Reviews by Kyle Ellis

Christopher Nolan has always struck me as a very talented film-maker, and most of his films are ones that have impressed me a lot. Even weaker efforts, where his ambition can get in the way, have a good deal to admire. His films are all impeccably crafted technically, and often entertaining and thought-provoking, also knowing how to get good performances out of talented casts.

'Dunkirk' had me interested in it from the get go. Not just because Nolan was the director, though he is to me one of the "appreciated" directors than a personal favourite, and, while all his films range from decent to outstanding, again from personal opinion only 'Memento' is a film without faults, so like him and his films but don't consider them the best thing since sliced bread. There was also the involvement of Hans Zimmer, who has penned some great scores (both in his collaborations with Nolan, being a regular, and elsewhere) and a cast that includes Mark Rylance, Kenneth Branagh, Tom Hardy and Cillian Murphy. Plus 'Dunkirk' was based off one of the most disastrous events in British wartime history, actually cited by Winston Churchill as "a colossal military disaster".

Seeing 'Dunkirk', after hearing a lot of acclaim but also a lot of divisive opinions on both sides, there was a lot to admire about 'Dunkirk' but, although it is a visual, technical, audio and directorial masterpiece, it is not the triumph of film-making it could have been. As far as Nolan's films go for me it's a lesser effort, meaning often impressive but flawed where ambition gets in the way of execution, feel exactly the same way about 'Interstellar' which has similar strengths and flaws to 'Dunkirk'. Personally do feel strongly that regardless of how disappointing it would have been to others it is a long way from a 1/10 film, even if the film didn't do much for me it would have gotten a 4 at least from me.

Let's start with the strengths first. First off, 'Dunkirk' looks amazing, so far being one of the best-looking films of the year. Very evocatively designed, atmospherically lit and the cinematography is dazzling with some grit but also some audaciousness. Nolan's direction is often superb, especially in the very visceral spectacle, and on an audio level it is just as big a triumph. The sound is constant but didn't bother me, coming from somebody who can have hyper-sensitive hearing but is used to loud noises and high volume (necessary for the experience) when going to the cinema. If anything it added to the authenticity.

Hans Zimmer's score has garnered a lot of praise, acclaimed from most in part, but has had some dissenting opinions. Count me in as someone who loved it, there is an ominous quality but also a pathos and rousing bombast that enhances the pulsating heart-beat.

The action is often enthralling, and there is some nerve-shredding tension and some heart-wrenching emotional pathos (like in Cillian Murphy's performance). Loved the performances as well, the best coming from a quietly dignified and understated Mark Rylance who can say little and still speak volumes with just a small gesture, his eyes and his facial expressions. Kenneth Branagh's role is not a large one but he does make much of it. Nolan regulars Tom Hardy and Cillian Murphy command the screen effortlessly, Murphy's shell-shocked soldier in particular is genuinely moving. Was absolutely shocked in a good way at how good Fionn Whitehead's and Harry Styles (on paper an insane casting choice) feature film debuts were.

On the other hand, what makes 'Dunkirk' less than triumphant is that the characterisation, writing and story are on the messy side. Didn't mind the minimal dialogue and understood completely why it was done, did mind that the characters were underdeveloped and severely lacking in depth, one never gets to know them which is a shame because the acting is so good.

'Dunkirk' has been criticised for being emotionally cold and not getting enough into the horrors of war. Do agree with those criticisms actually. There are times actually where both actually come through, there is tension and suspense, there are some harrowing moments and some poignant ones, but we don't want moments, we want consistency. 'Dunkirk' is not horrifying or gut-wrenching enough (for war films it is fairly tame) and does lack consistent emotional investment.

Nolan could have done more with the historical side of things, it is a good thing that a good deal of people here have knowledge of the event but it can't be assumed that everybody knows about it or all the facts, nobody expects a history lesson but there was a missed opportunity in this regard. While being a technical and visual masterpiece, some of the editing is chaotic in places, as an epileptic it was just about bearable but still felt too much even for what it was trying to do. Lastly, while having a non-linear structure is not a bad thing (Nolan did it with 'Memento' and masterfully) how the three stories were told did get confused at times and it was hard keeping up with the constant back and forth.

