Reviews by Kyle Ellis

'Get Out' was very highly recommended by a friend, also a fellow film enthusiast, and the subject matter of the film really interested me. Add to that a very promising trailer, the award nominations and wins and mostly positive word of mouth (even with the very vocal detractors), and interest was higher.

High expectations were not only met but also exceeded. Apologies for the cliché, but to me that is the best way to sum up my personal experience watching 'Get Out'. Can totally see why it was as well received as it was, though can also see why it has divided audiences on here. While it will never be one of my favourite films, 'Get Out' is among the better films of 2017 and does live up to the hype.

It's an incredibly well-made film visually, with stylish and unsettling cinematography and editing and some disturbingly surreal imagery that adds to, and enhances, the unease and sense of dread.

That the direction was done by a first-time director is a shock in itself, one of the most outstanding debut directing jobs seen in a long time by me. It's nostalgic in its embracing of contemporary and classic horror and also brave in the accomplished handling of the film's combative themes.

Being somebody who considers music important when talking about it, the music looms suitably ominously and fits well. 'Get Out' benefits from an extremely smart and clever script (though 'The Shape of Water' and especially 'Lady Bird' were worthier wins for the Best Original Screenplay Oscar in my view), that takes on a lot of elements and balances them adeptly and the individual elements handled very effectively.

Despite how it sounds, 'Get Out' struck me as more of a thriller with horror and comedic elements. It is highly successful on this front, with the thriller elements being taut, suspenseful and unsettling, the comedic ones being darkly funny and clever and the horror ones being imaginatively shocking and subtly uneasy. There is even some social commentary and interracial themes explored, and done thoughtfully and just about avoids preachiness while hitting hard still.

While all the performances are very fine, it is Daniel Kaluuya's superb lead performance that burns in the memory the most.

My only complaint of 'Get Out' is the too pat and somewhat silly ending that felt tacked on and like it came out of a different film, to me it too ended on a tonally jarring and that's it note.

Until then, the film was this close to being a masterpiece. So it was frustrating that it just missed out on that distinction. Nonetheless it's a great film that is among the year's better ones, brought down by an underwhelming ending. 9/10 Bethany Cox

Have a lot of appreciation for Queen. Not a favourite band of mine by all means, but it is difficult to not understand their importance and appeal. They had some iconic songs (namely "Bohemian Rhapsody", "We Will Rock You", "We Are the Champions" and "Don't Stop Me Now") and Freddie Mercury's immediately recognisable vocals and Brian May's virtuosic guitar playing were always out of this world.

'Bohemian Rhapsody' fascinated me when hearing about it and became most of my most anticipated films for the year. When hearing some negativity for the film, my expectations lowered a little, but saw it anyway because it did look and sound good. It did turn out to be a good decision, it is good to see that others here loved it and don't agree with the mixed critical reception respectfully.

Sure there are clichés (such as what some of the rest of Queen say) , but very few films are not and many are much worse in this regard. Like a lot of biopics, there are inaccuracies that may drive die-hard Queen fans into a frenzy, and the odd factual distortion, but again 'Bohemian Rhapsody' is not the first or worst film to do this and am going to judge it as a film on its own and not on a documentary level.

As a film on its own terms, 'Bohemian Rhapsody' has an awful lot to admire. Getting the issues out of the way, the ones that could have been handled much better was the with the revelation of Freddie Mercury's AIDs diagnosis to the rest of the band, could have been done with more tact and less crass (like saying what it was a consequence of) and revealed too early and at the wrong time, and the implications with the phone ringing off post-taking centre stage that the event was a flop when it actually was a triumph.

Some of the early parts were a touch rushed as well, Mercury's ascent to stardom could have been less breakneck.

However, 'Bohemian Rhapsody' is stylishly film and evokes the period beautifully. As to be expected, the songs are incredible and will be embedded in your brain for a long time, then again it is Queen of course. They are affectionately staged and performed in a way that made me remember what made me appreciate Queen in the first place.

