My Favorite Movies

Whenever I tell my friends to watch this film (they totally exist!!) I always make sure to add: "You probably won't like it the first time around." This comes from experience after turning off the television in disgust after seeing it for the first time. It's a tribute to the film's enduring power and better-with-age quality that it now sits at the top of my favourite films of all time.

Four stories intertwine as a pair of hitmen pick up a briefcase, a boxer pisses off a crime mogul, two armed robbers try their luck at a restaurant and an employee takes his boss' wife out for the night.

It's difficult to pinpoint the exact source of Pulp Fiction's uber coolness; possibly the fact that it never tries to be. Quite the opposite in fact. Hitmen discuss Green Acres over breakfast, Mia and Vince do nothing but dance the night away and the soundtrack consists almost entirely of surf music and little known 70s tracks. As you can see, it doesn't exactly consist of pop-culture staples and things which are classified as cool. We sit through uncomfortable silences and conversations about foot massages and yet the film is touted as one of the benchmarks of cool. It's this insistent avoidance of what's recognised as cool which makes Pulp Fiction the coolest thing ever created. Instead of trying to exploit current pop-culture and get "in with the kids these days," it creates its own pop-culture and expects you to fall in line with it. By reinventing and patenting its own pop-culture, the film is entirely age-resistant, the proof of which lies in the fact that people who weren't even born at the time of its creation are trying to sneak it out of video stores to find out what the fuss is all about even today. And people who were older than Tarantino at the time of its creation still herald it as one of the greatest films they've seen.

One of the main attractions of the film is Tarantino's script. Every single word of the entire film is quotable, whether it's something to do with hamburgers or pot bellies, it's as inventive and memorable as scripts get. One of the greatest aspects of the script is the pacing. Tarantino knows exactly how to take it slow and how and when to put the hammer down. A prime example of this is the infamous hamburgers scene. After being introduced by Vince and Jules talking about what they call various burgers in other countries, the two operatives head upstairs to retrieve a briefcase. The scene is filled with intricate slow-building intensity where the conversation revolves around what the boys are having for breakfast until finally it explodes into full-blown chaos. This restrained pacing is typical of the rest of the film, taking its time to arrive at every point it makes until going completely apeshit. Tarantino also shows a flair for subtlety, though that's kind of an oxymoron. The dinner scene between Mia and Vince is filled with subtext and nuance and while not even a word of a typical soppy love story makes its way in, it's never in doubt as to what's not being said. But it's the pop-culture defining quotes which make the film so incredibly watchable. Never again will someone be able to order a milkshake without the price coming into question, never will someone be able to quote scripture without someone piping up with Ezekiel 25:17 and the lamest joke in the entire world will always be one of the coolest things to say to a group of movie-lovers.

Backing up this fantastic script is an amazing cast. It's an eclectic mix at first sight, but each and every part seems to have been tailored to fit the actor inhabiting it. John Travolta's career rebirth as Vincent Vega is fantastic, perfectly portraying the aloofness of a stoner and the assuredness of a gangster as well as a great gift for the inherit humour of the role. Uma Thurman's turn as Mia Wallace is similarly great, managing to be ridiculously hot while wearing more clothes than any number of so-called actresses with nothing between their ears. Bruce Willis' volatile Butch is perfectly restrained and brilliantly nuanced, Ving Rhames' Marsellus is gravitas in human form, Harvey Keitel's Wolf is the epitome of understated cool and Tim Roth and Amanda Plummer's Pumpkin and Honey Bunny are a perfect duo. But it's Samuel L. Jackson's Jules Winnifield which stands out in the incredible ensemble. His performance is a force of nature, exploding into rage while quoting scripture, levelling a room with a look and talking like a gattling gun. His performance is as funny as it is terrifying and constantly based in reality.

