Kung Fu Panda is one of DreamWorks Animation’s most enduring series and it’s no surprise considering how much heart and humour the films have. It’s difficult to resist Jack Black’s giant panda Po, who is improbably chosen as the Dragon Warrior in the original film and slowly becomes a master of kung fu, leading the Furious Five, a quintet of legendary warriors. As the series progress, we see Po develop and DreamWorks’ franchise has spawned four mainline films, three television series and six short films.
With Kung Fu Panda 4 arriving into cinemas after almost a decade’s hiatus, let’s see how the films rank.
4) Kung Fu Panda 4
The latest in the series is unfortunately the weakest but Kung Fu Panda 4 is still good fun. Directed by Mike Mitchell (who coincidently also made the fourth Shrek film, Shrek Forever After), this still has most of the heart of the earlier entries but it’s not as consistently funny. In the film, Po must select and train his Dragon Warrior successor, but the cuddly panda doesn’t want to hold up the mantle just yet, especially since an evil sorceress called The Chameleon (Viola Davis) tries to steal the kung fu abilities of deceased figures. Kung Fu Panda 4‘s key mistake is sidelining the Furious Five, who only appear in a brief cameo towards the end of the film and that robs the film of a lot of chemistry. Still, there’s some good messages here, specifically about what it means to be an outcast and Awkwafina’s streetwise thieving fox makes for a good double-act with Po’s panda. There’s an excellent sequence in a bandit bar which is full of slapstick and Davis’ villain is quite strong.
⭐⭐⭐
Rating: 3 out of 5.
3) Kung Fu Panda 3
Although it’s more slight than previous entries, there’s a lot of heart in Kung Fu Panda 3 and it’s undeniably the best-looking film of the quadrilogy with its stunning vistas. This third installment picks up immediately after the second and Po is reunited with his birth father, Li Shan (Bryan Cranston) who takes him to a secret Panda village to prepare to fight against General Kai (J. K. Simmons). I particularly enjoyed the interplay between Li Shan and Po’s loveable adoptive goose father Mr Ping (James Hong) and it’s great that Dustin Hoffman’s Master Shifu is given more to do this time round, after being largely absent from Kung Fu Panda 2. This threequel also boasts the best score of the series, with Hans Zimmer melding the themes he previously established with John Powell previously with some exciting new pieces, especially the villainous Kai’s theme.
⭐⭐⭐
Rating: 3 out of 5.
2) Kung Fu Panda 2
While many consider Kung Fu Panda 2 to be the highlight of the series, it lands in second place for me. It’s undoubtedly the most emotional of the four, with a breathtakingly emotional sequence on Po’s origins and the influences of executive producer Guillermo del Toro’s works are clear. Gary Oldman makes for a terrific villain, Lord Shen, a slender peacock with more brains than brawn over Tai Lung in the original film. But it doesn’t quite top the list for me because it’s missing the interplay between Po and Master Shifu (who is absent through large stretches of the film) and the film’s a little baggy in its pacing. Still, one has to admire director Jennifer Yuh’s ambition in not just repeating the beats that worked from the original.
⭐⭐⭐⭐
Rating: 3.5 out of 5.
1) Kung Fu Panda
The original is still the best and there’s a ton of laughs mixed with plenty of emotion in Kung Fu Panda. Jack Black’s Po is brilliant, an unlikely candidate for the Dragon Warrior who undergoes quite the character arc while having plenty of clever parallels with film staples in the kung fu and wuxia genres. Dustin Hoffman’s Master Shifu is a real highlight and the interplay between Po and Shifu is what really makes the film work, as well as the introduction of the Furious Five. The final action sequence is particularly brilliant, full of energy and laughs as Po dukes it out with the villainous Tai Lung (Ian McShane). It’s no surprise that Kung Fu Panda spawned a successful series.
French-Canadian film director Denis Villeneuve exploded onto the big screen in 2010 with Incendies, earning an Academy Award nomination for Best Foreign Language film, putting the filmmaker firmly on the roadmap.
He then made the transition to English-language films with thrillers Prisoners, Enemy and Sicario, all receiving a very positive reception. More recently, Villeneuve has expanded into sci-fi with Arrival earning him a Best Director Oscar nomination, before tackling the behemoths Blade Runner 2049 and Dune.
With the director’s gradual rise in stature, many now compare him with Christopher Nolan for his similarly heady ideas and meticulous attention to detail. With the hotly anticipated Dune: Part Two arriving in cinemas, here is a list of his films ranked worst to best.
Please note this list does not include August 32nd on Earth, Maelström or Polytechnique.
8) Dune: Part Two
Unfortunately, Villeneuve’s latest is his worst. While there’s no doubting the visual flair on display, Dune: Part Two is a mixed bag and not as strong as its predecessor. What really impressed me with Dune was how Villeneuve was able to maintain a clarity to the narrative, the key downfall of David Lynch’s film who overstuffed the entire book into a 137 minute film. And while that’s still largely the case here, Dune: Part Two runs into all manner of pacing issues. On the one hand, there’s some good world building for the first hour where ultimately not a lot happens. But then, but the film completely rushes through its climax during its last hour. The rushed pacing also comes at the expense of character development. I simply didn’t buy Paul (Timothée Chalamet) and Chani’s (Zendaya) blossoming relationship at the very centre of the film – it simply feels like we’re expected to invest in their relationship with no natural development. I wonder if it’s to do with the fact Eric Roth doesn’t write the script this time around, with Villeneuve himself stepping in to co-write with Jon Spaihts.
It’s a shame Dune: Part Two doesn’t live up to the first film with its odd pacing and lack of character development. But it’s still a fun ride, with some above average elements, such as the black-and-white sequence on the Harkonnen planet, Austin Butler’s performance and some exciting action sequences here and there.
Villeneuve’s highest-profile French-language film earned the director his big break with an Academy Award nomination for Best Foreign Language Film. Incendies follows two Canadian twins who travel to their mother’s native country to uncover her hidden past, with the film heavily influenced by the Lebanese Civil War. Mélissa Désormeaux-Poulin stands out as Jeanne Marwan, the daughter of mother Marwan (Lubna Azabal), who throws herself head first into the investigation, while her short-tempered brother Simon (Maxim Gaudette) wants nothing to do with proceedings. The film is quite unlike Villeneuve’s later works in tone but there’s no denying the powerful cinematography by André Turpin, especially how he captures the unnamed foreign country and its war-torn past. The use of Radiohead’s You and Whose Army in the opening sequence is also masterful. But the plot has its fair share of contrivances that I found problematic, which mean a disturbing twist late into the film doesn’t land quite as effectively as it should.
