Movie Review – Serena. 2 stars

Riddled with inconsistencies and lacking credibility; Serena is certainly no Silver Linings Playbook.

Review by Chantal Victor

Serena, directed by Susanne Bier, falls short of what could have been a fantastic film, with a cast headed by Jennifer Lawrence (The Hunger Games) and Bradley Cooper (The Hangover). The film is based on the book of the same title by Ron Rash, which refers to the wife of timber tycoon George Pemberton (Cooper). Serena (Lawrence) does everything in her power to keep the business strong, whilst simultaneously striving to ensure that George has everything his heart desires. The pair remain united as they confront multiple threats to the business and their marriage, but it all starts to unravel when Serena learns she cannot bear an heir.

The first act opens with a beautiful wide shot of the timber forest, which is the main setting for the whole film. Throughout the film, director of photography, Morten Soborg, follows through with beautifully framed, picturesque images of Depression era North Carolina.

Although visually spectacular, the performances left a lot to be desired, particularly Jennifer Lawrence, who lacked credibility in the more emotional scenes. Lawrence plays a strong female lead really well, which is why she is suitable to play Katniss Everdeen in The Hunger Games, and we do see glimpses of this sort of strength in her portrayal of Serena; mostly when she is assisting in the running of the business. At other times, however, the character behaves as a damsel in distress/a hopeless romantic who cannot survive without her man. Lawrence struggles to convey this sort of vulnerability, and her constant switching between strength and frailty was difficult to swallow. Rhys Ifans is probably the only cast member who deserves a special mention; he is fantastic in his role as Galloway, a superstitious hunter who shows undying loyalty toward Serena after she saves his life.

Lawrence and Cooper have starred together twice before in Silver Lining Playbook (2012) and American Hustle (2013), and continue to display their usual on screen chemistry in Serena, despite some flaws in Lawrence’s individual performance. The opening scenes in which their characters meet are very disjointed, and are mostly comprised of sex scene montages that made me question whether I was watching a romantic drama, or a preview to Fifty Shades of Grey. The film aims to present two characters that are passionately in love, but does so without including any romance. Instead, it contains multiple additional sex scenes, and repetitive dialogue in which the characters profess their love to one another with cringe-worthy, clichéd lines.

In addition to the inconsistencies in Lawrence’s character, there are also numerous plot holes in the narrative, including George Pemberton’s obsession in killing a panther said to be roaming his land that culminates in a bizarre scene in the third act. Unfortunately, I found myself constantly looking at my watch as the film progressed at a pace that failed to engage, as a result, I can only give this film 2 stars.

Movie Review – Nightcrawler. 4 Stars

It’s about bloody time someone in Hollywood came up with a truly unique and intriguing concept that doesn’t involve a superhero, a teenage romance, or strict adherence to genre conventions. Can I get an amen?

Crime thriller Nightcrawler is the directorial debut of Hollywood screenwriter Dan Gilroy (Real Steel, Bourne Legacy), and if his first film is any indication of what he will produce in future, then I am very excited to see what he decides to do next.

Jake Gyllenhaal stars as the emotionally crippled, and slightly unhinged Louis Bloom; an LA petty thief determined to find proper work that will inspire him, and set him up for life. He finds his calling in video journalism, covering local, violent crime, and he becomes obsessed with taking any measures necessary to be the best in the business.

Forget the perfect “Ken doll” Jake Gyllenhaal with the bright, blue eyes, the stylishly swept back dark hair, and the charming, sparkling white smile you may have seen in previous films. In Nightcrawler, the hair, makeup and wardrobe departments have made Gyllenhaal up to look like a super creepy weirdo, and he certainly brings the personality to match. Apparently Gyllenhaal also lost nearly 15 kilos for the part, which seems to be becoming an unhealthy trend among male actors (Matthew McConaughey lost nearly 20 kilos for Dallas Buyers Club, and Christian Bale apparently shed nearly 30 kilos for The Machinist in 2004). Not since the days of Donnie Darko (2001) have I ever had so much admiration for Gyllenhaal’s acting abilities. He is so convincing as Louis Bloom, it’s uncanny; it’s as if he was born to play this role. Through the character’s awkwardness, and lack of understanding of social expectations, he brings a bizarre blend of comedy to the film, and you get the sense that he is genuinely enjoying portraying this character.