Tarantino's direction, already shown in Reservoir Dogs and Jackie Brown to be restrained and subtle, a masterclass in choreographed realism, is just as effective here, if not more so. Many of the scenes lend themselves even more so to his directorial style, making way for beautifully intricate tracking shots and trademark corpse and trunk shots. But while his direction is undoubtedly fantastic, his restraint in many aspects is the thing to be admired here. It's not until a third of fourth viewing that you realise the intricacy in his work as he doesn't draw attention to any of it. This gives the film a base in reality which makes way for the script and performances to shine through. It also means that the darker moments are made that much more dark by comparison.

Whether you like it for its technical aspects or simply to sit down with some of your favourite characters, Pulp Fiction is a perfectly paced, infinitely quotable and brilliantly executed crime film with a slew of indelible scenes which even today manages to change pop-culture to its will.

Defining Scene:
Mia's OD-ing fiasco. Perfect combination of Tarantino's brilliant direction, script and some fantastic performances.

Quote:
Ezekiel 25:17 (look it up)

Hamburgers! The cornerstone of any nutritious breakfast.

That's a pretty fuckin good milkshake!

You got a corpse in a car, minus a head, in the garage.

English motherfucker, do you speak it?

I do believe Marsellus Wallace, my husband, your boss, told you to take me out and do whatever I wanted. Now I wanna dance, I wanna win. I want that trophy, so dance good.

It's funny, if you talk to pretty much anyone around the globe about The Godfather, they know exactly what you're talking about. Whether they've seen it or not, they know exactly what you mean. Some of them will even muster up a quote or two. Such is the worldwide influence of Mario Puzo's The Godfather. The film revolves around the Corleone family, in particular Don Vito Corleone and his sons; Michael, Santino (Sonny) and Fredo and their involvement in a budding mob war. So why is this one piece of cinema so absolutely, world-changingly (yes that's a word... now) good? Let's have a look.



First of all, the script. Perfectly smearing the line between realistic and stylised, it is THE most quotable gangster movie of all time with lines like "I'm gonna make him an offer he can't refuse," "Luca Brasi sleeps with the fishes," etc. But it also gives the characters a depth which hundreds of other films have found hard to replicate. Each line is specially crafted for its character and is filled with rich subtext and double meanings. The realism factor means that lines aren't over stylised and polished to within an inch of their life, which helps to create an atmosphere of a slightly elevated reality.



The acting. It's not often that a filmmaker is granted the use of an ensemble quite as amazing as this, and they are all incredible. Marlon Brando's Vito Corleone has long since passed into cinema immortality as he mumbles his way through the script perfectly. For the most part he is calm, in control. But when moments of anger or sadness come along, he is explosive. His restraint throughout the film is top notch and it makes the more heightened emotional states that much more incredible. The best example of this is in when he's speaking with Johnny Fontane about his part in a film coming up. I'm surprised the screen doesn't shake every time. Al Pacino's Michael is a standout as well, with his cold, calculating personality and fierce protection of his family, as well as a sort of hidden danger inside of him which rears its head occassinally. There are so many layers to his character that you will not get it the first time around. Pacino is at one of the many peaks in his career in this film and its incredible to watch him do what he does.



The direction is fantastic as well. Coppola manages to keep the audience engaged over the entire epic 3 hours of run time with brilliant lighting and beautiful honeyed tones as well the darker shadowy moments in which nothing is certain. He captures the harshness in both the daytime and the night equally. Just the fact that he took on such an amazing project is kudos enough, that it worked is even better.



However, as I mentioned, it is 3 hours long, and often there are slow, very slow, moments. But hang in there and you'll be rewarded with having seen one incredible film.



Francis Ford Coppola's stylised, almost mystical, representation of the American Mafia is a timeless piece of cinema, the likes of which you'll only see every fifty years. Filled with amazing set piece after amazing set piece, if you haven't seen it yet, DO IT NOW!



Defining Scene:

What, are you kidding? The now immortalised horse's head scene. It'll get you everytime.



Memorable Quotes:

"I'm gonna make him an offer he can't refuse."