⭐⭐⭐
Rating: 3 out of 5.
6) Blade Runner 2049
Blade Runner 2049 is frequently mesmerising to behold on-screen and Villeneuve’s intention towards the project is impressive. Technically, the film is a marvel to behold bolstered by its strong performances. However, it is not quite the victorious slam dunk I expected it to be on the strengths of Villeneuve’s previous works. A lot of this masterful director’s trademarks aren’t immediately apparent in the film due to Villeneuve emulating Ridley Scott’s direction of the first film a little too closely. The film is also overlong and frequently emotionally lacking. Without trying to sound too critical of the film, it is testament to how strongly I regard Villeneuve as a director and the subsequent expectations I had going into this film. Blade Runner 2049 is generally a very strong sequel but like its predecessor, requires time and repeat viewings to further ascertain its quality and lasting impression.
Enemy is an often underlooked work by Villeneuve, who reteams with Jake Gyllenhaal. Clearly inspired by Lynch and Kafka, Enemy is an intense, thoroughly unconventional exploration into the theme of the doppelgänger. It requires multiple rewatches to truly unpack and appreciate its confusing narrative. The ending is jaw-dropping and reframes the film in a different perspective and continues to be debated to this day. The film’s brilliantly paced and doesn’t waste a second of its tight 90 minute run time and it’s vividly shot by Nicolas Bolduc, with an unnerving score by Danny Bensi and Saunder Jurriaans. While Enemy might not be as accessible as some of Villeneuve’s other works, it’s a thoroughly thrilling ride if you can get on board with its heady premise.
⭐⭐⭐⭐
Rating: 3.5 out of 5.
4) Dune
As a property, Dune has experienced a particularly hard life in a filmmaker being able to successfully transpose the novel from the page to the screen, Alejandro Jodorowsky dubbing it as ‘unfilmable’ and David Lynch’s 1984 film yielding mixed results. Villeneuve cracks the code though with his adaptation. The decision to split the adaptation into two is an excellent one and the film especially impresses in how it skilfully spins a coherent narrative that is relatively straightforward enough to follow. Villeneuve’s adaptation is particularly cine-literate and the world-building is remarkable. The film is particularly strong in its first act, as it sets the stage for conflict and establishes its sizeable roster of characters. The second and third acts become increasingly action-heavy and build on the spectacle. The performances all-around are excellent, although there are some characters who are short-changed that will have a greater presence in a second film. On that note, it was a courageous decision to film Dune, with the uncertainty of a second film being commissioned to adapt the second half of the story.
Arrival is masterfully constructed by Villeneuve and its first two thirds is particularly gripping. The performances are strong here too and the film’s beautifully shot by Bradford Young. However, Arrival bites off a bit more than it can chew in its last third and although the film is still very interesting and original, it begins to derail and struggles towards its ending. This is a film that needs to be watched blindly but I felt the film leaves a lot of questions unanswered with some holes to its logic. Like other Villeneuve works, this is a film that warrants multiple rewatches. For a sci-fi, it’s a film that’s very low on action and big set-pieces and is not too dissimilar thematically from films such as Contact or Close Encounters of the Third Kind.
Sicario is a near-perfect film that features some heart pounding action sequences and excellent performances, most notably from Benicio Del Toro who delivers a career-best performance as the enigmatic Alejandro. Villeneuve’s direction is superb and he has created a very gloomy, dark film that is extremely intense. The film’s brilliantly shot by Roger Deakins and there’s a sensational score by Jóhann Jóhannsson, which is extremely moody and memorable. I also highly recommend its sequel, Sicario 2: Soldado, if you get on with this, although Villeneuve didn’t return in the director’s chair.
Prisoners is not just my favourite Villeneuve film, but also one of my favourite films of all time – it is a masterpiece and had such a profound effect on me when I first viewed it on release in 2013. Villeneuve’s English-language debut is a harrowing, dark account of the kidnapping of a young girl and the subsequent investigation that ensues. Hugh Jackman plays the father, Keller Dover, whose multi-layered, fragmented character goes to extreme lengths to protect his family and uncover the identity of the kidnapper. This perfect film also features a brilliant score by Jóhann Jóhannsson which is endlessly haunting and is stunningly shot by Roger Deakins, who earned an Oscar nomination for his work. For Jackman’s sake, he’s overshadowed slightly by Jake Gyllenhaal, who also puts in a career-best performance as Detective Loki. I’d love for Villeneuve to return to smaller-budget thriller fare because the results speak for themselves.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
What are your thoughts? Let me know in the comments or tweet @TheFilmMeister
The Academy Award nominations celebrating the films of 2023 have been announced and in this article, I’ll rank the Best Picture nominees in order of my own personal preference. The winners will be announced in the Oscar’s ceremony on 10th March 2024.
In my opinion, this is the strongest set of nominations in quite some time with seven brilliant films out of ten. I have to cast my mind back all the way to 2016 for a collection of films of similar quality (although I think 2023’s are still more consistent). 2019 was also a decent year, with three brilliant Best Picture nominees otherwise buried in a sea of mediocrity.
Let’s get started…
10) Maestro
Every year, there is at least one (if not multiple) undeserving Awards films and for 2024, that honour goes to Maestro. Maestro is the sophomore writer-director effort by actor Bradley Cooper, after A Star Is Born (2018) which earned lots of awards love. Conversely, I didn’t think his remake was up to much, despite Lady Gaga’s committed performance. Cooper moves to Netflix for Maestro, a biopic about composer Leonard Bernstein covering his conducting debut at the New York Philharmonic in 1943 to 1987, nine years after the death of his wife, Felicia Montealegre.
Bradley Cooper is so infatuated with himself, so hungry for Awards success that he doesn’t tell anything meaningful about Bernstein at all. The film is completely inert of energy and a real chore to sit through for its extended 129 minute run time. While Cooper may look like Bernstein with a fake schnozz and wrinkles, he’s just playing himself. Even Carey Mulligan, who generally shines in everything she’s in, fails to make much of an impression as Felicia Montealegre, because the film doesn’t dig into the psyche of her character at all. Rather miserably, the only scene I felt anything for her character is when she is diagnosed with cancer. The chemistry between Cooper and Mulligan is non-existent. The decision to race through the composer’s first 15 years in 45 minutes and then stay fixated on a shorter period throughout the rest of the film is an odd decision. Even Matthew Libatique, Darren Aronofsky’s preferred cinematographer, fails to inject his signature personality into the film.