So overall, less than triumphant but hardly disastrous. Often impressive but problematic. 6.5-7/10 Bethany Cox

I am 17, and I love this movie. One definite positive of Rebecca is the masterful direction by Alfred Hitchcock, full of the usual twists and turns that make his films so pleasing. The chilling and suspenseful story, of a timid young woman marrying a man and finding herself in the shadow of his dead first wife, has many complex issues, such as the possibilities of suicide, murder and mistaken identity, all of which took me completely by surprise. Rebecca also has gorgeous black and white cinematography, and a beautifully atmospheric music score. But it's the performances from the distinguished cast that holds this film together. Laurence Olivier, one of Britain's finest stage and film actors(you only have to see him in Shakespeare to know the talent this man had), gives a towering performance as Maxim De Winter, a broken man haunted by his first wife's death. The lovely Joan Fontaine is the picture of innocence and vulnerability as the 2nd Mrs De Winter, giving a genuine sense of fright and emotion throughout. Also superb is the suave George Sanders as the rather loathsome blackmailing Favel, who smirks and makes acidic remarks as effortlessly as Clark Gable did in Gone With The wind. But stealing the acting honours is Judith Anderson as the housekeeper Mrs Danvers, a performance that is truly sinister, like the scene when she sets Manderly on fire, her facial expression looking out of the window gave me the shivers. The script was tense, dark and flawlessly delivered. Through the characters we hear that Rebecca was beautiful and possessed all the other positive virtues, so I was shocked when that wasn't to be. All in all, a chilling and dark film, that is a must see. 10/10 Bethany Cox.

'A Quiet Place' very quickly became one of my most anticipated films of the year. Have liked Emily Blunt a lot in other things, have a lot of appreciation for the genre and absolutely adored the concept. One of the year's best concepts and one of the most brilliant and unique for any film.

Seeing it, 'A Quiet Place' turned out to be one of my favourites of the year too, its positive critical reception more than deserved. Can understand though if it doesn't work for others, it is not a film that everybody will enjoy with its deliberate pace, very sparse use of music and dialogue and heavy reliance on atmosphere. Have seen many films recently that have wasted good potential and ideas or not quite fulfilling them. So it was refreshing and a blessing to have such a brilliant and unique concept executed in a way that was equally brilliant and as a film unlike any other seen by me.

Was far too transfixed by the atmosphere and mood to criticise 'A Quiet Place' for lack of logic, plot holes (have never criticised a film for plot holes, find it a lazy and unfair criticism especially when it's the only thing mentioned in reviews that list them and say nothing about the film's overall quality) or not making complete sense. When a film doesn't transfix or engage me it is less forgivable, but 'A Quiet Place' was utterly transfixing from start to finish from personal view.

It's a beautifully made film with a lot of style and atmosphere. Not everybody will like that the use of dialogue and music is sparse. That wasn't a problem for me, in fact it was appreciated and it worked really well. Actually think it was the right thing to do. Without constant music, the concept and atmosphere came through stronger, if the music was intrusive, obvious or repetitive they would not have worked anywhere near as well.

Without constant dialogue, it let the actors' expressions and body language do all the talking, have seen horror/sci-fi films, and films in general actually, recently that have suffered from too much talk and exposition that it bogs the pace down and it's even more of a problem when the dialogue isn't good or interesting. Appreciated hugely that 'A Quiet Place' didn't go down that route.

Luckily the acting benefits from having little dialogue, here it's a masterclass of expressions speaking louder than words. Emily Blunt is simply sensational in a very moving and expressive performance that is among her best. Millicent Simmonds and Noah Jupe also impress in beyond their years performances that one doesn't actually expect from actors so young. So does John Krasinki in a performance just as expressive, in a subtle way, and charismatic. In the director's chair, he shows a lot of confidence and great talent for mood and storytelling.

Especially good about 'A Quiet Place' is the atmosphere, which smoulders from every frame and shapes every part of the story. The pace is a deliberate slow-burn but for me it was never dull. Parts of 'A Quiet Place' are heartfelt, others are quirky. But above all it's genuinely scary and unnerving, enhanced by tremendous use of sound design that generates unbearable tension. The monsters are incredibly nightmarish, actually takes a lot for me to feel unsettled after watching a film since getting older, 'A Quiet Place' did that for me.