"Luca Brasi held a gun to his head and my father assured him that either his signature or his brains would be on the contract"

" If you'd come to me in friendship, then this scum that ruined your daughter would be suffering this very day. And if by chance an honest man like yourself should make enemies, then they would become my enemies. And then they would fear you."

"Fredo, you're my older brother and I love you, but don't ever take sides with anyone against the family again. Ever."

The sequel. The sequel, especially to a successful, amazing and pop-culture creating original, has often been plagued by some form of a curse. Of course there are the occasional victories where the sequel excels its predecessor, but a lot of the time people will wish they had stopped at one. However, The Empire Strikes Back not only lives up to the pressure of matching the original, an almost impossible task in itself, but in my opinion, and I'm aware that the jury is still out on this, is even better than the original.

After the events of the first movie, things appeared to be slightly ok. The Death Star was destroyed and it seemed that the Rebellion was gaining some ground. However, when we hit the sequel we quickly find out that they're in trouble once again, hiding from the Empire on the ice planet Hoth while being ruthlessly sought after by Vader and the fleet. Once they're found, they are forced out of their new de facto home and into deep space. Due to the Millennium Falcon screwing up once more, Han, Leia and Chewbacca have to hide in an asteroid field while Luke crashes his X-wing into a swamp on Dagobah where he starts his training with the Jedi Master Yoda. Han pilots his group towards Bespin and safe haven with Lando Calrissian in order to get the hyperdrive repaired and Luke discovers how to access the force.

Going by the synopsis alone, the first movie is absolutely necessary in order to know just what the hell's going on, but Empire itself is standalone brilliance. A lot of this can be attributed to a changing of the guard in Irvin Kershner as the director. Don't get me wrong, George Lucas did a great job with the original; creating the far away galaxy itself along with some indelible images including the famous Darth Vader entrance and of course that fight scene with Obi Wan and Vader. But Kershner's subtle change in tone and style which increases as the film progresses gives the movie a darker, more enthralling mood which draws the audience in ways the first only managed at the height of its power. He shows no constraints of being in the shadow of Lucas, daring to imagine bigger and braver than ever before, pushing the effects to their stylistic limits. From Luke's abduction by a Wampa to the Millennium Falcon's experience in a "cave," every scene is packed with unforgettable moments provided by Kershner's epic and beautiful lens. The production design is also amazing, especially Bespin, a city in the clouds, which hangs like a beautifully textured satellite in an amber sky. These moments sparkle in the blu-ray conversion, each shot digitally scrubbed to perfection. But it's his handling of the undeniably darker moments which populate Empire which showcase his incredible talent. Moments like Luke's failure in the cave or Han's cold snap will stay with you long after the credits have rolled, made all the more memorable by Kershner's moody atmosphere.

John Williams, of course, delivers once more with a vibrant and rousing score which is impossible to forget. From the opening explosion of sound to the introduction of the now famous Imperial March (it's used for the first time in Empire), every single note is tailored to fit the action onscreen. He is our unseen narrator throughout the entire saga and some of his best work can be heard here. The nature of the music makes it possible to switch from heartfelt one moment to menacing the next, a signature of most of Williams' film scores and exemplified in the Empire Strikes Back.

Leigh Bracket and Lawrence Kasdan's screenplay is brilliantly executed; funny when it wants to be, tender when it feels like it. They manage to nail the characters as well, especially considering the throughline being messed with here. It's a tough ask; moving the characters along just far enough so they still have somewhere to go but not letting them stay where they used to be. Han and Leia's relationship grows more complex but is as funny and natural as ever. Luke's evolution is particularly well done, after his slight air of childishness in the original, his character now becomes a man, becoming more complex and showing more depth. His journey on Dagobah shows this perfectly, as does his encounter with Vader later on in the film. Bracket and Kasdan certainly put him through the ringer in this one, but they have the confidence to put off the resolution until the next film. In the end, despite the characters having achieved some sort of next level, nothing here is resolved and there are more problems than ever before, a bold move by the writers who obviously have enough confidence in their audience to believe that they'll come back for the next one.