Didn't find the script that simplistic or cliff-notes like, while there is a nice mix of moment of laughter, tension and tears and enough parts that entertained and informed, if not as in depth as it should. The story is never dull and the Live Aid depiction is both rousing and poignant. It's capably directed and while all the performances are fine if underused, it is Rami Malek's outstanding turn as Mercury that will live long in the memory, true to what made Mercury so interesting a person and performer without being an impersonation.

Concluding, impressively done and better than anticipated. 8/10 Bethany Cox

'Spotlight' to me was a very worthy Best Picture winner. Even if it didn't do much for me, which it did, it would still be appreciated for what it set out to do and would have been applauded for trying.

It took on a very heavy subject, that is still very much relevant today, and does it in a way that's riveting with a strong emotional core, strong insight that illuminates and tells of stuff that we didn't know (that leaves us shocked and very angry) and not fall into the trap of having too much of things that we knew already. It also never feels mawkish or preachy, traps that it also could have fallen into.

While it is a deliberate and relatively slow-paced film, it didn't leave me bored for a second, instead gluing me in with its excellent performances across the board, how it tells its story, it's beautifully balanced screenplay and sheer class. Tom McCarthy's direction has all the class and professionalism that 'Spotlight' needed.

Other strengths are the way it's filmed, it's very atmospheric and evocative in its detail and the cinematography is gritty and ravishing. The music fits beautifully, 'Spotlight's' script and story are engrossing and quietly intelligent and the characters are written compellingly.

Acting is excellent across the board. Both Mark Ruffalo and Rachel McAdams give career-best performances worthy of award recognition, particularly Ruffalo. Michael Keaton's performances here and in the previous year's 'Birdman' are his best in years, a very commanding turn. Brian D'Arcy James are up to their level.

Overall, a riveting and brave film that does wonders with a difficult subject matter. 10/10 Bethany Cox

There were a lot of things that were excellent about this movie, like the cinematography and the performances, though it isn't as good as the first film. Michael Keaten is suitably brooding as the Dark Knight, better than George Clooney in Batman and Robin (considered as the worst out the franchise)though he is overshadowed by the villains, namely Danny DeVito as the Penguin, who looked as though he was having a ball, and brought a sense of sadness and grotesquesness to the role. Christopher Walken was effective also as Max Schrek. Stealing the show, with her flawless delivery of not-so special lines, is Michelle Pfeiffer as the sexy and manipulative Catwoman. The film looks lovely, with the sets and effects, and Tim Burton directs with detail. However the film does drag, and while there are some intelligent lines from the villains, the script could have been developed a little more. All in all, a dark and entertaining film. Whereas Batman Forever is funnier and more fast paced, Batman Returns is darker, but just lacks the sophistication of the first film. 8/10 Bethany Cox.

The only reason why I didn't give this a 10, was that the film itself is a bit too long. But putting that discrepancy aside, this is still a solid and sophisticated film, that is undoubtedly one of Tim Burton's better film efforts along with Edward Scissorhands and Corpse Bride.

The cinematography was spellbinding. The view of Gotham City from the air was brilliantly shot and very well realised. The music by Danny Elfman perfectly matched the cinematography, as that was outstanding. I also liked the mixture of darkness and tragedy wrought into the characters, as is so typical of Burton.

As for the acting, that was equally outstanding. I couldn't think of a better cast for this type of film. Michael Keaten was suitably brooding as Batman, and Kim Basinger matched him wonderfully in an innocent but sophisticated role as Vicki Vale. However, it is Jack Nicolson's mind-blowing performance as the rather sadistic joker that holds this film together. If I have to decide who was better as the joker between Jack Nicolson and Heath Ledger, it would be an extremely close call, but Jack Nicolson for me. He was both scary and comical, which reminded me of Tim Curry's(who was 2nd choice for the role of the Joker) Pennywise in It.