Overall, a superb film and one of my favourites of the year so far. 10/10 Bethany Cox

As someone who appreciates silent film and films in the Expressionist style(think FW Murnau), I simply love The Cabinet of Dr Caligari. True, to some people the acting may seem exaggerated and some of the movements stilted. However I felt these added well to the paranoid and sometimes weird(in a wonderfully strange way) atmosphere and also to the titular character psychopathic state of mind. Werner Krauss is the epitome of creepiness as Caligari and Conrad Veidt also makes a memorable impression. The story is interesting, and Robert Wiene directs beautifully. But it is the way it was made that makes The Cabinet of Dr Caligari so unique and a milestone of its genre. The scenery is appropriately sumptuous and their lopsidedness added further to the atmosphere, while the camera work, sometimes deliberately odd, is the best aspect. In conclusion, a great film and a milestone. 10/10 Bethany Cox

All About Eve is my idea of a perfect film,(and I am 17) beautiful and brooding at the same time. People consider this as one of the finest films ever made, and I cannot disagree. This and Shawshank Redemption are actually films that deserve to be in the top 250. The black and white cinematography is gorgeous, and the script is sharp and focused with great lines such as "Fasten your seat belts, it's going to be a bumpy night". The direction is excellent, and this is further advantaged by a terrific cast, a very good subject matter and sumptuous costumes. I couldn't help being captivated by Bette Davis's performance as Margo Channing, her presence in the film is actually the film's main merit. Davis was an incredible actress, and while not exactly pretty compared to Maaureen O'Hara and Rita Hayworth and not very easy to work with at times, she always brought a sense of command to all her roles, especially in this film. I still think that All About Eve is her best film, I honestly do, and she is well supported by a terrific supporting cast with the likes of the idealistic Anne Baxter and the suave George Sanders. All in all, a beautiful film, that is a must-see, if you haven't seen it already. It is quite long, but it is well worth watching for Davis's performance. 10/10 Bethany Cox

Wanted to see as many 2016 films as possible, especially those that won or were nominated for the big awards. Took me a while to see 'Moonlight', with the controversy it garnered when it was announced for the Best Picture Oscar and the amount of hate it's got here part of me was wary.

Finally getting round to seeing 'Moonlight', it turned out that it was more than well worth the while and that the wariness was not needed. 'Moonlight' is not a perfect film and may not have been my personal pick for the Best Picture award (for me that was 'La La Land' though that is not a popular opinion it seems). Truly admired what it set out to do and found it a brave and powerful film, despite what the detractors say there is far more to 'Moonlight's' appeal than politics, sexuality and race (clearly trying to find conspiracy theories and reasons for why a film they dislike is loved by others, without taking into account that the film simply just connected to and resonated with those who liked it).

'Moonlight' does end on an anti-climactic note, some of the last act is a bit rushed. A longer length would have helped as a result, it also would have helped make a couple of events in the first act a little clearer and not so choppy.

It may not say much new, despite the ground-breaking concept on paper with the exploration of lives rarely seen on film, and doesn't always have subtlety. Then again it is tackling far from subtle themes and a heavy subject, so that sort of was going to be inevitable.

However, 'Moonlight' is an exceptionally well made film. The cinematography and editing are some of the most eye-pleasing and best of that year, and can't find anything to fault the expertly handled direction. The music is cleverly mixed and has haunting power and fluidity.

Regarding the writing, it is not perfect, at times as said a little heavy-handed and vague in parts, but it is thought-provoking and handles very ambitious, relevant, important themes with power, truth and (mostly) delicacy. The story makes the most of the three act structure, it's handled simply but not simplistically and also handled cleverly and with passion, honesty and intelligence. Found myself relating quite a lot to and being moved significantly by the story and found the film handled a heavy and sensitive subject matter with a lot of relevance and importance today more than admirably.

Can't fault the acting, doing wonders with compellingly real characters and strongly defined character relationships (especially the central one). Much has been made of Maharshala Ali and Naomie Harris and deservedly with two of the best performances that year, Ali especially is extraordinary. It is easy though to overlook Alex R. Hibbert, Trevante Rhodes and Ashton Sanders and one shouldn't, as they are just as worthy (particularly Sanders).

Overall, didn't completely blow me away but very well done and with a lot to admire. 8/10 Bethany Cox

Found the first three films ones that had a lot to like (namely the action, the visuals, good casting on the whole and Philip Seymour Hoffmann's superb villain in the third) but also their faults (plot convolution in the first and third and the characters could have been written better in the second and third).

'Ghost Protocool' to me was a great film and the best of the series since the original, and actually better than it, mainly because the story even though somewhat familiar seemed more focused and far less convoluted. 'Rogue Nation' was on 'Ghost Protocool's' very high level. Sure, there was a little bit of familiarity and the basic structure was somewhat formulaic, but 'Rogue Nation' had enough freshness and so much fast and furious excitement and thrills it doesn't feel like an issue.

Contrary to the critical consensus that 'Mission Impossible-Fallout' is the best 'Mission Impossible' film, personally don't quite agree. It is definitely one of the best ones, and perhaps third place behind 'Ghost Protocool' and 'Rogue Nation' (my personal favourite).