The writing in this film is absolutely sensational; from the creation of this intriguing antihero that you love in spite of his most unsettling quirks, to the exploration of video journalism, which is presented in a way that audiences have never really seen before. The film shows the cutthroat competitiveness between the video journalists and the news networks alike, the battle of ethics when deciding what can and can’t be aired on television, and the conflict between the cameramen and the police/emergency response teams.

It’s such a refreshing storyline, particularly the relationship that develops between Gyllenhaal and Rene Russo, who plays news network producer Nina Romina. On one level they are employer and employee, and in this instance Nina has all the power, until Bloom realises he has the upper hand when he starts to deliver such a high quality product. It becomes a struggle for dominance, which is steeped in sexual tension, and is further complicated when they both come to learn that one cannot survive without the other.

The only issue I have with this film is the third act, which is unnecessarily drawn out, and lacking in content. It kind of comes across as though Gilroy built up this incredible conflict to a point where he could not figure out how to resolve or conclude the story, so the film ends on a bit of a low.

Overall, this is an oddly comical, disturbing, but exhilarating film with a killer performance from Gyllenhaal, and an awesome score that is similar to, but nowhere near as overbearing as the sound design used in Punch Drunk Love (2002). This is the most unique and unpredictable film I have seen in a very long time, which is why I am giving Nightcrawler 4 stars.

Movie Review – The Hunger Games: The Mockingjay Part 1. 3.5 Stars

Fans of The Hunger Games, we guarantee you will not be disappointed by The Mockingjay: Part 1.

Review by Cherie Wheeler

In the third The Hunger Games film, The Mockingjay: Part 1, Katniss Everdeen (Jennifer Lawrence) has just been rescued from the arena, and has been sent to District 13, but her fellow victor and lover, Peeta Mellark (Josh Hutcherson) has been abandoned to the enemy in the Capitol. All the people of Panem believed that District 13 was obliterated after being bombed by the Capitol, however, the people of this district have continued to survive underground under the leadership of President Coin (Julianne Moore) who is responsible for instigating the rescue of Katniss. She and Plutarch Heavensbee (Phillip Seymour Hoffman) wish for Katniss to lead a revolution against the Capitol, but Katniss does not wish to become the face of the war whilst Peeta remains in danger, thus she strikes a deal with Coin. Peeta shall be rescued if Katniss becomes the Mockingjay; a symbol that will unite the thirteen districts of Panem against the dictatorship of the Capitol.

Wow, that was an epic struggle. I have never found it so difficult to condense the plot of a film into a few simple sentences. My first recommendation prior to seeing this film is to make sure you either read all of the books, or at least watch the first two films, and even if you have already done this before, go back and do it again. The Mockingjay: Part 1 isn’t like Iron Man 3; you cannot watch it in isolation, as it assumes you possess sufficient knowledge of previous events in the narrative, and that you will understand certain references without the need for any explanation.

I think diehard fans of The Hunger Games series will be most pleased with this latest installment as it remains very true to the novel. At first I was extremely sceptical when I learned that the third book would be divided into two films as it is an obvious money making ploy. The seventh Harry Potter book was more than 600 pages long, so a film adaptation in two parts was somewhat justified, but all of The Hunger Games books are relatively thin, and whilst they contain a lot of detail in regards to the fictional world of Panem, they do not include a lot of content. Having said that, I felt that the film was well structured and moved at a good pace. There was a satisfying balance between scenes of high drama, and those that functioned as lulls in the action, and all of this culminated in a worthy climax.

Even though this is the third film in which Jennifer Lawrence has featured as Katniss Everdeen, I still have trouble accepting her in this role. There were moments when her character encountered some fairly graphic scenes of destruction, and her emotional response was terribly superficial. I think she was fantastic in Silver Linings Playbook and American Hustle, but when it comes to heavy drama, she comes undone. Similarly, Josh Hutcherson was not convincing for one second, and I found myself cringing almost every time he was on screen. Kudos to the makeup team who worked on him though.