Of course, a huge part of Star Wars is the characters themselves, and the cast does not disappoint. Mark Hamill shows off his depth with his character's darker storyline, leaving behind a lot of the childish innocence of the original for a more mature but not quite functional Jedi. He also has a chance to let his humour shine through in moments like Leia's antagonistic kiss or his various encounters with Yoda. Carrie Fisher is pure fire as Leia, keeping up the quick talking impatient mode from the previous film. It helps that she's given a brilliant script by Bracket and Kasdan but in moments like her eventual kiss with Han, she is sheer perfection. But it's Harrison Ford here who really shines, in the role of a lifetime among all of his other roles of a lifetime, he looks like he's having the time of his life, shouting and grumbling about his ship's state of disrepair or trying desperately to make a relationship with Leia at some point. He's equal parts hilarious and heroic, a brilliant character played by an actor having way too much fun. Billy Dee Williams also turns in a great performance as Lando Calrissian, though he doesn't get the screen time he deserves until Return of the Jedi. And, as always, it's the unseen James Earl Jones who casts his shadow over the entire proceedings with the baddest bad guy of them all, Darth Vader. His wheezing mechanical breath is still as iconic as ever and his shocking twist brings a whole new level of depth to the film. He even gets his own theme song now! He is ruthless and calculating, as any villain should be, but he has an advantage in the fact that he has the coolest costume ever.

Whether you're in the purist's camp and will never say that Empire is better than the original or not, there's no denying the brilliance of The Empire Stirkes Back, what may be one of the greatest sequels of all time. Kershner's amazing direction, John William's score and everything going to hell in that ending: perfection.

Defining Scene:
Despite the draw of Vader and Luke's battle in Bespin, I'm gonna go with Han's freezing. Chewie's anguished cry, that exchange of "I love you," "I know." Star Wars at its best.

Quotes:
This is no cave.

I have a bad feeling about this.

I am altering the deal, pray I don't alter it any further.

Why, you stuck up, half-witted, scruffy-looking Nerf herder!
Who's scruffy looking?

Sir, the possibility of successfully navigating an asteroid field is approximately 3,720 to 1.
Never tell me the odds!

I don't believe it!
That is why you fail.

Don't get excited.
Captain, being held by you isn't quite enough to get me excited.
Sorry sweetheart, I haven't got time for anything else.

That's a good story. I think you just can't bear to let a gorgeous guy like me out of your sight.
I don't know where you get your delusions, laser brain.
(Chewie laughs)
Laugh it up fuzzball!

You have your moments. Not many of them, but you do have them.

Sir, it's quite possible this asteroid is not entirely stable.
Not entirely stable. I'm glad you're here to tell us these things. Chewie! Take the Professor in back and plug him into the hyperdrive!

Would it help if I got out and pushed?
It might!

You like me because I'm a scoundrel. There aren't enough scoundrels in your life.

I won't fail you. I'm not afraid.
You will be. You will be.

The Usual Suspects is pretty much as close to perfect as you can get, in my books. Every actor pulls their weight, every line of the script melts in your mouth, every frame is planned to perfection and every note from those glorious strings in the amazing score will send shivers up your spine.

We begin with a deliciously noir opening scene, bad guys, good guys and a mound of misbegotten mish-mash which apparently has some significance. We then backtrack with Kevin Spacey recounting some sort of criminal escapade and questions begin to become apparent. Who were these men whose actions resulted in the death of a boatful of men? Why were they on the boat in the first place? And above all, who is Keyser Soze?

Bryan Singer's direction of this brilliant film is something to be admired. Each scene is effortlessly watchable, without sacrificing the character development for an abundance of entertainment. He creates a murky, yet slightly stylized, underworld for his characters and the atmosphere it creates in the film is an intricate blend of deities and scum, where no-one is what they seem and everyone is hiding something.

