part of me was begging myself to leave that theatre.

Check Out my Stuber review here!

4. The Hustle - 2/10

This comedy film disguising itself as a con film was about the most absurd, boring film I had to sit through this year. Outside of the two female leading performers the film really didn;t know what it was trying to be. At times The Hustle attempted to pay homage to old famous con films while only a scene later it would resume conventions more familiar with a modern comedy. Nothing about the film felt consistent aside from the fact the story never went anywhere good. By the time the film had worked out what it wanted from the plot we were in the last ten minutes and the final twist was such a convoluted steaming pile of nothing that it all came across as a waste of time.

Check Out my The Hustle review here! 

3. Greta - 2/10

Every so often a thriller comes along that is so badly written and directed that you just struggle to sit through it. The whole film is built around a very bizarre relationship that I'm never really convinced by, it takes over half of the film for the kidnapping aspect of the piece to come into play. A lot of the cast can probably tote this as one of the worst films that they've been in. In particular, Isabelle Huppert who played the title character gives the most overdramatic, disappointing performance of her career.

Check Out my Greta review here!   

2. The Angry Birds Movie 2 - 1.5/10

This year saw a number of really well crafted delightful animated features, but this certainly was not one of them. The first Angry Birds never particularly demanded to be made, missing the hype of the mobile game by half a decade and now this sequel hits us right where it hurts. From the start of this film it is very clear that most of the voice cast is not in the least bit interested in being a part of this production. The film feels like a joke, but I've not got a lot of clue who's supposed to be laughing. You wish the first Angry Birds had never barely scratched that profit margin because no one deserved this.

Check Out my The Angry Birds Movie 2 review here!

1. Cats - 1/10

Some of the best films I've seen have been film musicals that have transcended the bounds of expectations, features like Moulin Rouge or La La Land. Cats also transcended the bounds of my expectations because I never quite imagined that the film was going to be that miserable to watch. A completely bonkers mess of a film that had no sense of direction and some of the worst acting from academy award nominated performers I've seen all year, Cats was nothing short of a nightmare. If one of the cornerstone selling points of your film is special effects at the very least make sure the effects are ready for a movie-going audience.

Check Out my Cats review here!

So concludes another wrap up of the year's best and worst films, as always I'm keen to hear what your own favourite and least favourite films were! Here's to a new decade of exciting cinema ahead! For those curious where your favourite film of 2019 wound up check my list below to see my complete rankings:

1. Knives Out – 9.5/10
2. Avengers: Endgame – 9.5/10
3. Spider-Man: Far From Home – 9/10
4. Green Book – 9/10
5. Spider-Man: Into The Spider-Verse – 9/10
6. Toy Story 4 – 9/10
7. Doctor Sleep – 8.5/10
8. Captain Marvel – 8.5/10
9. Booksmart – 8.5/10
10. Aladdin – 8.5/10
11. Frozen 2 – 8.5/10
12. Jojo Rabbit – 8.5/10
13. How To Train Your Dragon: The Hidden World – 8.5/10
14. Cold Pursuit – 8/10
15. Zombieland: Double Tap – 8/10
16. Fighting With My Family – 8/10
17. The Good Liar – 8/10
18. Long Shot – 7.5/10
19. Late Night – 7.5/10
20. John Wick: Chapter 3 – Parabellum – 7.5/10
21. Terminator: Dark Fate – 7.5/10
22. Jumanji: The Next Level – 7.5/10
23. Pokemon: Detective Pikachu – 7.5/10
24. Once Upon A Time In Hollywood – 7/10
25. Dumbo – 7/10
26. Godzilla: King Of The Monsters – 7/10
27. Ad Astra – 6.5/10
28. Star Wars: The Rise Of Skywalker – 6.5/10
29. X-Men: Dark Phoenix – 6.5/10
30. Ready Or Not – 6.5/10
31. It: Chapter 2 – 6/10
32. Fast & Furious Presents: Hobbs And Shaw – 6/10
33. The Mule – 6/10
34. The Lion King – 6/10
35. Destroyer – 6/10
36. The Curse Of The Weeping Woman – 6/10
37. Charlie’s Angels – 5.5/10
38. Abominable – 5.5/10
39. Men In Black: International – 5.5/10
40. Shazam! – 4.5/10
41. Joker – 4.5/10
42. Maleficent: Mistress Of Evil – 4.5/10
43. Gemini Man – 4/10
44. The Kitchen – 4/10
45. Escape Room – 4/10
46. Child’s Play – 4/10
47. Alita: Battle Angel – 3.5/10
48. Angel Has Fallen – 3.5/10
49. Glass – 3/10
50. Instant Family – 3/10
51. Hellboy – 2.5/10
52. Stuber – 2.5/10
53. The Hustle – 2/10
54. Greta – 2/10
55. The Angry Birds Movie 2 – 1.5/1
56. Cats – 1/10