The supporting cast, on the other hand, are absolutely fabulous, and provide excellent comic relief, particularly Woody Harrelson who plays the recently sobered up Haymitch, Elizabeth Banks who reprises her role as glamour queen Effie Trinket, and Stanley Tucci who returns as the flamboyant television presenter Caesar Flickerman. Julianne Moore is the only significant new addition to the cast, and she is sheer perfection as the staunch President, and it is also lovely to see the late Phillip Seymour Hoffman in one of his last roles.

Each of The Hunger Games films are certainly an improvement on the last, and The Mockingjay Part 1 is probably the best of the lot so far. Austrian director Francis Lawrence returns from the second film, Catching Fire, to also lead this latest film, and he is currently finalising the final film in the series. Although the narrative deals with high impact drama that naturally follows war and revolution, I do feel that the film pushes its audience too hard for an emotional reaction, and at times becomes a little melodramatic. I think Francis Lawrence really wanted to tug at people’s heartstrings, but I never found myself connecting with the material, nor was I particularly moved at any time. Even though I was not emotionally touched by the film, I still found it quite entertaining, and was more than happy to watch it from start to finish without becoming distracted, therefore I am giving The Hunger Games: The Mockingjay Part 1 3.5 stars.

Movie Review – Rock The Casbah. 3 stars.

Filled with tragedy and comedy, Moroccan film Rock The Casbah transcends race and religion in its portrayal of the bonds between family.

Review by Cherie Wheeler

Written and directed by emerging female filmmaker, Laila Marrakchi, newly released drama Rock The Casbah revolves around the gathering of a large and dysfunctional French/Moroccan family following the death of its patriarch, Moulay Hassan (Omar Sharif). Moulay’s wife Aicha (Hiam Abbass), his daughters Sofia (Morjana Alaoui), Miriam (Nadine Labaki) and Kenza (Lubna Azabal), and his longstanding head servant Yacout (Raouia) are among those that partake in the traditional three day funeral ceremony at his luxurious home in Morocco, which culminates in the reading of his will, and the dispersing of his hefty estate on the final day. Relationships are tested, and old grievances rise to the surface during this time of emotional upheaval in which the family is forced to endure one another’s company for the entirety of the funeral ceremony. During this time, dark family secrets are thrust into the limelight to the shock and horror of all, and one particular revelation threatens to damage the family beyond repair.

My above synopsis paints a fairly grim picture, however, Rock The Casbah is actually a very sweet and heartwarming film. On a scale of one to Wes Anderson, it probably rates at a 5 or a 6 in terms of its quirkiness and black humour. Despite its offbeat nature, the film is still very much grounded in reality, with credible characters, and dramatic events that could conceivably occur within any family, from any background.

Most of the film is comprised of dialogue heavy scenes in which various combinations of family members interact, and through these conversations, the viewer is gradually made aware of multiple unresolved conflicts between each of the daughters and their parents. The majority of the friction between them stems from the fact that Miriam and Kenza have always adhered to the rigid roles that women are expected to fulfill in their culture, whereas Sofia, and a fourth sister (who is often mentioned, but never appears) have rebelled against this, and have instead led independent lives in the US and UK respectively.

All of the relationships between each of the characters are presented with a raw sincerity that causes you to forget that you are watching an ensemble of actors, and instead you feel like a fly on the wall observing a real family. I do not believe that any other filmmaker could have breathed this kind of life into this film and these characters. Marrakchi was born and bred in Casablanca, Morroco, thus she possesses an insider’s experience, and a unique understanding of this nation’s culture. Rock The Casbah is her second feature film, her first being the controversial romantic drama Marock, which screened at the Cannes Film Festival in 2005 and also stars Morjana Alaoui. The film follows a Muslim woman and a Jewish man who fall in love, and from this sentence alone, I’m sure you can understand why the film created a lot of contention.

