Reviews by Kyle Ellis

Despite being critically acclaimed, 'Arrival' is another one of those films that is praised to the heavens with critics but has wildly divided audiences judging from the nature of both the positivity and negativity. Though it has to be said that the positive reviewers have been far more mature than the negative ones, many of which to me being disgustingly condescending.

'Arrival' is a very different sci-fi film, and one can definitely see why people will love it and be moved by it as well as seeing why people will hate it and be alienated. To me, 'Arrival' is not as good as reputed and is not a masterpiece, but even if it didn't do much for me it would have gotten a 4 at least. From personal opinion there are far worse films out there that are far more deserving of 1/10, and it would be insulting to put 'Arrival' down there with them. Even if the film didn't much for me, the good things would still be acknowledged and there would be real effort to be respectful of other people's opinions regardless of agreeing or disagreeing with them rather than being insulting and inventing ridiculous and untrue conspiracy theories. Those who hated it do need to grow up and start accepting that not everybody hates this film and that those who loved it are being genuine, and no being angry at being disappointed by it is not an excuse. Coming from a younger film lover than most on this site who's autistic and disabled but those have not gotten in the way of being understanding of people's opinions, what's your excuse?

Back to my thoughts on the film, 'Arrival' is a meditatively paced film, and is not an action filled or jam packed with constant narrative. While this may understandably alienate viewers, neither of these are necessarily bad things especially when there are great to masterpiece films that are the same. Of the four films seen of Denis Villeneuve so far, 'Arrival' may be my least favourite, and his most polarising, least violent and most gentle, but that is just testament to how very good 'Prisoners' is and how fantastic 'Incendies' and 'Sicario' are.

The criticisms are understandable and am in agreement with some. It does drag in the middle act, softening and slacking too much. It does get confusing in the later stages, where things can get ridiculous and predictable.

Forest Whittaker and particularly Michael Stuhlbarg's characters are underutilised and underwritten with both having very little to do, the two do make the most of their roles one has to give them that.

However, 'Arrival' does look wonderful. This is particularly true in Bradford Young's cinematography, being fluid and its tactile quality is of sheer beauty. It's beautifully and atmospherically designed and lit, the special effects have grand spectacle and the editing is some of the best of its year.

Johann Johannsson's music score is another standout, it has a haunting creepiness and has a heart-pulsating and emotional beat. It not only adds a huge amount to the film, it also enhances it. Denis Villeneuve's direction is his most subtle and least hard-hitting, which is not only a good thing but the right thing, the approach he gave to 'Prisoners' and 'Sicario' would have ruined an atmosphere that's the complete opposite.

In terms of how it's written, 'Arrival' is not perfect but it has a movingly raw emotion, thoughtfulness, subtly suspenseful mystery and gives a compelling realism to its character especially the protagonist. Likewise the story (yes there is one), with a poignant emotion and a clever and powerful, if perhaps not the most logical, twist.

The acting is one of 'Arrival's' best assets, all round it's very good even if some characters are better realised than others. Amy Adams in particular is astounding, she has rarely been more poignant. Jeremy Renner also underplays effortlessly.

All in all, divisive film but count me as one of the people who liked it but in an appreciation way than a loved it way. 7/10 Bethany Cox

Peter Pan is a very good movie indeed, which is more to be said for its sequel, which I think is one of the worst Disney sequels. While enormously entertaining especially with Hook and the crocodile, it lacks the complexity of the book. However, the animation is beautiful, especially our first look at Neverland and the Mermaid Lagoon. The songs are also lovely, especially "2nd Star to the Right" and "You can Fly". I loved the characters. Peter and the Darlings were well done, as well as the lost Boys. I also loved Tinker Bell, and Captain Hook, who was a great villain, until the sequel ruined him. If you want a more complex Hook, try Tim Curry's Hook in the animated TV series Peter Pan and the Pirates, which I personally think should be brought back. Captain Hook was wonderful here, in the series, and Jason Issac's interpretation of the character isn't to be missed either. 9/10 Bethany Cox. PS. I loved the crocodile!

