My 10 favourite acting performances of 2018

In terms of my affinity for the films represented here, it's quite a mixed bag, with 60% of the films present being in my top 10 of 2018, but 2 of them being movies I actively disliked (Hereditary and Thoroughbreds). 

But, when watching a film, even if I'm not enjoying the experience, I try to focus on the redeeming qualities in it, which is why two films I didn't like are making appearances: because they contained eye-catching and impressive performances from their talented stars.

10. Jesse Plemons, Game Night

10 Most Attractive Women in a 2019 Film

Hey readers, hope you're all well and not going stir-crazy due to the lockdown!

I've decided to make lemonade out of lemons, and use this mandated stay-at-home period to spend more time blogging, something which I have done embarrassingly little of in 2020.

Thus, what better way to get back into it than by compiling one of this blog's yearly staples: most attractive women in a 20XX film?

Here is 2018's list, and as has become my habit, I will record next to each lady whether she was present in the previous year's list, or if she is a recent obsession!

10. Lili Reinhart, Hustlers (new entrant)

10 Most Attractive Women in a 2018 film

Previous years' eye candies, if you want to inspect my taste! The only constraint on the list is that it has to be someone from a film I've actually watched.

10. Alexandra Shipp, Love, Simon (new entrant)

10 Prettiest Ladies in a 2009 Film

My archives of eye candy lists by year are here, if you want to inspect my taste in guys and gals holistically!

10. Léa Seydoux, Inglourious Basterds 

09. Anna Kendrick, Up in the Air

Film review: REPEAT PERFORMANCE (Alfred L. Werker, 1947)

Just before the turn of the New Year of 1947, renowned stage actress Sheila Page (Joan Leslie) shoots her emotionally abusive husband Barney, having reached her limit regarding his philandering and alcoholism. She regrets it immediately, wishing for the opportunity to go back in time to avoid making this mistake. Miraculously, as the clock chimes midnight, her wish is granted, and she finds she has been transported back to the beginning of 1946.

Alfred L. Werker’s drama plays like a blend of It’s a Wonderful Life with Groundhog Day, via the well-known trope of errant husbands. There is no doubt of the protagonist’s devotion to her cheating husband, even if, like Bette Davis’ character in Of Human Bondage, he doesn’t display any qualities that merit such love.

Despite Barney being a total cad, it is revealed that he, a playwright, gave Sheila her first big break as an actress, and thus, her patience towards him is heavily inflected with gratitude. But as her close friend William notes, ‘You can’t feel grateful to him forever. That’s going to wear thin at some point’.

Whilst Sheila’s success as an actress is part of the reason why she loves him so much, it’s precisely this why Barney’s so embittered towards her. Just as his play was the springboard for Sheila’s career, it was also the last good thing he produced, and watching his wife thrive whilst his own career stagnates fomented increasing feelings of bitterness towards her.

10 Most Attractive Ladies in a 2010 Film

The prettiest ladies in a 2011 film list, here. As ever, the list is constrained to only movies I've watched.

10. Ellen Page, Inception

I think Christopher Nolan is partial to actors and actresses with brown hair, but I'm not sure... Incidentally, I think 'Ariadne', Page's character, is the only well-written female in a Chris Nolan film. (This is partly why Dunkirk was so good; there were no women in it for him to invent just to kill off).

Oscar nomination predictions, 2018.

The Oscar nominations come out tomorrow, and, as movie award commentary is one of the chief functions of my blog, I thought I’d predict them! The rankings are from most to least likely.

Saoirse Ronan and Beanie Feldstein (Jonah Hill's sister!) in Lady Bird

Best Film
01. The Shape of Water
02. Three Billboards Outside Ebbing, Missouri
03. Get Out
04. Dunkirk
05. Lady Bird
06. Call Me By Your Name
07. The Post

I forsee there being 7 nominees in Best Picture, but with the expanded Best Pic facilitating as many as 10 nominees, the extra predictions, should there be that many nominees...
08. Phantom Thread
09. The Florida Project
10. I, Tonya

I, Tonya has been performing very well with the Guilds (nominations for Producers Guild, at the WGA and Editing), but I'm hoping that what is ultimately a morally bankrupt movie which makes light of a woman complicit in her opponent having her kneecaps smashed in doesn't get enough #1 votes to make the Best Film shortlist!