I have a fondness and a high appreciation for foreign films that submerge its audience in a particular culture that is often overlooked by the Western world, much like the Saudi Arabian film from earlier this year Wadjda. It is always an eye-opening experience to see how other parts of the world operate, and if it were not for films such as Rock The Casbah then first world audiences would most likely be completely ignorant to many of the lesser known cultures. I for one was completely clueless to the fact that both Arabic and French are spoken in Morocco, which are the predominant languages used throughout the film, in addition to a small amount of English. I was also utterly oblivious to many of the traditions upheld in Morocco, especially the concept of a three day funeral, so on this level, I found the film to be very educational. Even though elements of the culture expressed in the film were totally alien to me, the film was still very relatable due to the well developed relationships between the characters, and the dynamic of the family during such an emotionally stressful time.

Omar Sharif is absolutely gorgeous in this film, and without saying too much, although the film is based around his character’s death, he remains included in the narrative, similar to how Mary Alice Young continues to feature in the television series Desperate Housewives despite her suicide in the first episode. All of the performances from the rest of the cast are very strong, but a special mention must go to the more mature female actors; Hiam Abbass and Raouia. The script is extremely well written in the way that it seamlessly reveals snippets of information in a sort of trail of breadcrumbs that is easy to follow, and allows you to gradually learn of the many skeletons hiding in the family’s closet. At no point does the film condescend its audience in the way it presents this information, and even though much of this exposition is expressed through the dialogue, the speech always comes across as very natural.

Overall, I found this film to be quite enjoyable and consequently I am rating it with 3 stars.

Movie Review – The Drop

Even if a stereotypical crime drama is not a film you would usually go for, we guarantee that you will still enjoy Tom Hardy’s latest film The Drop.

⭐ ⭐ ⭐
Review by Chantal Victor

Belgian director Michael R. Roskam brings us new crime drama The Drop, based on the short story Animal Rescue by acclaimed author Dennis Lehane (Mystic River, Shutter Island). Bob Saginowski (Tom Hardy) works as a bartender in an establishment managed by his cousin Marv, played by the late James Gandolfini. The bar, uniquely named “Marv’s Bar,” is one of many cash drop off hubs used by local gangsters throughout the town. The film follows a particular drop off that involves a little more than the standard procedure, which consequently leads to a robbery, and many unwanted questions from police and criminals alike. What happens next will surprise everyone.

What a great film; the first act introduces the audience to the bar with a voice over explaining the drop off sequence, and how it works. Nothing needs to be explained again, and anyone from any background can understand how it works, which means the audience is able to focus more on the characters rather than trying to figure out any logistics.

I fell in-love with Tom Hardy (Inception, The Dark Knight rises) in this film as he expressed a certain vulnerability that made me want to protect him, and I empathised with him throughout the entire film. This film also stars James Gandolfini (The Sopranos, The Mexican) whom we all know was a phenomenal actor who tragically died in 2013. The Drop is his last film role, and I would say a fantastic last film for him.

The only performance that disappointed me was Noomi Rapace, who is the lead actress in the 2009 Swedish film The Girl with the Dragon Tattoo. I believe she suited her role, however, I don’t think it allowed her to explore her true acting abilities, particularly when compared to her strong performance as Lisbeth Salander in the above mentioned film. There is lovely chemistry between Rapace and Hardy, however, at times this is a little awkward to watch, as it’s a sort of puppy love that exists between them, and not the usual romance you see in a film of this genre. It’s very similar to the relationship between Tiffany (Jennifer Lawrence) and Pat (Bradley Cooper) in Silver Linings Playbook. All the characters possessed an adequate back story to convey the reasoning behind their actions, and that is enough for me as a viewer; if I don’t question any actions then it’s a script well done.

Most of the screen time was dedicated to developing the characters in order to build a relationship between them and the viewer. In such a short time I felt like I was a part of the mob scandal, and anticipated anything and everything to go wrong. There were one or two gruesome shots of body parts, but it wouldn’t be a proper mafia film without this. These scenes did not derail any opinions of those in the audience who were female; I heard some ladies outside the cinema saying that they don’t normally enjoy a these types of films, however this time around they found this film to be really entertaining. I would honestly say the same.

This was a great crime drama to watch with the typical underdog, a mafia boss and the man in the middle trying to score his own way. This film has a pleasant love story, some interesting characters and even a really cute puppy. It’s a nice popcorn film that anyone can watch, and then quickly carry on with life afterwards. I give The Drop a hearty 3 stars.