Barbie has a well-paced and energetic first half. Unfortunately, the latter half struggles in incorporating too many ideas are thrown and I found its message overly preachy. Starting with the positives, director Greta Gerwig explores some interesting themes, including existentialism and the impact both Barbie and Ken have had on modern culture. There are obvious references to Groundhog Day, Toy Story,The Wizard of Oz and The Lego Movie in its storyline and I also appreciated Gerwig’s personal and loving nods to her Sacramento roots, which also worked wonders for Lady Bird. Despite its 12A rating, Barbie isn’t particularly suitable for children and I suspect most of the themes and jokes will go over their heads. There’s some great performances here too. Margot Robbie is perfectly cast as the titular character, deftly balancing the likeability, humour and pathos needed for the crisis she undergoes. Even Helen Mirren’s satirical narration points to her suitability.
The film’s second half just didn’t work for me. It introduces too many ideas and ties itself in knots and it struck me as preachy in tone. In fact, there is one character who delivers an extended speech late into the film about what it means to be a woman in current society which although inspirational, is incredibly heavy-handed. It doesn’t leave any room for nuance whatsoever. While its exploration of gender is interesting on the surface, the resolution the film ultimately reaches borders on unsettling and sexist. Barbie is the first film to be directed by Gerwig where she has collaborated with another individual on the script, in this case her partner and fellow filmmaker Noah Baumbach. While I can tolerate Marriage Story, I’ve not been a fan of the vast majority of Baumbach’s filmography. The film feels as if Gerwig was in charge of the film’s first half, with Baumbach piloting the second, although this isn’t necessarily the case.
Past Lives is the directorial debut of Celine Song and follows the relationship of two childhood friends over the course of 24 years, as they lead different lives. It’s certainly an original piece and the relationship between both Nora (Greta Lee) and Hae Sung (Teo Yoo) is nicely developed, with both actors turning in excellent performances. The film’s also handsomely shot on 35mm film by cinematographer Shabier Kirchner. But I never found Past Lives to be as affecting as others have raved it to be and it’s a little sluggishly paced in places. The score by Christopher Bear and Daniel Rossen also aggressively didn’t work for me.
⭐⭐⭐
Rating: 3 out of 5.
7) American Fiction
American Fiction is the directorial debut of Cord Jefferson, a satirical comedy-drama adapted from Percival Everett’s 2001 novel Erasure. It’s a highly entertaining literary comedy with a blisteringly sharp script that in some ways, feels like a film a more muted Spike Lee would make. This is a tough genre to crack and there have been far more failures than hits but I genuinely laughed quite a few times at this. There’s also more than a few kernels of truth about the publishing industry and what it means to be a writer, exploring the highs and lows of both the creative process and critical reception. But Jefferson deftly balances his commentary on the media with a heartfelt treatment of the themes of loneliness and family. The family drama element of the film is equally riveting, with the treatment of Alzheimers touching and the mundane but necessary tasks of trying to get someone into a home. There’s some terrific performances here too, especially Jeffrey Wright who’s always been a reliable screen presence but doesn’t often take the lead role. Wright nails the prickly, depressing nature of his character as he struggles to fit in and open up to people but with an almost lovable quality.
The Zone of Interest is director Jonathan Glazer’s new film, an uncomfortably long eleven year wait after Under The Skin. 11 years in the making, the film tells the story of Rudolf Höss, the longest-serving commandant of the Auschwitz concentration camp, where he lived with his wife Hedwig (Sandra Hüller) in what they perceived as their idyllic home. Small catch – the garden wall with barbed wire atop it is shared with Auschwitz.
The Zone of Interest is a fiercely original work from Glazer that’s uncomfortable viewing and really gets under your skin. The film possibly represents the most important use of sound I can think of in quite some time – the sound of the droning concentration camp with its whirring machinery is ever-present during mundane conversation and day-to-day life. Glazer never shows us the atrocities inside the camp and what we hear beyond the frame is another film in itself. I loved the surreal elements too, particularly a storyline shot with thermal cameras. Christian Friedel is sensational as the despicable SS officer – a cold, calculated yet frank and career-driven individual. His whole life becomes an obsession into how fast he can kill and there’s an everyday quality to the terrible schemes he is complicit in, which makes the film all the more chilling. The film is masterfully shot by Loving Vincent and Cold War cinematographer Łukasz Żal, an incredible shot of a chimney through a window that’s reflected on the glass will forever be ingrained in my memory. Mica Levi’s score, although sparse, is also deeply effective. Save for two doom-laden tracks at the beginning and end, the rest of the film uses more of a soundscape except for a recurring motif during the surreal sequences.
Anatomy of a Fall is a fascinating character study of a family, the couple at its centre and the legal system that tries to break Sandra and her son apart. It’s a smart film that’s simmering with tension and excellent performances, although I’m confident it would pack an even greater wallop if it was tighter. Sandra Hüller is terrific in the lead role and is fully deserving of the praise she has been lauded. Her character is a matter-of-fact, frank individual and director Justine Triet delves into the idea that writers use those around them to bolster their image. Swann Arlaud is also brilliant as Sandra’s silver fox lawyer, Vincent Renzi, as is Antoine Reinartz as a particularly nasty prosecutor. He unpicks anything and everything Sandra or other persons called up to the bar say, constantly repurposing words as evidence of Sandra’s guilt. Although there isn’t an original score, the use of music is terrific and the recurring use of 50 Cent’ P.I.M.P. and Daniel’s piano recitals are chillingly effective. The film’s also beautifully shot by Simon Beaufils, who evocatively captures the high altitude setting of the chalet and likes to zoom in on certain minutiae, as if you’re a fly-on-the-wall.