The actors all pull their weight remarkably. Kevin Spacey, in particular, is amazing as Verbal Kint, 'the man with a plan' and awkward limp to go with it. He effortlessly crosses between motor mouth and his softer moments, displaying a great range in his acting and earning himself an Oscar in the process. Every scene of his is believeable and he easily shines brighter than the rest of the considerable cast.

Gabriel Byrne is great as Dean Keaton, too, showing the raging madman within him as well as the softer points of a man who everytime he gets out, they pull him back in. His moments with Edie are few and far between, so we don't get to see as much of his range as we could have, but his romance is mostly sidelined in this film.

Benicio Del Toro and Stephen Baldwin are great as Finster and McManus (respectively); the unintelligible man and his hyperactive friend, they are a great addition to the cast and extremely likeable. Chazz Palminteri as Agent Dave Kujan is fantastic as well, though the fact that he's acting opposite Spacey most of the time means that he's often overshadowed by Spacey's brilliance, but his delivery of great lines (you get no immunity from me!) means that he holds his own. Kevin Pollack does well as Todd Hockney, "the man who really didn't give a s**t about anyone." He plays the wisecracking professional well, even though his character isn't as memorable as the others.

The script is amazing, giving us some of cinema's greatest phrases and tying together what could have been a very scattered movie. The fact that it can keep such tension sustained for so long is a testament to its brilliance. The dialogue between Agent Kujan and Verbal Kint sparkles with dark humour in its brilliant back and forth.

The score is one of the major components of this film. It is truly brilliant and influenced the world of music in films hugely. The dark strings, reminscent of Jaws, shows the darkness, the intensity, the hint of playfullnes and the danger of the world our characters live in all at once. Guaranteed to stick in your head and change your world.

The Usual Suspects, as I said before, is pretty much as close to perfect as you can get in afilm: a thrilling mystery, great characters, fantastic script and sound and fantastic direction, all set in a film noir style. You're almost guaranteed to like this film, no matter what your predisposition may be in terms of genre or style, you will like this. Fantastic film.

Defining Scene:
The almighty line-up scene. Great blend of style, acting and direction with some killer dialogue.

Quotes:
"The greatest trick the devil ever pulled was convincing the world he didn't exist."
"Hand me the key, you cocksucker."
"He showed these men of will what will really was."
"What the cops never figured out, and what I know now, was that these men would never break, never lie down, never bend over for anybody. Anybody."
"Back when I was picking beans in Guatemala, we used to make fresh coffee, right off the trees I mean. That was good. This is shit but, hey, I'm in a police station."
"One cannot be betrayed if one has no people."
"Keaton always said, "I don't believe in God, but I'm afraid of him." Well I believe in God, and the only thing that scares me is Keyser Soze."
"How do you shoot the devil in the back? What if you miss?"
"You think you can catch Keyser Soze? You think a guy like that comes this close to getting caught, and sticks his head out? If he comes up for anything it'll be to get rid of me. After that... my guess is you'll never hear from him again."

1977 was a great year. Apple Inc. was created, the first personal computer ever was made, Jimmy Carter was sworn in, The Clash's first album was released, Elvis Presley died, Groucho Marx died Bing Crosby died. Wow. Morbid year. But the entire world stopped on May 25 when the words "A Long Time Ago, In A Galaxy Far, Far Away..." appeared on our cinema screens. From the second that incredible score crashes in and those two words which started what can only be called a religion burst on to our cinemas, the world of film was irreversibly changed. This was the moment that Star Wars was born.

The power of Star Wars lies in its simplicity: goodies you can cheer for, baddies you can boo, a damsel in distress and a script which you can quote for decades. And yes, the special effects are dated and the average 7th grader could do better with an hour and a burnt copy of After Effects, but the fact is that it's impossible to imagine a world without Star Wars, and just as difficult to forget it. The indelible impact it has had, not just on the world of cinema but on the world in general, is something which very few films have had before or since.