As much as I loved The Ladykillers, Kind Hearts and Coronets is my personal favourite of the Ealing comedies. One might argue that the narration is overused, I would say the narration added to the darkness, wit and charm of this superb film. The cinematography is crisp and smooth, and the score is great. Then we are treated to a deliciously witty script, that is funny, dark and has bite. The story slips smoothly between dastardly deaths in the guise of a self-satisfied memoir, and is gripping while moving along at a good pace, and the direction is secure. But it is the quality of the acting that elevates Kind Hearts and Coronets. Dennis Price is brilliant as the inventive killer, and Joan Greenwood is delicious as Sibella the vamp. Also convincing as Edith is Valerie Hobson, but the scene stealer in no less than eight roles is Alec Guinness in a real tour de force. While some of his roles are small, they perfectly show off his versatility. Overall, superb and deliciously dark Ealing comedy. 10/10 Bethany Cox

Why did it take so long for me to see this film? I don't know why that is, other than being behind with my movie watching due to studying, and I am still kicking myself because Tokyo Story was one of the best films I've seen in quite some time. I haven't seen enough of Yasujiro Ozu's work to judge him as an overall director, but seeing Tokyo Story it is very easy to see why anybody would consider it one of his finest achievements or him as a master film-maker. Tokyo Story is beautifully shot, everything looks homely and evocative and the shots, frame and cinematography are done to perfection. And Ozu directs very sensitively and assuredly, it is said that he specialised in middle-class family melodramas and I have no trouble believing that. The story is quiet and meditatively paced but never bored me, because every bit of writing, family scene and character was dealt with in such a poignant and intelligent manner. Tokyo Story is also helped by some truly wonderful acting. Setsuko Hara just epitomises gentle kindness, making us warm to Noriko easily, while Chishu Ryu and Chieko Higashiyama play their roles with nuanced and affecting dignity. In conclusion, a beautiful and deeply moving film in all respects. 10/10 Bethany Cox

I have seen many visually beautiful and emotionally moving films, but not as many recently. An Autumn Afternoon is one of those primary examples. Meditative in its pacing it is, but it is never dull. How everything is made and written really makes an interesting and very rewarding experience indeed. It is incredibly well made to start off with, the camera is kept at low angles and is still, but for me this allowed me to explore and really admire the scenery and the framing which are very elegantly done. Kojan Siato's score is one of those soothing and unobtrusive scores that helps the audience to connect with An Autumn Afternoon's gentle mood. How An Autum Afternoon is written is also exceptional, as well as the gentle tone, the story has this great warmth, wisdom and humanity. As well as Ozu's meticulous as ever direction what is also great about An Autumn Afternoon is the lead performance, Chishu Ryu's performance is dignified and altogether very touching. In conclusion, not just one of the cinema's greatest swan-song but a masterpiece of a film also. 10/10 Bethany Cox

'Late Spring' is one of three films that make up the Noriko Trilogy. The others being Yasujiro Ozu's masterpiece 'Tokyo Story' and 'Early Summer', this film being the first of the three and 'Tokyo Story' being the last. Eventually getting through enough of Ozu's work to give him an even higher appraisal than when being blown away by 'Tokyo Story' and 'An Autumn Afternoon' some years ago, it is my feeling that he is one of the greats even if his films require patience.

It is very easy to see why 'Late Spring' is considered one of his best and its critical acclaim is more than richly deserved. While 'Tokyo Story' is still my personal favourite of Ozu's films, 'Late Spring' is an extremely close second and has everything that makes that film the masterpiece that it is. Like his other films, it does require patience as the first portion is particularly deliberate if one is not already familiar with his style. Being somebody who is, the pace was not a problem (though a couple of his films did suffer a little from it when the plots were particularly slight, for example 'Early Spring').