The Holdovers is the new Alexander Payne film and his first since 2017’s Downsizing. Payne reunites with his Sideways lead Paul Giamatti who stars as Paul Hunham, a strict classics teacher at Barton Academy, a New England boarding school that he attended back in his youth. The Holdovers is Payne at his best and is a tender delight from start to finish, but it deftly balances its warmth with a bittersweet tone. The performances are terrific all around, especially Giamatti, and the film perfectly evokes classic 1970’s cinema with its intentionally rustic aesthetic – it looks and feels like a work made at the time. It’s beautifully shot by In Bruges cinematographer Eigil Bryld, especially the wintry landscapes during the opening credits and some disorienting frames that feature late into the film. Paul Giamatti turns in what I’d probably consider a career-best performance as Hunham. Hunham is both lovable and loathsome and an easy character to relate to with the hardships he’s faced in life. In fact, there are many similarities between Hunham and Miles Raymond, the character Giamatti plays in Sideways, both characters that have been hard done-by in life.
I absolutely loved The Holdovers and was completely swept up by the film throughout, with its intelligent script and committed performances. It’s Payne’s best film since Sideways and I predict it will become a Christmas classic, with its perfectly judged bittersweet tone. They certainly don’t make films like this anymore.
Poor Things is Lanthimos back on track (I thought The Favourite was flawed) with a brilliantly twisted, uncomfortable yet multi-layered triumph. There’s so much going on here, both from a thematic and visual standpoint and it’ll take multiple rewatches to fully understand its message but it’s a film that gets better on each viewing. Lanthimos recaptures his bizarre yet oddly moving tone, which is what made his earlier efforts really shine, combined with lavish yet evocative production design. Robbie Ryan’s cinematography is a career-best, with every frame a painting worth pausing to analyse, which is interesting considering some of his work can be quite vanilla. The film boldly experiments with colour and perspectives are often shot through a fish-eye lens and it’s supported by the lavish production design. I also loved the retrofuturistic vision, with the Victorian London setting contrasting with succeeding elements.
Emma Stone turns in a career-best performance as the Frankenstein-like Bella Baxter, who opens the film as an inquisitive and brash child and ends as a self-made woman. I’ve sometimes struggled with her performances in the past and couldn’t believe she won the Best Actress Oscar for La La Land but not so here. Willem Dafoe is also reliably brilliant as the eccentric surgeon, who has to belch bubbles at the dinner table due to a health condition. Mark Ruffalo provides much of the comic relief as Wedderburn, who becomes increasingly child-like as the film progresses, although his British accent is rather wandery. The Killing of a Sacred Deer remains Lanthimos’ best work, in my opinion, but Poor Things is fully deserving of its praise and is a sensational experience to begin the year.
Killers of the Flower Moon is the latest by Martin Scorsese and an adaptation of David Grann’s 2017 non-fiction novel of the same name. The book is a must-read and tells the sickly story of how the Osage community are systematically murdered in the 1920s after oil is discovered on their tribal land. Killers of the Flower Moon is, for the most part, an excellent adaptation. It earns its 206 minute run time with its sprawling, fascinating story and Scorsese takes his time to develop the characters. He immerses you in the terror felt by the Osage, that no-one is safe on their own land with greedy wolves scheming from every corner. I was particularly impressed how like in The Irishman, Scorsese presents the horror in quite an understated way, raw and fact-of-life. Although a revisionist Western first and foremost, there’s still many of Scorsese’s gangster elements to be found, from fatally flawed men to America’s founding myths. Of course, being a Scorsese picture, the film has real big screen beauty and is handsomely shot by regular cinematographer Rodrigo Prieto. He gorgeously captures the expansive Oklahoma vistas and holds onto a shot for uncomfortably long during heinous murders. The stunning cinematography and assured direction is paired with a haunting, bluesy final soundtrack by Robbie Robertson (who sadly passed away in August). A heartbeat motif that is repeated throughout the film is particularly effective, lending a feverish quality.
Oppenheimer is a tension-fuelled, thought-provoking minor-key masterpiece and is straight up there with director Christopher Nolan’s best work. It’s an incredibly rich piece of work and it left me feeling stone-cold with its characters haunting deliberation over the consequences of their work. This is a largely dialogue-heavy film for its lengthy three hour running time and except a breathtaking sequence depicting the Trinity test (even more impressive considering the minimal CGI), is largely bereft of action. Cillian Murphy has often represented one of the mechanisms to a successful Nolan film, and steps up to the lead role for Oppenheimer. His performance is simply sensational and a career-best. Oppenheimer is stacked with A-list actors, with Emily Blunt and Robert Downey Jr other notable highlights. The film is beautifully shot by now-Nolan regular Hoyte van Hoytema and Ludwig Göransson’s score is the glue that holds the film together.
This is the second part of my Best Films of 2023. I previously ran you through my best films of 2023 (20-11) and here, I unveil my top ten.
10) The Covenant
Guy Ritchie’s most mature film in years is a triumph with Jake Gyllenhaal reliably brilliant as Master Sergeant John Kinley, who after his unit are ambushed by the Taliban and his interpreter is killed, is teamed with Dar Salim’s Ahmed. This is a thrilling action drama from Ritchie with surprising restraint, considering his back catalogue, with some nail-biting action sequences and a pulse-raising score by Christopher Benstead. Both Kinley and Ahmed are well-developed and rounded characters and I really brought their friendship. If there’s a downside to the film, it has a rather Americanised ending but its intensity is still to be commended. It’s Ritchie’s best film since The Gentlemen.
9) Anatomy Of A Fall
Anatomy of a Fall is a fascinating character study of a family, the couple at its centre and the legal system that tries to break Sandra and her son apart. It’s a smart film that’s simmering with tension and excellent performances, although I’m confident it would pack an even greater wallop if it was tighter. Sandra Hüller is terrific in the lead role and is fully deserving of the praise she has been lauded. Her character is a matter-of-fact, frank individual and director Justine Triet delves into the idea that writers use those around them to bolster their image. Swann Arlaud is also brilliant as Sandra’s silver fox lawyer, Vincent Renzi, as is Antoine Reinartz as a particularly nasty prosecutor. He unpicks anything and everything Sandra or other persons called up to the bar say, constantly repurposing words as evidence of Sandra’s guilt. Although there isn’t an original score, the use of music is terrific and the recurring use of 50 Cent’ P.I.M.P. and Daniel’s piano recitals are chillingly effective. The film’s also beautifully shot by Simon Beaufils, who evocatively captures the high altitude setting of the chalet and likes to zoom in on certain minutiae, as if you’re a fly-on-the-wall.