10 Fittest Women in Film, 2012.

I'm off to New York for five nights later, but before I left, thought I'd give a list of the prettiest women in a 2012 film (that I've seen), as 2012 was a very decent year for female eye candy!

10. Kristen Stewart, Snow White and the Huntsman (new entrant)

Shade on the Orient Express.

Matthew Norman of the Evening Standard found Daisy Ridley's performance in Murder on the Orient Express forgettable. So much so, that he misidentifies her as another Star Wars actress:

This is a pretty egregious mistake, that any film critic worth their salt should not be making!

My 10 favourite performances of 2016.

I've done the trash performances list, now for the good eggs!

10. Emily Blunt, The Girl on the Train

Clown music film is clown music, but Emily Blunt really deserves a shout-out on this list, for working her ass off in The Girl on the Train. Her unvain performance as a pathetic alcoholic was spot-on. 

Bit rich of Scarlett Johansson.

I won one month's access to an app that allows me to read various magazines on my phone from McDonald's Monopoly, which has provided a satisfactory companion for my commutes.

I was browsing one of the magazines when I saw this quote from ScarJo:

Saying we need to support other women sounds very nice in principle but I didn't see her doing as much when she stole a role from an east Asian for Ghost in the Shell. GitS underperforming at the US Box Office is apt karma for such brazen whitewashing, if you ask me.

I am so sick of:

a) Hollywood actresses stealing roles from east Asian actresses who struggle with visibility in film enough as it is (ScarJo, Emma Stone, Tilda Swinton), and 

b) white feminists who purport to care about equal rights for women, when all they care about is equal rights for themselves (Jennifer Lawrence, ScarJo, Emma Stone, Emma Watson, Chloë Grace Moretz, Lena Dunham, Amy Schumer, the list is endless). 

These women would trample over women of colour in a heartbeat if it meant progressing their own (already thriving) careers, yet still want the crown of being ~all inclusive~.

Fuck that.

10 Fittest Ladies in Film, 2014.

Happy Hump Day! Here be a previous post in the series. I post male and female lists alternately, every Wednesday.

10. Nina Dobrev, Let’s Be Cops

Film review: CERTAIN WOMEN (Kelly Reichardt, 2016)

Certain Women is a triptych of stories about three women living in Montana, whose lives are peripherally connected. In the first instalment, lawyer Laura (Laura Dern) struggles to get through to a stubborn client, who later takes another character hostage in order to get what he wants. In the middle segment, Gina (Michelle Williams) and her husband try to build a house together, the procurement of sandstone for which betrays some fundamental fissures in their marriage. And in the final story arc, a nameless ranch hand (Lily Gladstone) attends an evening class taught by Beth (Kristen Stewart), and develops a crush on her teacher.

Relative unknown Lily Gladstone, who has been picking up various critics’ awards for her beautiful performance as the rancher, is easily the film’s MVP, and consequently, her section of the film was my favourite. In another universe, where independent films could afford to distribute screeners for the Oscars (and Oscars were actually awarded on merit), she’d be a shoo-in for a nomination for Best Supporting Actress. The majority of her character’s feelings are illustrated through her face rather than words and her big brown eyes convey a lifetime of longing for human company. It's a mesmerizingly moving performance, all the more poignant for its artlessness.

Interestingly, in Maile Meloy's short story collection from which this segment was adapted, the character Gladstone played was a man. But it’s a curiously gender-fluid role, and a sign of cinema graduating with the times, that Reichardt successfully adapted the character to be female in her film. In fact, the besotted way in which Gladstone gazes at Stewart was hauntingly reminiscent of the loving look Jesse Eisenberg gives the same actress in Café Society, as well as the way Emory Cohen looks at Saoirse Ronan in Brooklyn. Both actors gave fine portrayals of men in love, but in witnessing the unguarded yearning in Gladstone's eyes, and knowing that the object doesn't feel the same way, filled me with more pathos than watching the guys did.

