Reviews by Kyle Ellis

'Catch Me if You Can' has such a talented cast, the true story is a fascinating one and while Steven Spielberg is an inconsistent director he was a big childhood influence and he has proved several times that he is capable of masterpieces of iconic status.

While 'Catch Me if You Can' is not quite one of Spielberg's best films (in a list that sees the likes of 'Schindler's List', 'Jaws', 'Raiders of the Lost Ark' and 'ET'), it is one of his better later films, for me that's since 'Schindler's List'. There are occasional lapses into overly-sentimental schmaltz with the depiction of Abagnale's family life, not the first or last time with Spielberg and a long way from the worst case, but that is the one fault that was had for me.

Spielberg directs impeccably, both in visual style and dramatic momentum, a directorial job that just screams of pure class. 'Catch Me if You Can' further benefits from as always beautiful cinematography from Janusz Kaminski and 60s period detail that not only looks sumptuously handsome but also evocative to make one think that it is more than just a film with a 60s setting.

John Williams' score is not one of his best or most memorable, but still fits really well and has the right amount of slick jazziness, whimsy and understated pathos without over-emphasising (over-emphasis was the reason why his score for 'Amistad' was a rare misfire from him). The story takes a fascinating story and makes a ceaselessly engrossing film out of it, from the ingenious opening credits sequence to the heartfelt ending, the film is long but never feels it.

This is further helped by a script that has a deft mix of genuinely funny comedy, poignant emotional moments and nail-biting suspense. The characters are intriguing. Can't praise the performances enough. Leonardo DiCaprio is movie star charisma personified, and brings wit, larceny and charm to a character that is a true crook in every sense but it is easy to see why one would fall for his actions.

It is easy to overlook Tom Hanks, due to the role being not as colourful or as showy, but he brings charismatic command, generosity and doggedness in a role that could have been really bland and annoying in lesser hands. Of a sterling supporting cast, Christopher Walken is especially superb, particularly in the latter parts of the film as his life is ruined. Martin Sheen and Amy Adams are memorable, and Nathalie Bye solid.

Overall, even if 'Catch Me if You Can' is not one of Spielberg's masterpieces it is one of his better later films and one of his most purely enjoyable ones. Well worth catching. 9/10 Bethany Cox

Despite not being an auto racing fan, the stories of the rivalry between James Hunt and Niki Lauda and Lauda's accident are well known and on research was big news in the 70s.

'Rush' did seem intriguing, Ron Howard has done some good work in the past and my sister and her boyfriend absolutely raving about it. However having no knowledge of auto racing and having never found it my cup of tea there was a touch of intrepidation. As well as the worry as to whether there was going to be any bias and whether it was going to stray from the facts. After watching 'Rush', this viewer is so glad that she gave it a chance because it was a gripping and entertaining film from start to finish, and quite easily Howard's best work in some time.

Some occasional rushed pacing and some weak dialogue, that lacked flow, sounded awkward and stuck out like a sore thumb against everything else that was done to such a professional level, were the only drawbacks to overall one of 2013's better films. The time period is very evocatively depicted, there is a real sense of time and place, there is wonderful vibrant colour throughout, the editing is slick, clever and gives the race scenes the thrills they need and the photography is similarly audaciously slick and like the cinematographer was part of the action itself, especially good in the climactic Japanese race sequence. Hans Zimmer's score is not his best work by all means, but it went with the racing theme remarkably well and does capture the mid-70s time period and the atmosphere of the sport to such great effect (again the final race in Japan stood out). The sound effects also help, having a real authenticity.

For a film about auto racing, one does have to talk about how 'Rush' deals with the race sequences. The good news is that they are absolutely thrilling and keeps one to the edge of their seat, while all of them are brilliantly done, showing how glamorous and also dangerous the sport is (not many sports films I've seen have properly and fully captured the spirit of the sport it's portraying in the way Rush did) the highlight is the climactic Japanese race, which was both exhilarating and moving (masterful if having to sum it up in one word). Howard not only depicts the mid- 70s as if the viewer were transported back in time and part of the period (such was the evocativeness of the atmosphere) and adopts a visual style that never looks cheap and as said like the cinematographer was there part of the action, but he shows here that he knows how to tell a story. The storytelling is always compelling, thoughtful, informative and thrilling with a surprising amount of emotional impact, found myself really identifying with Lauda.