I’ve never fully got on the Todd Haynes hype train but May December is the film that’s converted me – I was enthralled from start to finish. The film is loosely inspired by the Mary Kay Letourneau scandal where the then-34 year old had a sexual relationship with 12-year-old Vili Fualaau. The characters are renamed and the story framed around Natalie Portman’s Elizabeth Berry as an actress who’s about to play the older woman in an upcoming film, played by Julianne Moore. May December isn’t interested at all in unpicking the how’s and why’s of what happened. Haynes refreshingly chooses to focus on the dark and tangled obsessions of its characters and how they mirror each other. The film is seeping in details to unpick and there are many different possible readings, which make it all the more satisfying. It’s brilliantly paced with a sharp script by Samy Burch which deftly balances the camp and unease. Perfectly complimenting the film is a peppery score by Marcelo Zarvos, who reuses Michael Legrand’s whirlwind-like themes from The Go-Between but develops them beautifully.
Kelly Fremon Craig’s adaptation of the 1970 novel of the same name is an utterly charming coming-of-age comedy drama that has plenty of laughs matched with real heart. The film is refreshingly frank about a girl’s journey through puberty and the director nails the uneasy but realistic conversations Margaret has with her friends. Abby Ryder Fortson is revelatory as the titular Margaret and Rachel McAdams is equally impressive as her mother, Barbara. Kathy Bates shines as her grandmother, Sylvia and Hans Zimmer’s score is uncharacteristically stripped back.
6) The Son
I never expected to like director Florian Zeller’s follow-up to The Father as much as I did, given the negative reception and the fact I had serious reservations regarding his debut. However, The Son really worked for me and follows Peter Miller (Hugh Jackman), who’s trying to juggle his marriage with his second wife Beth (Vanessa Kirby) while raising their newborn baby and his depressed 17-year-old son, Nicholas (Zen McGrath), from his previous marriage. This is an utterly devastating account of depression, with Peter constantly stuck between a rock and a hard place, on the one hand wanting to be a model father and move on from his own childhood trauma with his own cruel father (Anthony Hopkins). Jackman is reliably terrific in the lead, with strong work also from Kirby and McGrath and I was glued to the screen from start to finish. If there’s a film out there that warns you about the dangers of depression, this is it, akin to how Requiem For A Dream is the model film to put you off recreational drug use.
5) Beau Is Afraid
Beau Is Afraid is easily the most confounding cinematic experience I have had in quite some time. It’s a fiercely original effort – a sprawling, paranoia-inducing epic with more than its fair share of Kafka-inspired horror infused with Charlie Kaufman surrealism and a dose of Darren Aronofsky’s mother!. As you’d expect from an Ari Aster film, it’s overflowing in symbolism and requires multiple viewings to better understand its meaning. This isn’t a film that will ever be truly understood, but after two viewings, there is a ton to unpack. A beautiful animated sequence towards the close of the film’s second act is particularly affecting. Joaquin Phoenix is phenomenal as Beau, effortlessly flitting between being pathetic the line between pathetic – crazed emotions, stunts, panic, confusion. Aster’s regular cinematographer Pawel Pogorzelski’s moody cinematography is stunning, an individual once again at the top of his game, and there’s a satisfyingly sickly score from Midsommar‘s Bobby Krlic.
John Wick: Chapter 4 is yet another strong entry in the series and its second half is particularly impressive, especially considering the intimidating 169 minute run time. It tells a clear and coherent story and there are real, life-threatening stakes for the characters. The film feels like a sprawling, ultra-violent James Bond film on steroids and mostly earns its length. As you’d expect, Chapter 4 sports some truly mesmerising action sequences that are straight up there as some of the best in the series and a model for action cinema in general. Keanu Reeves once again turns in an excellent performance as the titular character. Bill Skarsgård makes for what is probably the most formidable villain of the series to date and Donnie Yen is clearly having fun as a likeable old friend of Wick, who is forced out of retirement to kill him.
John Wick: Chapter 4 is a fantastic sequel and a genre-defining film for action cinema. It’s a globe-trotting stunt showcase from beginning to end that mostly earns its length and its second half is a tour-de-force. It’s certainly the best sequel of the franchise, although I’m not sure if it betters the original. It’s rare to see a series improve with each entry, although Chapter 4 ends on a fitting note and I hope Stahelski and Reeves aren’t tempted to risk making another.
Killers of the Flower Moon is the latest by Martin Scorsese and an adaptation of David Grann’s 2017 non-fiction novel of the same name. The book is a must-read and tells the sickly story of how the Osage community are systematically murdered in the 1920s after oil is discovered on their tribal land. Killers of the Flower Moon is, for the most part, an excellent adaptation. It earns its 206 minute run time with its sprawling, fascinating story and Scorsese takes his time to develop the characters. He immerses you in the terror felt by the Osage, that no-one is safe on their own land with greedy wolves scheming from every corner. I was particularly impressed how like in The Irishman, Scorsese presents the horror in quite an understated way, raw and fact-of-life. Although a revisionist Western first and foremost, there’s still many of Scorsese’s gangster elements to be found, from fatally flawed men to America’s founding myths. Of course, being a Scorsese picture, the film has real big screen beauty and is handsomely shot by regular cinematographer Rodrigo Prieto. He gorgeously captures the expansive Oklahoma vistas and holds onto a shot for uncomfortably long during heinous murders. The stunning cinematography and assured direction is paired with a haunting, bluesy final soundtrack by Robbie Robertson (who sadly passed away in August). A heartbeat motif that is repeated throughout the film is particularly effective, lending a feverish quality.
A misunderstood masterpiece, Damien Chazelle’s epic comedy chronicles Hollywood’s transition from silent to sound films in the late 1920s. I’ve had a mixed experience with Chazelle’s filmography. Whiplash is one of my favourite films of the 2010s, I couldn’t understand the praise for La La Land and I admired but didn’t love First Man. Babylon is a return to form for Chazelle and is an ambitious, heady study of the history of cinema. It quite literally details the blood, sweat, tears and sheer luck needed to succeed in Hollywood and the strenuous work required to even film a single scene. Chazelle’s approach is unapologetic – this is a sprawling, loud film that revels in excess be it through drink, drugs or discharging of bodily fluids. But it’s also regularly profound with characters wholly aware their Hollywood career has an expiry date. Although Chazelle’s view of the Hollywood studio system is critical, his passion for film as a medium is evident throughout this three hour plus extravaganza. I hope the mixed reception doesn’t discourage Chazelle from taking another ambitious risk.