It does have a little too much going on in places and things get too complicated in spots. Ving Rhames is underused and doesn't seem to be enjoying himself in a basically nothing role.

Some of the dialogue is also somewhat forced.

Visually, 'Mission Impossible-Fallout' is even slicker and even more stylish than 'Ghost Protocool' and 'Rogue Nation', surpassing the latter as perhaps the most audacious of all six films put together. The locations, from sinister drabness to stunningly colourful, are a feast for the eye and the effect dazzle. The music doesn't overbear the action and such at all while making a pulsating impact thanks to the thrillingly authentic sound.

The action is bigger, bolder and more dynamic than any other action scenes seen before in the previous four instalments. Many are breath-taking in their excitement and also nuances, hard to pick a favourite with such spectacular stunts and action scenes between the lightning storm, the motorcycle chase, the helicopter battle, the car chase, the London sprints and the toilet martial arts fight. Christopher McQuarrie's directing is again some of the best he's ever done, with a great sense of visual style and a real grasp of the storytelling.

'Mission Impossible-Fallout' script is generally sharp, knowingly sophisticated with the humour (not cheesy or out of place) and intrigue superbly balanced. The story, the series' heaviest, darkest and most ambitious, is told at a breakneck pace without being rushed and grips one right in and never lets go, with the backstories providing some depth. There is, like with 'Rogue Nation' an appealing light-heartedness, tongue-in-cheek and suspense of superior tension and elegance (as far as the 'Mission Impossible' films go).

Tom Cruise is very impressive, handling the stunts with effortless and enviable ease and acting with steely charisma. Rebecca Ferguson shows an even better and more confident knack for scene-stealing, with her in ersatz breath-of-fresh-air form. Sean Harris and Henry Cavill intimidate effectively, while Simon Pegg's comic relief in no way jars and is actually very funny and Jeremy Renner's presence is more than welcome. Vanessa Kirby, Alec Baldwin and Michelle Monaghan are also strong. It is a shame however that Ving Rhames is underused and lacking the charisma that he showed in 'Rogue Nation' despite being under-utilised in that too.

On the whole, very good, just not amazing. One of the better 'Mission Impossible' films though and among the better films of the year, if not among the very best. 8/10 Bethany Cox

With one of my favourite trailers of the year, the awards attention, the theme of coming of age and the critical acclaim, 'Lady Bird' very quickly became one of the year's most anticipated films for me. Deliberately didn't see it at opening weekend though, just in case it was busy and difficult to get tickets, after the insane opening weekend of 'Black Panther'.

'Lady Bird' in no way disappointed. With the above, was hoping that it would be one of my favourite films of the year and it turned out to be exactly that, the awards attention and acclaim more than fully deserved. This doesn't just fly, 'Lady Bird' actually soars and have not seen a coming of age-themed film in recent memory this sparkling or honest or with this amount of humour, brains, heart and charm. Have seen it mentioned as a passion project, and if it was the passion and hard work can be seen all over.

It is a very appealing film visually, with beautiful and colourful cinematography and with editing that flows succinctly and cohesively. The music is has energy yet knows when to understate itself when needed. In her first film as solo director, Greta Gerwig directs with a nimble touch, the comedy is light on its feet and she avoids making the emotional elements heavy-handed or tonally jarring.

The script is one of the year's best, my personal pick actually for this year's Best Original Screenplay Oscar of the nominees. The comedy sparkles in wit and is genuinely hilarious, done in an honest and true to life way yet with some cringes like it would be in real life too. Over-sentimentality is avoided in the more emotional and dramatic scenes, there are some really sweet and poignant moments and an endearing personal touch.

Found myself really emotionally investing in and relating to the mother and daughter relationship, their bonding bringing tears to my eyes and then making me smile and laugh when botched and leaving me with hope at resolution at the same time. The coming of age/angsty elements have a truthfulness, authenticity and twinkle and it was very easy to identify with them if in the same position growing up, they're often very funny but also very heartfelt and charming.

Story is immensely engaging throughout right from the riotous opening to the more emotional and avoiding-being-too-pat ending, anchored by the mother and daughter relationship that entertains, moves and provokes thought. Didn't mind at all that it wasn't ground-breaking, due to not expecting it to be as coming of age can be predictable. Enjoyed the way the characters were written, and appreciated that the film broke away from the typical archetype of school teachers being over-disciplinary and without humour.