The script. As I said before, Star Wars' is endlessly quotable. Seriously. And it's not just the more famous lines like "may the force be with you," "use the force, Luke," or "Help me Obi-Wan Kenobi, you're my only hope," but true fans actually find it possible to jimmy literally any phrase from the film into real-life situations. Someone asks your name? Answer: "I'm Luke Skywalker, I'm here to rescue you." Someone doubts your resolve? Answer: "I find your lack of faith disturbing." Someone tells you to drive faster? Answer: "Traveling through hyperspace ain't like dusting crops, boy! Without precise calculations we could fly right through a star, or bounce too close to a supernova and that'd end your trip real quick, wouldn't it?" Someone asks your opinion on their girlfriend? Answer: "Wonderful girl. Either I'm going to kill her or I'm beginning to like her." Someone doubts that you can shoot a two metre target in your X-Wing? Answer: "It's not impossible. I used to bullseye womp rats in my T-16 back home. They're not much bigger than two metres." Literally any situation.

Another one of this film's strengths is the performances put in by the brilliant actors. Mark Hamill plays our leading man Luke Skywalker, a humble moisture farmer on the desert planet Tatooine before a chance encounter takes him on a journey through the stars. When asked in regards to how he felt about taking part in this film, Hamill replied that he "felt like a raisin in a giant fruit salad," which is a lot like the character he plays. He plays the innocence, exhuberance, curiosity and enthusiasm of Luke perfectly, making him easy to cheer for, yet not so shallow that he fades into the background around his supporting actors. Actors such as Harrison Ford, for instance. Ford brings to life one of the greatest characters, not just for the film, but for all time. His scruffy-looking scoundrel in space with an abundance of wisecracks and don't-get-involved attitude is one of the greatest things about the film. Ford plays him to perfection, the wry smile, the apprehensive approach to anything which may put him in harm's way, everything is completely under his control when it comes to his character. Carrie Fisher is great as well, playing the steely Princess Leia. And Alec Guiness as Obi-Wan Kenobi is fantastic also.

The music is unspeakably fantastic. There is no one on earth who does not recognise John Williams' incredible score which can either blast you out of your seat or speak to you of lands unexplored. It picked Williams up an Oscar and will immediately transport you to a galaxy far, far away.

George Lucas, the mastermind behind this whole phenomenon, directs the film brilliantly. From the inspired opening credits, to Darth Vader's brilliant introduction, to the fantastic Death Star battle and throughout the rest of the film, his faultless direction brings you into his world in a way no film had ever done before.

But these technical aspects are nothing without the feeling of joy that this film brings with every viewing, nor the impact that every era of cinema since has felt in the wake of this mighty offering. The birth of a new era, a breakthrough in cinema and the beginning of a phenomenon all in one? The force is strong with this one.

Defining Scene:
Obi-Wan and Darth Vader cross blades.

Quotes:
There are too many to count but the main ones are listed above.

Quentin Tarantino is one of my favourite directors. His great blend of violence, swearing and drugs always manages to create a darkly comic film which leaves you apalled at yourself every time you laugh. Reservoir Dogs is the perfect example of Tarantino for me. It brings together a whip smart script, a seasoned ensemble and a macho gangster tale and creates a film which takes you from one extreme to the other in the space of a few seconds. After laughing in disbelief at the opening "Like a Virgin" sequence and the inspired slow motion walk to "Little Green Bag," you are suddenly plunged into a sympathetic, almost shocked state as the sounds of Tim Roth wailing about being shot slowly fade in over the sounds of the Hits of the 70s on the radio. Similarly, the flashback sequnces are included without any great aplomb, prefaced by a quick title card and then getting straight down to business. This style of narrative, with questions first and answers later, is much more rewarding than a linear narrative and much more satisfying. The cast's performances are also brilliant, with the close to death Tim Roth shining out brightest. Steve Buscemi is fantastic as well, speeding through lines like, "somebody stuck a red hot poker up our asses and I wanna know who's name is on the handle" at a breakneck pace. Harvey Keitel diplays and movingly genuine performance as gangster turned father figure Mr White, from the "You're gonna be okay!" scene to beating Buscemi's ass all up and down the rendevouz. Michael Madsen is as believable as it is possible to be when playing an ear hating psychopath while dancing to Stuck in the Middle WIth You. The fact that Tarantino's debut added renewed vigour to violence in film debate only goes to show the impace that this movie had worldwide. Great film.