An obvious starting point in praising 'Late Spring' is the acting. While Chishu Ryu brings all the qualities that he brought to his other roles in Ozu's films (being an Ozu regular), in a typically nuanced portrayal, Setsuko Hara's (another Ozu regular) equally sensitive and again benevolent performance is even better. All the acting is great, but those two stand out and their story provides 'Late Spring's' heart. Their characters are also very easy to warm to and identify with, Noriko especially, in a film where the characters in general are easy to get behind in both their strengths and flaws.

Ozu's direction is always assured and understated without ever sleepwalking. 'Late Spring' is beautifully photographed, with a lot of pillow shots and low angles often associated with Ozu, and doesn't try to do too much while opening up the drama enough that it doesn't become too static. Lovely use of interiors too. The music score matches the gentle, sensitive tone of the film with no issue at all.

The script is masterful in its use of language and both poetic and honest, flowing beautifully. The story also connected with me greatly, with an emotionally devastating ending in particular, there is a very strong emotional core here and it feels very human. Ozu was a master at his portrayal of the middle-class and the family melodramas that surround them, and one can see why in this, one of the finest and most moving examples of his work to have that (second only to 'Tokyo Story' and that is a close call).

In summary, outstanding film all round and one of Ozu's masterpieces. 10/10

Hearing how highly regarded A Separation was among my IMDb friends, I knew I had to see it. My only question is how on earth did it take so long for me to do so? I can only put it down to being behind with my film watching because of uni, because A Separation is a fantastic film and deserves all ounces of praise it gets and some. That is my opinion though, because I know people will find that it is not their cup of tea and have no problem with that. What was it I loved about A Separation? A lot of things actually. It was a very well made film. The scenery is striking and authentic, and the cinematography is intrusive and relentlessly, but this adds to the impact of the story rather than detracts from it. Asghar Farhadi's direction similarly is supremely controlled. A Separation is remarkably written as well. The writing is intelligent and insightful, avoiding any kind of melodrama or moralising. Not just that but it succeeds also in exploring the characters without any kind of prejudice, and that is including Hodjat. The story is quite a complicated set-up, but compelling and moving. It gives the audience time to breathe, but with the tension and drama that fuels what is happening in the storytelling I found myself never being able to look away. The characters are sensitively explored, and while I've not seen About Elly in a while I do remember that I didn't relate as much to the characters there than I did here. The acting is wonderful, Leila Hatami(especially good), Peyman Moadi, Shahab Hosseini and Sareh Bayat give performances that wholly justified the sharing of the Silver Berlin Bear. One mustn't forget Sarina Farhadi, whose increasing intensity in her acting is what makes A Separation's storytelling and the case it depicts even more engrossing. In conclusion, one of the best of 2011, considering how hit and miss that year was for films that's saying a bit. 10/10 Bethany Cox

A Night At The Opera is very silly at times, but it is absolutely hilarious. A simply brilliant film, with so many memorable scenes, that is guaranteed to have you in tears of laughter. The Marx Brothers do a superlative job here with their zany antics, and their rough-around- the-edges humour was truly unique. The cinematography was fabulous, the pace was fast moving, the screenplay was inventive and phenomenally witty, and the plot is effective enough without being contrived.

The romance between the two songbirds Allan Jones and Kitty Carlisle was sweet, and while it has thought been thought to be of irrelevance to the story, it didn't detract too much for me to enjoy this film. The music is wonderful as well. As for my favourite scene I can't possibly choose as there were so many priceless scenes. The contract scene between Groucho and Chico was unforgettable, as was the ruination of Il Trovatore which happens to be one of the best comedy climaxes. But my favourite scene, if I had to choose, is the shenanigans inside Groucho's cabin on the transatlantic liner, it is quite simply one of the silliest scenes in comedy history. All in all, a true comedy classic. 10/10 Bethany Cox