Movie Review – My Old Lady. 2.5 Stars

Unfortunately, what could have been a really heart-warming dramatic comedy, turned out to be a fairly average film that failed to engage.

Review by Chantal Victor

My Old Lady is a dramedy directed by Israel Horovitz; a renowned playwright who has written over 50 stage productions including The Indian Wants The Bronx, which is said to have been Al Pacino’s introduction to acting. Horovitz’s new film is about one man fighting desperately to find his purpose in life after many misfortunes. Mathias Gold (Kevin Kline) is endowed with a French apartment following the death of his father, but unfortunately, the apartment comes with an unexpected guest, Mathilde Girard (Maggie Smith). According to French real estate law, when a house is part of “viager” the new owner must pay the previous owner a monthly fee until the previous owner dies, and only then will the house be fully owned by the new inhabitant; it’s a simple gamble on how long the previous owner will live. All Mathias wants to do is sell the apartment so he can move on to the next step in his life, but Chloe Girard (Kristin Scott Smith) tries to persuade him otherwise.

Unsurprisingly, (given the history of the director), My Old Lady felt less like a film, and more like a piece of theatre, mostly due to the dialogue, which at times became incessant with the inclusion of several in-depth soliloquies. This led to some of the performances coming across as less than convincing, as the speech did not feel natural. Additionally, it caused my mind to wander far too often. I felt there was a lack of chemistry between the characters, and that these characters were highly underdeveloped, as often certain actions had no explanation at all. All I could think during these scenes was that if I were in the same situation as the characters, I would probably have reacted in a completely different way.

In saying that, the individual performances showed glimpses of greatness. Kevin Kline (Wild Wild West, A Fish Called Wanda) was phenomenal as the emotionally scarred Mathias; you come to understand why this character has done the things he has done, and love him when he manages to do something right. Playing alongside Kline is Maggie Smith, who is most recently known for her role in Downton Abbey. Once again, her performance as the quirky old lady who lives in the house Matthias owns is spectacular. Even though her character is in her 90s, as a viewer I never felt sorry for her. You want to love her like a grandmother, but she keeps you on your toes, and makes you feel that sometimes you don’t want to like her.

With the script lacking the details the actors needed, I feel they brought to the film all they could. Kristin Scott Smith (Four Weddings And A Funeral) pushed her character as far as she could with what she was given, although at times I felt she was only presenting us with the surface level of what was really going on within her character. As the film unravels we learn that none of these characters are pure, and have all done wrong in their lives, which leaves them all open to being potential antagonists.

The film was shot fairly well with some scenic images of French gardens; whilst the cinematography was not outstanding, it was not terrible either. This is the sort of film I’d recommend to those taking grandma out for a good love story at the bioscope. It’s a popcorn type of film where the audience doesn’t need to think or over analyse; it’s just to sit and enjoy. Overall, I found this film to be a very average effort, therefore I’m going to give it 2.5 stars.

Movie Review – Interstellar. 4 Stars

Matthew McConaughey and Anne Hathaway are explosive on screen together in this epic science fiction/action thriller.

Review by Chantal Victor

Written and directed by Christopher Nolan, Interstellar is exactly what you would expect from the man who brought us the likes of Inception (2010) and Memento (2000). The story follows a group of travellers who go on a journey through a wormhole in space, in search of another planet to inhabit, as earth becomes an unsafe environment. The team is led by Cooper (Matthew McConaughey) and Amelia (Anne Hathaway) who are guided by Professor Brand (Michael Cain), and are challenged by the differences in time and gravity between our solar system, and the one they discover.

Where do I start? When I first realised I had to go and watch Interstellar, I wasn’t as thrilled as most viewers would be. I am not a fan of The Dark Knight, and I am always sceptical when I hear there is a new Christopher Nolan film in cinemas; purely because I feel at times he sells out to the public, and only gives people what they want to see. Yes, his films sells tickets, and the general public love his films, but I don’t feel that he ever pushes the envelope in terms of his filmmaking.

Interstellar happens to be a perfect balance between all my ideas of Nolan. There were hero-like characters that go on a journey to save the world, which everyone likes to see. For the female audience members, there is a love story with a twist following the sacrifices between a father and a daughter, and for the men there is an amazing adventure through the unknown world of space and time with spaceships and gadgets.