Defining Scene:
The final mexican standoff. Absolutely incredible and the perfect finish to a nigh flawless film.

"The first rule of Fight Club is: you do not talk about Fight Club."

When one of my friends gave me a synopsis of this film, they told me that it's about these guys who fight each other underground and there's a big twist. What they left out was the fact that, after watching this film, you can never look at the world the same way again. Everything seems different. People seem more transparent, nightmares don't seem as scary, the very fabric of the universe seems a little bit less overwhelming.

Ok, I may be exaggerating on that last one, but seriously. This film will blow your mind then come back and make brain soup inside your skull, it's that life changing. From the opening credits, with a rough, dirty song from The Dust Brothers and a CG tracking shot starting from a brain neuron and ending on the gun jammed inside Edward Norton's mouth, the atmosphere is one of slight bewilderment. Everything is just a little different from the norm. Our main character is in a dressing gown and boxers and the unseen antagonist is talking cryptically with the narrator tells us about the difficulty with talking while a gun is stuck between your lips.

And that's just the start.

From there, the film goes backwards, back to Bob's 'bitch tits.' The fact that the viewer is always aware of where the film is going to means that everything is viewed differently. Friendships are questioned and motives are analysed from the get-go. This keeps the audience on edge the entire time, even though they know the ending. But no matter how much analysing you do, you're gonna get smacked in the face by the twist. Unless you've been told about it already by some fool who didn't pay attention to the first rule.

The violence in this is fantastically apalling. Whether it's punching someone in the ear or slamming someone's face into the ground, every single punch is felt, thanks to Fincher's incredible direction, utilising cringeworthy slo-mos and even more cringeworthy close-ups, with every detail highlighted by the perfect lighting. This, coupled with Norton's almost bored narration, makes for a very involved, very disturbing experience. The foley artist, too, deserves a mention. The sounds during the fights, like two steaks smacking together, heightens the experience to even greater levels.

Performance-wise, everyone is pitch perfect in this, whether it's Norton's bleak fascination or Brad Pitt's all-kowing persona, or even Helena Bonham Carter's disengaged psycho-babble, they are spot on, on all counts. The stand out is, of course, Pitt's Tyler Durden, a revolutionary deviant whose personality is almost as stunning as his philosophies and a character who has been talked about since his initiation. He really is a revelation. His joking moments give way almost instantaneously to furious anger or deadly seriousness, a very dangerous individual. He is played stunningly by Brad Pitt who has a complete grasp of the character he is playing. Nothing that Tyler does surprises him, he knows exactly what to do in each scene. It is a towering performance.

However, the performances, brilliant one-and-all, play second fiddle to the movie itself, more specifically the ideas and philosophies imbedded in it. The theory that consumerism is killing every one of us, that we are losing touch with reality is, in itself, confronting. But Fight Club goes beyond the initial diagnosis, it presents a cure; destruction. It presents destruction as the key to being alive, not perfect, but in touch with one's self, more alive than one could ever be through the needless consumption of goods or the endless improvement of one's apartment. The fighting is a way to return to a state long forgotten; the primal man, where only survival is important and sofa units are the refuge of the weak.

Sounds daunting? It is.

After Fight Club, it is physically impossible to go back to the way you were. You will be changed, if only a little. Unless you are too dull to see the actual message of the film of course.

