With her directorial debut (the wry wit and emotional potency of Greta Gerwig’s previous work came even sharper into focus – telling a beautifully nuanced coming-of-age story about mothers), daughters, and the hometowns you yearn to leave, only for them to be truly appreciated in the rear-view mirror. It’s excoriating, often uncomfortable to watch, but frequently breathtaking too – those boxing scenes are some of the most immense ever put to screen, hitting with all the power of a punch to the face. Serene and seething in equal measure, Jane Campion’s Palme d’Or-winning drama remains as enigmatic and engrossing as the day it arrived on our shores. Brutal violence meets brutal satire, in a film which presents itself as a well-dressed slasher, but at its heart is a savage takedown of ‘80s consumerism, conformity, and the raging male ego. Bill Murray is at the height of his , eventually, lovable schmuck powers as narcissistic weatherman Phil Connors.
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At once an arthouse drama and a commercial blockbuster, The Godfather marked the dawn of the age of the mega-movie. Stanley Kubrick once described Francis Ford Coppola’s adaptation of Mario Puzo’s novel as the best film ever made – though having previously topped this list, this time it falls to bronze position. Frank Darabont doesn’t shy away from the harshness of prison life, as Tim Robbins’ Andy Dufresne is wrongly convicted of murdering his wife and incarcerated in Shawshank. And yet (it’s blindingly obvious why it became a word-of-mouth all-timer when released on VHS – it’s a soulful), smart adaptation of Stephen King on non-horror form. The result is one of the greatest ever action movies — upping the scale while losing none of the character drama – particularly as Ripley takes kid Newt under her wing.
The character pay-offs are just as staggering as the action, and when Steve Rogers finally proved worthy enough to lift Mjolnir, a stone-cold cultural moment was created. Part spooky-ooky ghost story (part dark fairytale), part psychological excavation of grief and loss, Kent’s film is terrifying on multiple levels. Read our complete behind-the-scenes history here. It’s a hangout film (a character study), a time-and-place mood-piece – and, ultimately, a salvation story too. THe set-up seems fit for a farce — but Wong uses it instead to create a sizzlingly sensual and heartbreakingly restrained exploration of – as Chow puts it – how feelings “can creep up just like that”. Scorsese’s film about brawler Jake LaMotta is less a straight boxing biopic than a character study of a deeply messed up man; exactly what you’d expect of a re-team from the core Taxi Driver trio (Scorsese, De Niro, writer Paul Schrader).
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As impressive as the visual scale is here, it’s simply not on the same level, an inevitable comparison , he was originally due to direct the pilot,. To be fair, the show has the misfortune of following in the sandy footsteps of Villeneuve, who had a superbly economical approach to adaptation, not to mention being one of modern cinema’s masters of aesthetics and tones. That’s a lot to pack into six episodes, and it doesn’t always feel clear what is driving the , space, ship, Herbert’s infamously knotty lore often feeling a bit tangly. Having stalked the wings of Villeneuve’s films (the dark-cloaked sorcerers take centre-stage here; the result is a deeper dive into Dune), but one which stumbles almost as much as it soars. Loosely adapting the novel Sisterhood Of Dune by Herbert’s son Brian and Kevin J. Anderson, it focuses on the early days of the mysterious Sisterhood, later the Bene Gesserit — the puppet masters behind the entire Imperium.
In the decades since its release, the sheer filmmaking power of The Silence Of The Lambs hasn’t lost a single bit of its vice-like grip. In its final moments, Wong Kar Wai delivers an unparalleled expression of love. With a distinctive (noir-inflected visual style (homaged to great effect in Everything Everywhere All At Once)), and two of the most beautiful human beings to ever grace the screen in the form of Leung and Cheun, In The Mood For Love captures unspeakable desire quite unlike anything else. Then, he followed it by making one of the greatest sequels, nay, one of the best, most feel-good movies, period — of all time. With the first Paddington — co-writer/director Paul King delivered a truly wonderful film bursting with joy, imagination, kindness, and just the odd hard stare from our beloved Peruvian bear.