Performances are never less than great, with Saoirse Ronan and Laurie Metcalf fully inhabiting their characters and phenomenally. It was wonderful for both to get awards attention with both giving two of the year's best performances. Lois Smith twinkles too in her role.

If Lucas Hedges (who has grown quite a lot) and Timothee Chalamet (not as good as his truly remarkable performance in 'Call Me By Your Name' but showing why he is one of the most promising recent rising stars) continue to go down this promising path they are likely to go on to big careers.

Concluding, fabulous film and one of my favourites of the year. 10/10 Bethany Cox

It was very hard to say no to watching 'Knives Out' and it was one of my most anticipated films since it came out. It was due to being busy and personal problems that stopped me from seeing it sooner. A lot drew me in to watching it. Absolutely love murder mysteries and seeing a lot of comparisons to one of my favourite authors Agatha Christie and the starry cast were reasons enough for me to see it, as well as the great reviews.

Found myself really enjoying, if not quite loving, 'Knives Out'. Can understand why it may not be for all, if one doesn't like seeing and hearing the truth much earlier on than they would expect, and it is easy to see the ridiculing for Daniel Craig's Southern accent (which is admittedly atrocious). Can totally understand its appeal and why it was so positively received though, because to me it was a well made, well acted and cleverly written film that shows that director Rian Johnson does have a great film in him. While not perfect or one of the best films ever made (though was not expecting 'The Godfather' or 'Casablanca' etc), it is a long way from being a 1/10 film, putting it down there with most of the films riffed on MST3K, films from SyFy and the Asylum, 'Home Alone 4', 'NeverEnding Story 3', 'Titanic: The Animated Movie' and the Baby Geniuses films is insulting. As far as 2019 goes, it is towards being one of the better films of that year if not one of the very best.

'Knives Out' had potential to be even better than it was. If it didn't overdo or repeat too much the vomiting running gag and slowed the final solution down (a suitably complicated one that is explained a little too fast for my liking) it would have been a better film.

Wouldn't have said no to the truth (well some of it was) being revealed later than it was, though even when it was placed when it was it was still in the final solution not at all what things initially seemed. The film is a little overlong as well.

However, so much works here. 'Knives Out' looks great, full of atmospheric colour, beautiful locations (the interiors of the house are especially atmospheric), stylishly photographed and slickly edited. Nathan Johnson's score has menace and energy, without feeling overused or over-scored. Johnson directs expertly with a clear love for the genre being sent up.

It is a cleverly scripted film too, shining especially in the smart and affectionate 70s murder mystery throwbacks and deliciously salty one liners and insults from Ransom. The story never felt dull to me and even when things seemed obvious too early some ingenious unexpected twists are brought in. Can totally see how Johnson was so influenced by Christie's writing, evidenced from as early on as the terrific opening sequence and with Christopher Plummer's patriarch character (a type of character seen frequently in Christie's books). A fine example of how to bring freshness to a very familiar genre often visited, while the final solution is incredibly clever though demands full attention.

Moreover, the ensemble cast, one of the best from that year, clearly have a ball. There is some delicious deadpan but also some inspired but not overdone scenery-chewing. Accent aside, Craig does a great job breaking away from his Bond image and revels being comedic in a laconic way. Plummer (RIP) is perfectly cast and while his screen time is not large he makes the absolute most of it. Ana De Armas has one of the most difficult roles and shows no signs of being taxed. Jamie Lee Curtis, Toni Collette, Don Johnson and Michael Shannon all give it everything they've got. My favourite performance came from Evans, also breaking away from typecasting, he was never this witty or salty.

Overall, very, very good. 8/10

From the director of the timeless classic that is It's a Wonderful Life, comes It Happened One Night, a wonderful film that is as charming as it is funny. While some parts are quite idealistic, it is essentially a screwball romantic comedy and a great one at that. The direction from Frank Capra is classy and dignified and cleverly gives us an insight into gender and class status, and the screenplay is sophisticated and funny. The humour still works, I found myself laughing when Clark Gable said "now don't tell you're in love with the bus driver" for example. The cinematography is beautiful and dynamic and the music is richly and sensitively scored. The acting is very, very good. Clark Gable looks handsome here, and he gives a close to hysterical performance as Peter, with his impeccable comic timing and witty humour. Claudette Colbert is lovely as Ellie, the spoiled yet somewhat independent heiress who Peter falls for. The two actors show great, charming chemistry together on screen, and they are terrifically supported by especially Walter Connolly as Andrews. The story is relatively simple, but I liked its simplicity, it was effective. Overall, a wonderful, funny and charming film. 10/10 Bethany Cox