The film is faithful to the facts, the rivalry between Hunt and Lauda is genuinely engaging and are shown a lot of respect and dimension here. Neirher Hunt or Lauda are one-dimensional here and, although Lauda is the more sympathetically drawn of the two, one does not takes sides with one or the other. It also is tightly paced and assured, never getting bogged down in too much back story, too much soap- opera, too much sentimentality or technical jargon/minutiae (that would likely have gone over the heads of first-time viewers or non-fans of the sport). All the supporting performances are well-done, though some with not much to do, with Olivia Wilde and Christian McKay faring the strongest.

It is however the two leads that carry 'Rush' cast wise, both of them as close to perfect as one can get. Daniel Brühl gives Niki Lauda a real brooding intensity and genuine poignancy, making it very easy to feel sorry for him, while swaggering Chris Hemsworth has never been better as Hunt.

All in all, a gripping and hugely entertaining film. Has its imperfections but they are far outweighed by the number of things 'Rush' does right. 9/10 Bethany Cox

ET:The Extra Terrestrial is one of Steven Spielberg's better movies, funny, touching and just wonderful. It not only entertains very young children and their parents but it reaches out to the child within us, that is something I want to feel when I watch a movie from my childhood. I love films like Beauty and the Beast, The Wizard of Oz, Mary Poppins and The NeverEnding Story for exactly that reason. The film is beautifully filmed, with breathtaking cinematography and beautiful scenery. The scene with ET and Elliot on the bicycle is just an amazing scene, I think John Williams's amazing score is to thank for that. The special effects are excellent, and the script is funny and touching. There is one sight gag with ET hiding among Elliot's stuffed animal toys that warms my heart every time. The acting is very good, with Henry Thomas appealing as Elliot and Dee Wallace sincere and sensitive as the mother. I also loved Drew Barrymore as the sassy and big-mouthed sister. What makes this film though is ET himself, even with his large eyes and long arms for an alien ET is adorable, sad and sweet. The part when Elliot cries when ET is dying is a real tearjerker, it kills me every time I see this film. Overall, I love this film, it is so special and delightful. 10/10 Bethany Cox

I like and respect Stanley Kubrick, and feel that along with 2001, Dr Strangelove, Full Metal Jacket and Barry Lyndon, A Clockwork Orange is one of his best films. It is probably Kubrick's most controversial film, but it is also one of his most fascinating at the same time. It is the sort of movie that you need to see more than once though, I didn't think much of it first time I love it and appreciate it much more now for what it set out to do.

A Clockwork Orange is a shocking film I give you that, particularly with the rape and sadistic ultra-violence in the first half, and the scenes where Alex is being brainwashed do bring forth ambiguous messages. Still, like with the rest of Kubrick's work it is very well made, has a haunting soundtrack that fits wonderfully with the tone of the film(especially loved the use of the Beethoven), superb writing and direction from Kubrick and a compelling story that evokes thought afterword complete with a purposefully unrepentent ending. Also Malcolm McDowell is absolutely superb in what I consider the performance of his career.

In conclusion, very fascinating film. 10/10 Bethany Cox

Dirty Dancing is an excellent movie. No, it isn't perfect, but it is solid entertainment for those into dancing. There are two flaws with the film. The script is not the best script in the world, to be honest, there are some clichés. Also, as much as Cynthia Rhodes puts a lot of energy into the dance routines, her acting isn't as good unfortunately.

However, putting those minor discrepancies aside, the highlights are the jaw-dropping if rather erotic dance routines and the ever-popular soundtrack. The famous lift in the best dance of the film is very hard to do properly, and as far as I'm aware, it was very well-done. The soundtrack isn't like Charlie's Angels or anything similar to that, where the songs get too much. If anything, they capture the feel-good nature of the film perfectly.