Michelle Williams cements her reputation as one of the best actresses of her generation as a hardworking and under-appreciated wife and mother. As with her most powerful scenes in Brokeback Mountain, Williams makes excellent use of body language to convey a mountain of resentment at her slack husband. Michelle Williams, Laura Dern and Kristen Stewart all impressively shed their natural grace and beauty to inhabit far more ordinary characters, without the de-glamorisation process feeling too ‘awards-begging’.

The fact that the actresses so convincingly slip into their run-down roles make the human interactions which they are implicated in the more urgent, even if the register of the film never reaches a dramatic crescendo. In Certain Women, there are 'good' or 'evil' characters, epitomised in the first part, where the disgruntled client who entangles Laura in a hostage situation, it transpires, really was screwed over by his previous company, and feels he has nowhere left to turn. Such scenes are reflective of the real world, where there are no easy answers, and people can only try to make the best of bad situations.

Essentially, Kelly Reichardt's understated, intelligent film makes like that Beyoncé lyric; "Who run the world? Girls." Except in her celebration of the minutiae, she illustrates that while certain women don’t make a song and dance about their actions or their consequences, it doesn’t render them any less profound.

8/10

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If you enjoyed this review, feel free to check out my other reviews here. Certain Women hits UK cinemas on the 3rd March 2017.

Film review: HOUSEBOAT (Melville Shavelson, 1958)

This review is my entry to Phyllis Loves Classic Movies’s fabulous Cary Grant blogathon, where every entry is a celebration of the man’s varied and illustrious CV. Head on over there to read about all the films he’s been in!

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Tom Winston (Grant), a recently widowed father of three young kids, and Cinzia Zaccardi (Sophia Loren), the aristocratic daughter of an Italian count who plays childminder to the kids, find unlikely love (and a whole lot of miscommunication) in Melville Shavelson’s gentle 50s comedy.

A look ahead: CHECK THE GATE season at the PRINCE CHARLES CINEMA.

I absolutely adore the Prince Charles Cinema. I bought a lifetime membership (a bargain for just £50) back in 2014 and celebrated on the day by watching Richard Linklater's Boyhood. Since then, I have regularly given this delightful cinema my patronage, whether it be to see Francois Ozon's gender-bending The New Girlfriend, or their incredible Frozen singalongs, where I can unleash my inner Disney Princess with impunity. One of my chief lamentations about holding a Cineworld Unlimited card was how few independent films these cinemas screened, and a Prince Charles Cinema membership is an ideal panacea for that problem: for just a few quid, you can watch wonderful lesser-known movies (old and new) in an institution of London steeped in rich history.

Which is why I'm insanely excited about the upcoming Check the Gate: A Celluloid Celebration event at the Princes Charles Cinema, lasting between today, 9th July, until 20th August.

Casting my eye over the itinerary of films, some titles in particular that caught my attention are  Ridley Scott's unforgettable road trip movie Thelma and Louise (the last film to attain two Oscar nominations in the Best Actress category. Although if the Weinsteins hadn't tried to force Rooney Mara to commit category fraud, Carol might have attained such a feat, but that's a rant for another day), Nicholas Ray's iconic In a Lonely Place (which I raved about when I first watched), Paul Thomas Anderson's affecting patchwork quilt Magnolia (famed for, amongst other things, the frogs from the sky sequence), and a gripping film-noir and the picture which resurrected Joan Crawford's career - as well as won her an Oscar, Mildred Pierce. 

But these are just some of the few eye-wateringly exciting titles listed, check out the link above and you're bound to find a title that either you love, or have always wanted to see. The season opens tonight at 8:30pm with Francis Ford Coppola's Apocalypse Now, which I have watched on TV many a time, but never on the big screen. Just picturing the lights dim, the huge screen and the Prince Charles Cinema speakers blasting out Wagner's Ride of the Valkyries is epic. In fact, I'm pretty certain that once you've watched Apocalypse Now in the cinema - as it Coppola intended it to be seen - the thought of viewing it again on a small TV? The horror, the horror.

Ticket prices are extremely reasonable and as ever, there's a generous discount for members (honestly, for £50 to become a lifetime member, the membership pays for itself). I will definitely be making the most of the eclectic menu of movies (the selection was curated by, amongst others, The Telepraph's Tim Robey and Time Out's Tom Huddleston) and frequenting the PCC over Summer.