Oppenheimer is a tension-fuelled, thought-provoking minor-key masterpiece and is straight up there with director Christopher Nolan’s best work. It’s an incredibly rich piece of work and it left me feeling stone-cold with its characters haunting deliberation over the consequences of their work. This is a largely dialogue-heavy film for its lengthy three hour running time and except a breathtaking sequence depicting the Trinity test (even more impressive considering the minimal CGI), is largely bereft of action. Cillian Murphy has often represented one of the mechanisms to a successful Nolan film, and steps up to the lead role for Oppenheimer. His performance is simply sensational and a career-best. Oppenheimer is stacked with A-list actors, with Emily Blunt and Robert Downey Jr other notable highlights. The film is beautifully shot by now-Nolan regular Hoyte van Hoytema and Ludwig Göransson’s score is the glue that holds the film together.
It’s the start of a new year so that means it’s time to reflect back on year just gone and bring you my top picks. 2023 was, overall a strong year for film, although apart from the upper echelons of this list, not quite on a par with 2022. There were far more misses than hits, especially on the sequel front.
Here, I’ll rank numbers 20 to 11. Numbers 10 to 1 will be detailed in a separate post so stay tuned for that.
20) Saltburn
Saltburn is the sophomore effort from Emerald Fennell, whose directorial debut was the razor-sharp feminist vigilante thriller Promising Young Woman, where she won an Academy Award for Best Original Screenplay. Although this follow-up isn’t as strong, Saltburn is a darkly satirical piece that isn’t afraid to withhold the shock-factor. It has a raucous quality to it and explores the themes of excess and obsession, with thoroughly unlikeable, vampiric characters, although Fennell’s sharp script gives us plenty to make us invest in them. The film’s horror tinge is particularly satisfying and its narrative leaves you guessing where it might head to the very end, although a final twist does feel a little tacked on, especially on a rewatch.
Although thoroughly entertaining for the most part, Saltburn suffers from its clashing of tones, at times feeling like St Trinians meets an Edgar Wright film with the darker, erotic undertones of The Talented Mr Ripley and Brideshead Revisited. I’d have preferred the film to do without the former, the tacked-on balloon celebratory stylings at odds with the film’s darker elements. The film would have had more bite if it leaned further into its Gothicism and the cheekiness of its erotic thriller elements.
Dead For A Dollar released in the UK straight-to-DVD in February despite being released in most territories in 2022, hence its inclusion here. And what a shame it received such a low-key release because this is a lean and satisfying Western. Christoph Waltz is excellent as veteran bounty hunter Max Borlund who is hired by businessman Martin Kidd (Hamish Linklater, who also puts in a strong performance) to retrieve his wife Rachel (Rachel Brosnahan). Thrown into the mix is Willem Dafoe’s slimy card shark and armed robber Joe Cribbens and you have a exciting Western with some great lines and gleefully bloody violence.
18) The Whale
The Whale is the latest by Darren Aronofsky, his first film since mother!which proved divisive. Mostly set in a single location, this is an emotionally powerful experience with a terrific performance from Brendan Fraser as morbidly obese English teacher Charlie. Aronofsky beautifully explores the relationship between a father and his daughter and there are many touching moments focussing on Charlie’s outlook of life. I walked out of the film grateful and determined to further my relations with others and to always be positive. Yet, the film deftly conveys Charlie’s pain and hopelessness and it becomes inevitable early on that he is on a path of self-destruction. The way in which Aronofsky portrays binge-eating is particularly harrowing – like Requiem For A Dream will make you never want to touch drugs, The Whale is the equivalent for food. It wouldn’t be an Aronofsky film without the exploration of religion and the events on-screen are interwoven with religious parallels and texts, which lend a pathos to Charlie’s situation.
The Fabelmans is a coming-of-age drama directed and co-written by Steven Spielberg, representing a passion project for the revered filmmaker. The film is a semi-autobiographical tale loosely based on Spielberg’s adolescence and burgeoning career. The Fabelmans isn’t quite the masterpiece some have professed it to be but it’s certainly a profound and candid effort. If you’re a film fan, this semi-autobiographical tale will definitely resonate in places. Protagonist Sammy’s love of the medium sometimes usurp his commitments to his family and relationships, and Spielberg deftly explores how filmmaking can consume an individual and how one needs to be reminded that your close ones are more important. It’s beautifully shot by Spielberg-regular Janusz Kaminski, although the film is a tad overlong. That said, it really nails its last half an hour or so. The Fabelmans is a tender reminiscence of Spielberg’s childhood and although it would benefit from tighter pacing, it’s a warm and personal experience with some excellent performances.
Silent Night is an action thriller by John Woo, his first English language film since 2003’s negatively received Paycheck. A film almost devoid of dialogue, for the most part Silent Night is a return to form for Woo with a trio of giddy action sequences. Two car chases are particularly vividly shot, especially the opening one where we see both the chase itself overhead and from the perspective of a character running towards the cars from an alley. There’s also a terrific stairwell sequence that’s meant to feel as if it’s one take. The story is pretty simplistic and Woo isn’t known for his subtlety – the film feels overly schmaltzy at times and cutting this out would have resulted in an even leaner film. The lack of dialogue mostly works well, although there are scenarios the characters fin themselves in, such as a meeting at a police station, where two people clearly need to communicate with words. I think the film would have packed more of a punch with a limited script rather than with virtually no spoken words. Although overly sentimental in its tone, Silent Night is mostly a blast throughout.
Although it received sniffy reviews, I found Reptile to be a blast from start to finish. Previously most famous for his music videos, Grant Singer’s directorial debut is an exciting crime thriller with a terrific central performance from Benicio Del Toro as the weary detective Tom Nichols. Many thought the film was overlong at 136 minutes but I appreciated Singer taking his time to develop the characters and mystery. The film’s lusciously shot by Michael Gioulakis, who revels in the murky darkness and there’s a handful of particularly tense shoot-outs that are worth a watch alone.
14) Champions
There were a handful of underdog sports comedy films this year, such as Hustle and Next Goal Wins, but Champions is my pick of the bunch. Directed by Bobby Farrelly in his solo directorial debt, Woody Harrelson is terrific as temperamental minor-league basketball coach Marcus Marakovich who’s tasked with caoching a team of disabled players as community service. The laughs are not only consistent but balanced with plenty of heart and it’s a film where we not only root for the team but you’ll have a permanent smile plastered on your face from start to finish.