The direction by Burton was tight, and he assured us that the high-tension of this film rarely slipped. In conclusion, a must-see if you love sophisticated and dark films, with a touch of edge, because this film has plenty of that. 9.5/10 Bethany Cox

Just for the record I happen to love all three films. For a Few Dollard More is an amazing film though perhaps not as influential as The Good, The Bad and The Ugly. There is one improvement over that film though, and that is the writing of Clint Eastwood's character, more developed and more compelling. A Fistful of Dollars is also great because of everything that makes TGTBATU and FAFDM so good, but I do consider the other two more influential on the genre and also Akira Kurosawa's Yojimbo, which used the film as its inspiration, to be the superior film. Back to A Few Dollars More, the stylised visuals are stunning to look at, the scenery is the very definition of epic and the cinematography sweeps. Ennio Morricone's score is both elegiac and operatic in tone and the story of greed and revenge that focuses mainly on the pursuit of bandit Indio draws you right in and never lets go. The dialogue is peppered with grit and dark humour, which is well-balanced with neither over-powering the other, while Leone's direction is superb. Clint Eastwood plays his more developed character with immense charisma, Lee Van Cleef is suitably vengeful and again Gian Maria Volonte snarls convincingly. Overall, a wonderful film. 10/10 Bethany Cox

Not only that but one of the best of the western genre. Unforgiven is simply brilliant. Clint Eastwood's direction is superb, and he is also exemplary in a suitably world-weary role. There is also some brilliant support playing, not only from Morgan Freeman and Richard Harris, but also especially from Gene Hackman.

Unforgiven is also beautifully shot. The cinematography is wonderfully dark and autumnal, and the scenery and production values are breathtaking. The story is ceaselessly compelling and while Eastwood clearly dedicated the film to the likes of Sergio Leone, he replaces brutality with a greater emphasis on character and cause and effect, and doing that Eastwood successfully redefines the genre.

There is also a wonderful script that does a fine job giving credibility to the characters. All in all, this film is brilliant. 10/10 Bethany Cox

Although I have not seen all his films, I have yet to see a Sergio Leone film I hate. The movies I have seen of his are visually gorgeous with superb scores and interesting stories and characters. Once Upon a Time in the West is no exception. It is long and slow, but I think the film was deliberately paced like that.

Once Upon a Time in the West does take a lot of risks, including improvising the action around the score's moods. This was a risk that paid off. The story is rich and compelling and the dialogue is thought provoking and beautifully written. Leone also proved what a fine director he was by directing so wonderfully on this film.

The characters are great and quite complex, and are further advantaged by being wonderfully portrayed. There is the brutish gunfighter, the beautiful widow, the mysterious harmonica player and the sympathetic outlaw. Henry Fonda particularly does brilliantly in the role of Frank. The visuals once again are exquisite and quite grandiose in its scope and beauty, while Ennio Morricone's wonderfully operatic-like score fully justifies why he is considered one of the all-time great film composers.

All in all, a big and bold western and one unlike any other. It also took risks, ones which could have gone horribly wrong but due to the evident work and care of all involved, they paid off. 10/10 Bethany Cox

Well what do you know? Another amazing movie from Sergio Leone. The Good, The Bad and the Ugly has so much good about it, and quintessentially it is one of the best westerns ever made. There may be nothing new about the story at first glance, but that's the point, Leone is paying homage to the Hollywood western, and despite the initial simplicity there is also a complexity mainly in the film's characters. Regardless of whether simple or complex it is, The Good, The Bad and the Ugly does have a compelling and brilliantly written story.

But there are other assets that make The Good, The Bad and the Ugly so good. The dialogue is always excellent, while Leone's direction is superb once again. The characters are great and are superbly played. Clint Eastwood gives one of his best performances ever here, and Eli Wallach is perfectly cast and more than a match for him. I was also very impressed with Lee Van Cleef, who I recognised from High Noon and such, but he makes a bigger impression here. The Good, The Bad and the Ugly is also the most violent of the trilogy, and one of the most violent of the genre, not a bad thing whatsoever.

The pace was spot on too, even though the film is nearly three hours long, it is never boring or dull. The best things though about The Good, The Bad and the Ugly are the visuals and Ennio Morricone's score. The film looks amazing, the cinematography is gorgeous and the sweeping images and scenery are very lovingly crafted. Morricone's score is even more impressive than that, it is simply one of the best film scores I've ever heard, and if I had to say which was Morricone's best score, I would immediately say this.

Overall, there is nothing bad or ugly about the film. The film is amazing. 10/10 Bethany Cox