Now for the performances. I have already mentioned Cynthia Rhodes, but I thought that Patrick Swayze and Jennifer Grey gave the roles of their careers in Dirty Dancing. Their partnership was like Torvill and Dean on ice, unquestionably brilliant. Jerry Orbach gives a wonderful performance also as the earnest Jake Housemann.

In conclusion, with a couple of minor flaws, Dirty Dancing is a treat, for those into dancing.8/10. Bethany Cox

Having just gotten back from seeing 'La La Land', with a rare day off music college, it came to me that it was one of the best new release/first viewings for me in a while.

Very few films in recent memory has left me leave the cinema with my heart properly warmed, a beaming smile on my face, tears in my eyes, feeling uplifted and properly moved. 'La La Land' however has managed that feat. Would also go further to say that it is one of the best modern film musicals after Disney's Renaissance period in the 90s, and very much a modern classic. Am not surprised at all its award wins and nominations (including being a record breaker at the Golden Globes), and if it does well at the Oscars as well there will be no complaints from me.

'La La Land' clicked with me most likely because of my love for golden age Hollywood, musicals (a somewhat maligned genre these days, but while there are a fair share of not particularly good ones there are a bigger number of great ones and even masterpieces), and how it fondly reminded me of what makes me love them so much. Also because of being able to relate to its themes and conflicts, due to being there myself. The talent was also appetising, starring Ryan Gosling and Emma Stone, directed by 'Whiplash's' Damien Chazelle and featuring cameo support from JK Simmons (who coincidentally won a Best Supporting Actor Oscar for 'Whiplash), John Legend and Rosemarie DeWitt.

It was just sheer joy to see a film with so much potential deliver on that potential and even more so, having seen a lot of stuff recently film and TV that wasted their potential it was refreshing to see a film actually delivering on it.

Visually, 'La La Land' is a gorgeous-looking film, with lots of vibrant colour that leap out at you from the screen while not having too much of a dizzying effect and cinematography that's not just a dream to behold but inventively done without falling into self-indulgent territory. The music and songs may induce, and has induced, mixed reactions, count me in as somebody who found the songs infectious, emotion-filled and with enough to make one top-tap and hum along.

The musical numbers are winningly choreographed too with non-stop exuberance. The opening number is especially true to this. The script is warm, funny, affectionate and poignant, and also with an honesty. It's not a complex script, nor did it need to be, and neither does it make the mistake of being too simple. The story is admittedly slight in places, then again so were the stories of even the best golden age musicals and they still managed to be classics because of how everything else was executed and because of the atmosphere.

Something that is true with 'La La Land', a film where anybody can relate to its themes. Even more special though is that not only does it pay tribute to musicals and films of the golden age (especially those with MGM), with their bold colour, exuberant marriage of music and dance, it also has a winsomeness and melancholic nature seen in films like 'The Umbrellas of Cherbourg' yet does it in a way that will appeal hugely to modern audiences. Loved that the two leads' relationship and chemistry was much more complex than the love-at-first-sight sort (far from it, more antagonists turned lovers) with a meet cute first encounter (again also not a case).

Chazelle's direction shows someone with a sheer love for film and film-making, more than evident in execution that is affectionate and full-of-life rather than self-indulgent. The chemistry between the two leads and their performances would need to be good to make the film work. No worries there. Ryan Gosling and Emma Stone look so natural and at ease together, nothing looks false and it is easy to root for them and their conflicts.

Both of them give terrific performances, performances so good that less than great singing was immediately forgotten about. Especially Stone who has never been better in a performance of great expressivity and nuance, so many emotions such as vulnerability, strength, cheekiness, charm and buoyancy with never a hint of a heavy-handed touch. Gosling matches her, if not quite as good, showing a very charismatic presence and an effortless twinkling charm. All the support, although basically cameos, registers memorably.

All in all, a dream come true and totally banishes any blues and daily troubles away. 10/10 Bethany Cox

Had heard nothing but great things about this latest 'A Star is Born' film, with even my own sister saying it was a must see. There was also the interest to see how Lady Gaga would fare in her acting debut and how Bradley Cooper would fare as first-time director. Decided to see it when taking a break from practise with nothing else better to do, going in with very high expectations, as part of my "seeing as many 2018 films as possible" quest.