13) A Man Called Otto
I was very surprised I liked A Man Called Otto as much as I did, but Marc Forster’s remake of the 2012 Swedish film has tons of heart and a brilliant Tom Hanks performance at its centre as the lovable but grumpy Otto. This is a film about what it means to be lonely and the importance of caring neighbours. Mariana Treviño holds her own as Otto’s new Mexican neighbour, Marisol, as does Manuel Garcia-Rulfo as her kind-hearted but slightly useless husband. A Man Called Otto is transfixing from start to finish and has more than few home truths in it.
12) Knock At The Cabin
Knock At The Cabin is the latest by M. Night Shyamalan, whose once tarnished career is happily back on an uphill trajectory, as evidenced by Split, Glass and Old. A high-concept apocalyptic horror adapted from a novel by Paul G. Tremblay, the film follows a family of three on holiday in a remote cabin who are visited by a group of strangers, led by Leonard (Dave Bautista) who demand they sacrifice one of their own to prevent an impending apocalypse. It’s a taut, intense ride while also being thought-provoking. This is not the first time the director’s explored the end of the world and this is a significant step-up from both After Earth and The Happening. Although the premise plays to Shyamalan’s strengths, as you’d expect he doesn’t do things by the book. The film does an excellent job of leaving you guessing the fanatical group’s motive – is the world really about to end? Are they telling the truth or are they suffering from some kind of psychosis? Shyamalan really makes the most of the mostly single location – the film doesn’t feel stagey and it’s beautifully shot by Jarin Blaschke, collaborating with Lowell A. Meyer. The cast are uniformly excellent and this may well be Dave Bautista’s best work yet, who is fantastic as the hulking yet polite Leonard.
11) The Hunger Games: The Ballad of Songbirds and Snakes
I wasn’t expecting to like this prequel to The Hunger Games as much as I did, which follows a young Coriolanus Snow (Tom Blyth) on his path to political power, the villain devilishly played by Donald Sutherland in the other films. Francis Lawrence returns in the director’s chair, having directed all of the previous entries bar the first. The Hunger Games: The Ballad of Songbirds and Snakes is an excellent adaptation and quite possibly the most mature film in the series to date. Lawrence does a great job of showcasing the more outright barbarity of the games, which are minimalist and lack the polish and pizzazz of future arenas. In fact, the games in this film are set in a literal arena, rather than the forest or tropical settings of The Hunger Gamesand Catching Fire. Knowing Lucy Gray is unlikely to win, Snow suggests revisions to the game structure, such as sponsorship, to improve her chances, while simultaneously propelling the games as a spectacle to increase viewership. I really admired the film’s more cold-blooded tone and its deeper dive into Snow’s character, especially in the film’s third act, which many seem to have taken issue with.
With Christopher Nolan’s latest film Oppenheimer playing in cinemas, it’s time to revisit my ranking of the auteur’s stellar filmography. Along with Quentin Tarantino, Nolan is my favourite director working today, both consistently making thought-provoking, fearsomely original films with neither yet to make ‘a bad film’ to date. Even when Nolan isn’t firing on full cylinders, his work is still effortlessly striking.
11) Tenet
Tenet plays to Nolan’s strengths with the jaw-dropping visual effects and high-stakes action sequences but also showcases his worst qualities. The high-concept storyline packs plenty of twists and the film requires multiple viewings to truly unpack, but there’s no denying the third act falters in some of its logic and is overly expository. The characters also just generally aren’t particularly well-developed and the film is more an exercise in spectacle and ambition.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
10) Dunkirk
Whilst there is undoubtedly a lot to admire in Dunkirk, it also has many flaws. While the aim of having an objective viewpoint is to be lauded, the tone of the film just feels a little off and I struggle to find an emotional response. It struggles to make full use of its scope and the I’d still recommend going and seeing it as it is a story that needs to be told and there are quite a few nice moments but ultimately, the film left me rather cold in its depiction of this momentous event. Also, it is his newest film and I have only seen it once so perhaps it warrants further viewings.
Memento certainly made a statement with its unconventional and bold backwards-storytelling, as well as its experimentation with colour. Guy Pearce is terrific as the amnesiac Leonard and the film barrels towards a tragic and seriously intelligent conclusion.
⭐⭐⭐⭐
Rating: 3.5 out of 5.
8) Batman Begins
The film that kick-started the Dark Knight trilogy and propelled Nolan into the mainstream set an unsurpassed precedent for future comic-book films. Nolan’s decision to frame Batman Begins as an origin story was a first for the genre, as was its sense of realism that granted the superhero more weight. The performances are excellent across the board and Liam Neeson’s villain particularly underrated. Compared to the rest of Nolan’s films, it ranks lower due to its more simplistic plotting.
⭐⭐⭐⭐
Rating: 4 out of 5.
7) Insomnia
Wrongly regarded as Nolan’s weakest film, Insomnia is a fantastic film. With excllent performances across the board, particularly Robin Williams in an atypical villainous performance, Nolan effortlessly invokes a sense of paranoia and regularly questions the morality of the character’s decisions. One also has to remember Insomnia is a remake, so for it to not just be good, but great is no short feat.
⭐⭐⭐⭐
Rating: 4 out of 5.
6) The Dark Knight Rises
An underrated trilogy closer, The Dark Knight Rises is a far more conventional comic-book film that provides a fitting and tension-fuelled closing arc for Christian Bale’s Caped Crusader. Tom Hardy’s Bane is the antithesis of Heath Ledger’s Joker in that he is a physical villain and the film ramps up its nihilistic destruction of Gotham City in a riveting fashion for its almost three hour run time.
⭐⭐⭐⭐⭐
Rating: 4.5 out of 5.
5) Interstellar
Interstellar is pretty much perfect for most of its lengthy 168 minute run time, until it reaches the last half an hour or so which become ridiculously complicated, bamboozling and its last scene a little too neat. But for the most part, Nolan doesn’t put a foot wrong and Interstellar is extremely atmospheric, with some stunning cinematography by Hoyte van Hoytema in his first collaboration with Nolan after departing from Wally Pfister who shot the rest of his preceding films. Matthew McConaughey gives a fantastic performance as the endlessly empathetic Cooper. There’s awe-inspiring shot after awe-inspiring shot, topped by Hans Zimmer’s beautiful score.
⭐⭐⭐⭐⭐
Rating: 4.5 out of 5.