Hope to see you there!

Continuing with the tradition of watching bad movies with my queen in...

Two can keep a secret, if one of them is dead.

Pretty Little Liars is the latest American teenage drama to captivate me and give me something to look forward to on a Tuesday morning. 

Based on Sara Shepard's unflinching teen novels of the same title, it revolves around four girls: Hanna Marin (Ashley Benson), former 'fatty'-turned-it-girl; Emily Fields (Shay Mitchell), a competitive swimmer who’s harbouring her feelings for her friend Maya due to her strict conservative parents; Spencer Hastings (Troian Bellisario), a high-achiever who feels the need to compete with her catty older sister for everything; and Aria Montgomery (Lucy Hale), who returns from a year abroad in Iceland only to fall for the dishy Ezra Fitz, who is soon revealed to be her English teacher. 

Obligatory "I wish I were a hundredth the epicness of this woman" post.

Goddess.

That is all.

Film review: THE DIARY OF A CHAMBERMAID (Luis Buñuel, 1964)

"She's more than just a servant, she's a rarity among women" is noted of Jeanne Moreau's Céléstine, a Parisian maid who comes to work for the eccentric Normandy family conprising of Monsieur Rabour, his daughter Madame Monteil and her husband Monsieur Rabour. 

She soon discovers the traits of each family member, from Monsieur Rabour's predilection for women in boots (and seeing them walk in said boots), to Monsier Monteil's womanizing with the maids, resulting from his wife finding sex too painful, and thus not enjoying it.

I'm halfway through my Luis Buñuel marathon and so far, not one of his films haven't revolved around, or at least had as an integral factor of it, sex. Le journal d'une femme de chambre is no different. Adapted from Jean Renoir's 1946 version, Buñuel and long time writing partner Jean-Claude Carrière clearly have a great time writing the dialogue for this film. 

Monsieur Rabour, in trying to deny his feelings of attractions for Céléstine, reasons more himself, than his wife, "She's from Paris. Who knows what diseases she has?". Ironically, when he later throws himself at her, she gets out of sleeping him by dodging him and exclaiming "I've got symphilis!". It's this combination of crude sex jokes and laugh-out-loud visual comedy (including a clumsy priest trying to kick a door down) that really brings out the humour as well as sexual politics in 30s French society.

However, Le journal d'une femme de chambre isn't principally a comedy. It's rather difficult to pinpoint exactly what genre it is, for, half way through the film, after 45 or so minutes of amusing vignettes, things turn sour when, just after she has quit her job due to the master of the house dying, it is revealed that someone else has died - Little Claire, the girl that Céléstine grew to care for. And not only that, she was raped and murdered. 

Céléstine, suspecting her fellow servant Joseph, an unrefined and fascist so-and-so of being the perpetrator, regains her post and seduces him in an attempt to get a confession out of him. And, once again, we re-enter a world where, as with Belle de jour and That Obscure Object of Affection, women must rely on their "other gifts" to get through in life.

As Céléstine Jeanne Moreau is a revelation. She was 36 when the film was made and, despite her skin looking a bit craggy, she is still very beautiful, her brunette hair tidy and stylish and her wide eyes watching carefully as she enters the microcosm of the French bourgeoisie, taking everything in unflinchingly. She's a strong, brave lady who believes that the ends justifies the means and isn't afraid to stick up for herself, no matter what the class/gender/wealth of the person who challenges her, and Moreau embodies the brave, ahead of her time character of Céléstine perfectly. 

As is now standard of Mr. Buñuel's films, the women come out a lot better than the men do - the man on the house, out of frustation of "only" being able to shag his supposedly frigid wife twice a week, fooled about with one of his ex-maids, and as such, had to pay her off 1500 Francs once she's knocked up. 

Céléstine refuses to give it up quite as easily.

Four out of the eight Luis Buñuel DVDs watched, and I'm still yet to find a stinker. Le journal d'une femme de chambre is far, far away from being a stinker - it's a deliciously witty attack on Western society that is as post-modern as it gets, and centres around one of the sassiest and most intriguing women in cinema. An absolute must.

8.5/10