This is not the only, or first, 'A Star is Born' film. There is one from 1937 with Mitzi Gaynor and Fredric March, my personal favourite. There is one from 1954, the most famous, which is overlong but does contain Judy Garland's best ever performance and terrific songs (especially the heart-wrenching "The Man That Got Away"), love James Mason in it too. There is the 1976 film with Barbra Streisand, personally don't care for it but Streisand sings beautifully and "Evergreen" is to die for.

As far as the versions of 'A Star is Born' goes, this one from 2018 compares extremely favourably. Not quite as good as the 1937 film, but on the same level as 1954 and better than 1976. May not love it as much as others, but the appeal is justified and the acclaim is deserved from my personal perspective. In terms of films from 2018, 'A Star is Born' is among the better ones.

It's not perfect. A few story elements are a touch rushed and lack credibility, like Ally getting stage spotlight in such a short space of time, and occasionally it's a little on-the-nose like the making Ally glitzier advice from Rez.

The final act also could have been tightened, slightly too padded and dragged out.

What 'A Star is Born' does so well is taking a familiar story and making it still fresh and relatable. It's always entertaining and glamorous yet the love story is every bit as important, and even more so, and is both charming and emotionally impactful. Everything about 'A Star is Born' is slick, endlessly entertaining and with lots of heart and surprising poignancy, also had the experience of not a dry eye being in the auditorium with tears silently rolling with me.

Visually, it's very eye catching and sumptuously made, beautifully shot with lots of glitzy glamour and style. Loved the songs, none are quite on the same level as "The Man That Got Away" and "Evergreen" but they are extremely well written, easy to remember, have a wide range of emotions, are very well sung and staged, are integrated beautifully integrated into the story, some moving the story forward or telling it through the song rather than being a grinding things to a halt distraction. "I'll Never Love Again" and "Shallow" stand out.

Dialogue has wit and heart and the story shines particularly in the first third. Cannot say anything bad about the performances, with Lady Gaga providing a contender for the most surprising performances of the year in a quite outstanding acting debut (her singing is also absolutely great of course), a star is born indeed. Bradley Cooper gives one of his best performances as a charismatic and charming yet conflicted leading man, do not associate him with musicals and worried as to whether he would fit but it fits him like a glove. He too directs for the first time, and it is hard to believe that a directing job this slick and audacious was only his debut, really do disagree about his contributions being a vanity project with so much effort being put into everything. There is fine support from particularly Sam Elliott and the chemistry between the two leads is wholly believable.

Altogether, very, very good and often splendid. 8/10 Bethany Cox

I heard a lot of promising things about The Social Network. And you know what, I agree with the positivity this film has received, for it is my idea of a modern classic. With an intriguing concept, it is for me one of the defining films I have seen recently, one of the best movies of 2010 and relevant in its themes of greed, betrayal, class tension, friendship and loyalty and concept.

Production-values-wise, The Social Network looks wonderful. The cinematography is incredibly skillful, and the editing is crisp. In fact, I'd sure The Social Network is director David Fincher's most stylish film since Se7en. I have heard a lot of mixed feelings on the score, while it is not my favourite of the year not like Toy Story 3, King's Speech and Inception, The Social Network's brooding, smooth and quite sexy score is very memorable and fits well with the film's occasionally quirky tone.

The Social Network is very well directed too. Fincher directs with an intensity and focus that makes The Social Network tied with Se7en as the best of his movies in my opinion. Another strong point is the screenplay which is very smart and sharp, while the story making the most of this intriguing concept is constantly snappy and engaging.

Also, all the characters are very well written and assembled, for me they are among the best-written characters in a Fincher movie. It also helps that the acting is as impeccable as it is. Jesse Eisenberg is very commanding as the titular character in a subtle sort of way, while Andrew Garfield also impresses as the "voice of reason" character. I was surprised in a good way by Justin Timberlake, while the weakest of the three leads, he does have a cocksure swagger here that he actually pulls off really well.

In conclusion, a wonderful film and one of the best of the year. 10/10 Bethany Cox