4) Oppenheimer
Oppenheimer is a tension-fuelled, thought-provoking minor-key masterpiece and left me stone-cold with its characters haunting deliberations over the consequences of their work. The script is brilliantly written, constantly ramping in tension and Jennifer Lame’s editing is a monumental achievement. Cillian Murphy puts in a career-best performance as the father of the atomic bomb and Robert Downey Jr is another highlight with his slippery, atypical portrayal of Lewis Strauss. The film is beautifully shot by Hoyte van Hoytema and Ludwig Göransson’s score is the glue that holds the film together.
A perfect film, The Prestige is a dramatic masterclass that’s smaller in scale than the films he would go onto make. Hugh Jackman and Christian Bale both give tremendous performances in the lead role and the late David Bowie also stands out in a small role as Tesla. The film has many revelatory twists and features one of my favourite twist endings.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
2) The Dark Knight
Not only the best comic-book film of all time, but also one of the best crime films, Nolan continues his quest for superhero realism. Heath Ledger’s performance as The Joker is nothing short of incredible and the film moves from one action sequence that’s stood the test of time to another. It still is a staggering achievement.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
1) Inception
An incredibly layered and influential effort, Inception is breathtaking throughout and quite possibly, my favourite film. Nolan proves blockbusters can be smart and treats his audience intelligently. With an ending that continues to be debated, the performances are terrific across-the-board and many of the images will sear into your brain. I don’t think Nolan’s crowning achievement will ever be topped.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
What are your thoughts? Let me know in the comments or tweet @TheFilmMeister
Insidious: The Red Door is currently playing in cinemas and the series has come a long way since the 2011 original, which earned a very healthy $100 million on a modest $1.5 million budget. Insidious was the third horror collaboration between director James Wan and writer Leigh Whannell, whose then-back catalogue included Saw and Dead Silence.
Insidious followed the Lambert family who battle a paranormal presence when the oldest son, Dalton (Ty Simpkins) falls into a coma. Chapter 2 was a direct sequel to the original, whereas both Chapter 3 and Insidious: The Last Key were prequels that primarily focussed on psychic paranormal investigator Elise Rainier (Lin Shaye) in favour of the Lambert’s. Insidious: The Red Door picks up nine years later after the events of Chapter 2 and is supposedly the final installment, providing audiences closure on the Lambert family.
With the exception of Insidious: Chapter 3, the four sequels have generated a mixed-to-negative critical reception, although they’ve been better received by audiences.
It’s impressive that even after five films, there hasn’t been one outright disaster. Most horror series tend to decline in quality far quicker, although there are certainly three films in the series of significantly greater quality than two of them. Here’s my ranking of the series.
5) Insidious: The Last Key
The weakest entry in the series by some distance, The Last Key is set between Chapter 3 and the original. Adam Robitel is in the director’s chair and does an admirable job but doesn’t have the skill in crafting tension like Wan and Whannell can. The film begins with a powerful extended sequence which introduces and explores Elise’s difficult childhood and dysfunctional family. Unfortunately, the rest of the film never lives up to the strong opening and its mechanical jump scares are dismally second-rate. On the plus side, Lin Shaye makes for a reliable lead and there’s some good performances from Tessa Ferrer and Josh Stewart as her parents, as well as Bruce Davison as her younger brother.
The latest (and supposedly final film) in the series, Insidious: The Red Door returns to the Lambert family and is the directorial debut of actor Patrick Wilson. The film opens on the funeral of Lorraine Lambert (Barbara Hershey) and we learn that Josh (Patrick Wilson) and Renai (Rose Byrne) are now divorced. It’s time for Dalton (Ty Simpkins) to head to college and Josh decides to take him to try and heal their strained relationship, only for their supernatural past to rear its ugly head once again. Wilson’s directorial debut is a mixed bag – it’s quite different from its predecessors in that it’s a drama film at its core rather than a horror. He crafts a gripping family dynamic and takes his time with the characters, the first two acts a slow burn that deftly explore the theme of generational trauma. Once again, there’s some excellent performances, particularly from Simpkins, Wilson and newcomer Sinclair Daniel. Unfortunately, the film falls short in its sudden rush to the finish and the film falling short as a horror. This is by far, the least scariest film in the series and it also frustratingly seems to undermine the previous film’s logic as to how The Further operates. While Insidious: The Red Door has more than its fair share of problems, there’s still plenty to admire here and I’m glad Wilson took a risk.
Insidious: Chapter 2 received mixed reviews on its release and granted, it does lose some of its originality that the first film had but there are still some top rate scares here and a very interesting storyline, which returning director James Wan prioritises over the horror. Picking up immediately after the original, Chapter 2 successfully expands the mythology and framework of The Further which the series would then go onto develop even more. Patrick Wilson turns in an entertaining performance as the possessed Josh, riffing on Jack Nicholson’s Danny Torrance in The Shining.
⭐⭐⭐⭐
Rating: 4 out of 5.
2) Insidious: Chapter 3
An underrated sequel, Insidious: Chapter 3 represents then-writer Leigh Whannell’s directorial debut, who would then go onto make Upgrade and The Invisible Man. Whannell decides to opt down the prequel route and focus on a new family, the Brenner’s. Quinn (Stefanie Scott) is grieving the death of her mother and despite a warning from Elise to exercise caution, is stalked by a dark spirit wearing an oxygen mask, known as The Man Who Can’t Breathe. It’s an assured effort from Whannell, who crafts some memorable scares and oddly empathetic villain who, in my opinion, is the most effective of the series. It’s also got surprising thematic depth with its emotive exploration of death and familial loss.
⭐⭐⭐⭐
Rating: 4 out of 5.
1) Insidious
The film that started it all is the best and although Insidious seems to begin as a somewhat conventional supernatural horror (albeit with quality jump scares), James Wan deftly takes his time before unearthing the supernatural elements in the second and third acts, while packing in some intelligent twists and turns. It’s a thrilling horror that flips the haunted house horror convention on its head by revolving the haunting around a person. The Lambert family are well-developed and are smart characters, unafraid to leave the house or turn a light on. Wan’s variation of jump scares is particularly impressive, especially his ability to unleash horror on the family in broad daylight, something the majority of horrors are guilty of avoiding.
⭐⭐⭐⭐
Rating: 4 out of 5.
What are your thoughts? Let me know in the comments or tweet @TheFilmMeister
The Film Meister 