I didn’t care too much for the beginning or the ending. I know characters need time to be developed, and maybe it helps the audience to care more if many scenes are dedicated solely to this purpose, but I do feel these parts of the film could have been tightened up. In the first act I kept waiting for the space travel to start, and at times I felt that information was being spoon fed to me, as if I were too stupid to understand what was happening, however, the middle of the film was fantastic. I was taken on an emotional rollercoaster; I could feel the excitement as the travels started, the joy when something finally worked, the sadness of the characters being alone, and the fear of anything going wrong in their mission. The second act of Interstellar is really intense, and has an amazing way of explaining many of the fantastical elements and plot twists in the film, which I found very fulfilling, but then the final act took far too long to end. After going through so much with the characters I felt like I was done. It’s like when you go to a full buffet dinner, and you finish with dessert; you feel like you can’t have anymore, and then you go ahead and have that last glass of water. Just pushing it too far.

The only aspect I was looking forward to was seeing another performance by my screen crush Matthew McConaughey (Dallas Buyer’s Club, True Detective). He is a phenomenal actor who has really stepped up to the plate lately, and shown the world what he can do. It was difficult to believe McConaughey in the role of the parent of a young daughter as we are used to seeing him in romantic comedy roles in earlier years, and serious adult dramas in recent times. He simply lacks the traits of a fatherly figure. Once he began to share the screen with Anne Hathaway, however, he started to show the sort of prowess we have become used to seeing in his more recent works. Anne Hathaway (Princess Diaries, The Dark Knight Rises) is also making her own way, and proving herself to be a serious performer, and she especially does so in Interstellar. She portrayed her character extremely well; she manages to show strength without overpowering any of the men in the film, despite being the only woman on screen at times. McConaughey and Hathaway’s emotional performances were touching, and very much needed because they created a form of realism to some of the situations that otherwise felt so out of reach for the average viewer.

To my surprise, I found this film to be highly entertaining due to the fact that it combines thought provoking storylines, similar to Nolan’s Memento, with a thrilling space adventure like in Alfonso Cuaron’s Gravity. The film contains some great performances, and kept me on the edge of my seat for the most part. I have to deduct a star on account of the lag that occurred in the beginning and the end of the film, but overall I am still giving Interstellar 4 stars as I truly enjoyed it.

Top 4 Tarantino Films

I must admit, I was more than a little apprehensive when it came to publishing this list due to the very noticeable absence of cult favourite Pulp Fiction from my top four; **cue screaming, yelling, and throwing of rotten vegetables**. Even though Pulp Fiction may be responsible for cementing Tarantino’s status as one of the most well-known auteurs in modern times, I honestly do not believe that it can be considered his best work.

I can certainly appreciate why Pulp Fiction is so popular; who doesn’t love watching Samuel L Jackson and John Travolta debate fast food? And Christopher Walken’s monologue on safeguarding a watch between his butt cheeks throughout the war never gets old, no matter how many times you hear it. The opening scene in which Pumpkin and Honey Bunny (aka Tim Roth and Amanda Plummer) discuss the perks of robbing a restaurant is bloody excellent, but although the film contains lots of great individual elements, I personally don’t think the film as a whole is as strong as those I have listed in the top four below.

1. Reservoir Dogs. 1992.
Starring: Harvey Keitel, Tim Roth, Michael Madsen, Steve Buscemi & Chris Penn

At the dawn of the nineties, Quentin Tarantino was merely a passionate film fanatic working in a video store, until he penned his first feature film; True Romance. Tarantino sold this screenplay (which would later be directed by Tony Scott and released in 1993), and used the proceeds to fund his directorial debut Reservoir Dogs; a crime drama about the aftermath of a heist gone wrong.

This film is jam packed with stylistic choices that have gone on to be considered classic Tarantino techniques. The non-linear narrative, dialogue heavy scenes, innovative use of music (most notably the use of Stealers Wheel’s Stuck In The Middle With You during a scene where a policeman is tortured), and the inclusion of bloody violence throughout Reservoir Dogs is quintessential Quentin. This style has become his trademark, and it is present in almost all of his other works, including his CSI television special. Reservoir Dogs is one of my all time favourite films due to the calibre of the script, and the epic cast that fires on all cylinders.

2. Kill Bill Vol 1 & 2. 2003-4.
Starring: Uma Thurman, David Carradine, Daryl Hannah, Lucy Liu, Vivica A Fox and Michael Madsen

In between takes on the set of Pulp Fiction, Uma Thurman and Tarantino would engage in creative discussions in relation to a character they called “The Bride,” and this became the premise for the Kill Bill films.

This two part film is an action-packed, emotional rollercoaster that follows The Bride (Uma Thurman) on her “roaring rampage of revenge” against the man who attempted to murder her – yep, you guessed it – Bill (David Carradine), and his team of assassins, the Deadly Viper Squad. This fierce heroine goes to hell and back to fulfil her mission, and it is fantastic to see a female character display such emotional and physical strength whilst also maintaining her femininity.

What makes Kill Bill so effective is its ability to seamlessly switch between multiple genres; it goes from being a Samurai/Kung Fu film, then it has a moment in the style of film noir, then it goes on to be a Western for a bit, and at one point there is even a scene depicted in anime. On paper you would not think it would be possible to borrow from so many genres in just one film (well, technically two, but you know what I mean), and yet somehow Tarantino pulls it off. Everything in this film is heightened; from the music, to the direction, to the stylised violence, and I absolutely love every bit of it.

3. Death Proof. 2007.
Starring: Kurt Russell, Zoe Bell, Rosario Dawson, Vanessa Ferlito, Sydney Tamiia Poitier, Tracie Thoms, Rose McGowan, Jordan Ladd and Mary Elizabeth Winstead

Possibly one of the least talked about Tarantino films of all time, Death Proof revolves around two separate female friendship groups that each encounter ex Hollywood stuntman Mike (Kurt Russell) who drives a purpose built stunt vehicle that he uses to murder pretty and unsuspecting girls, until one day, he meets his match.

I hope no one is frothing at the mouth or shrieking at their screen right now because I included such a little known Tarantino film in my top 4. Death Proof is a quiet achiever that will never reach the sort of fame that some of his other films enjoy, but nevertheless, it really does deserve to be on this list. It’s such a unique film, even for Tarantino, as it depicts women in a way that we have never really seen them on film before, or at least not in relatively mainstream cinema. There’s a crude reality to the characters that is both refreshing, and a little confronting at times, but the truth is, there are a lot of women like that out there. Overall the film is really just a bunch of girls sitting around talking before a final, wild car chase with Kurt Russell’s character, but in its simplicity it is brilliant, and very entertaining.

4. Django Unchained. 2012.
Starring: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington and Samuel L Jackson

So this is the awkward moment where I admit that I was far more moved by Django Unchained than I was by this year’s Academy Award Best Picture winner 12 Years A Slave…

It’s the 19th century in the south of the USA, and Django (Jamie Foxx) is just another African American man living in slavery, until German bounty hunter Dr King Schulz (Christoph Waltz) frees him, and assists him to rescue his wife (Kerry Washington) who has become imprisoned by plantation owner Calvin Candie (Leonardo DiCaprio).

There is a harrowing scene in this film where Kerry Washington is whipped by white slave owners; she screams out in torment, and her flesh melts off her back as she is whipped over and over again… sound familiar? Almost the exact same scene takes place in 12 Years A Slave, except Lupita Nyong’o is the one under the whip, and no disrespect to Lupita, or to the film’s director, Steve McQueen, but I did not emotionally connect to 12 Years A Slave at all. On the other hand, I was horrified by a scene in Django where Leonardo DiCaprio’s character goads two slaves to fight one another to the death with nothing but their bare hands. I was shocked over and over again by similarly violent scenes throughout this film, whereas 12 Years A Slave failed to provoke anything from me, and this is partly why Django has found its way into my top four.

Christoph Waltz is outstanding as the eloquent and witty bounty hunter, DiCaprio is surprisingly good at being utterly detestable, and Samuel L Jackson is an absolute riot in this film, which manages to strike a perfect balance between its dramatic and affecting scenes, and those of tremendous comedic value.