Defining Scene:
Tough call between the chemical burn and Tyler Durden negotiating the keeping of their fight basement with Lou.

Quote:
Tyler: Self improvement is masturbation. Now self destruction...
Tyler: I want you to hit me as hard as you can.

When Matthew Vaughn decided to begin this venture into a darkly comic, ferociously kinetic action flick, everyone, and I mean everyone, turned him down. It would have been easy to just call it a day, watch Layer Cake and sulk. Thank God he didn't.

Due to his persistence and vision, our cinemas were gatecrashed by Kick-Ass, a gloriously gory and slightly demented superhero film which is the most fun you can have at the cinema with your clothes on and at the same time a very character based and really quite moving take on the society in which we live.

But first, to Mr. Vaughn. Many people have called this the Quentin Tarantino superhero film. Whilst there are definitely similarities, Matthew Vaughn has set up a very definite directorial style; using a first person view to startling effect while a character is being beaten up, seamless transitions from shot to shot which boggle the mind and a perfect combination of the tripodless camera look and fantastic long-held shots which will make your hair stand on end, especially in the standout action sequence involving strobe lights and ultra slow-motion. He is also not afraid to get up close and personal with actors, prompting great performances all around and creating what I'm calling the Vaughn Gaze: the character's eyes dart to the left and the right, up and down, as the camera slowly zooms in. Then, as the zoom comes to a stop, the character looks straight forward, calm, confident, ready. The Vaughn Gaze, it's gonna be a thing, like the Kubrick Stare.

Onto the actors. This is another inspired casting selection in a Matthew Vaughn film. Would Layer Cake be Layer Cake without Daniel Craig? Aaron Johnson is the perfect choice to play Dave, just the right combination of "optimism and naivety." He plays the role to a tee; especially with the different personas of Kick-Ass and Dave and their attitudes towards the world in general. But even though the film is called Kick-Ass, it really is Hit-Girl's film. Chloe Moretz plays the thoroughly innapproptiate 11 year with a talent beyond her years, shining not just in the action sequences (which are out-of-this-world! Suck it Scarlett Johanson!) but in her softer moments too, never really letting us forget that she's still a kid. She's gonna be the one to watch in the next few years, already with a repertoire including (500) Days of Summer and this marvel of cinema. Just like we knew that Ellen Page was going places, watch this chick. Nicolas Cage, too, seems to have broken his streak of flat and pointless films with Kick-Ass. His performance as Big-Daddy is fantastic, adding so many more layers to his character than many other actors would have though to or have been capable of. The contrast of Damon MacReady and Big-Daddy is startling, with everything from his moustache to his voice and demeanour changing entirely. His Adam West impression, too, is dead on. For all those of you who don't know what I'm talking about, do your research. The supporting are all worth their salt as well, in particular Dave's two friends, and of course Christopher Mintz-Plasse. Lyndsy Fonsesca (How I Met Your Mother, Ted's future daughter) is quite good as well, though her performance as Katie occassionally was a little lacking. But in all of this, Vaughn never lets us forget who our main character is which is the sign of a truly talented guy.

Then there's the script. And what a script it is. Infinitely quotable as well as being incredibly true to life and inspiring all at the same time. Gut-burstingly funny in places and incredibly moving in others, it walks the very fine line between lame and inspiring as well as not taking the mickey too much.

The score is absolutely brilliant. Just like Layer Cake, the sound itself can sum up a character's feelings, tell the story and make you feel whatever they want you to. It's an extremely diverse soundtrack, from songs which would be more often found in nightclubs to the full brass of the theme song, as well as some well-placed contemporary songs and tributes to the days of old. Kudos for including the Banana Splitz theme song whilst legs are being lopped off.

AND, on top of all that, it is also quite political, discussing the devolving of our society's values in terms of helping out our fellow man, who we idolise and our skewed vision in terms of who's crazier, people who beat up fellow human beings or guys who dress up in green wetsuits and defend the opressed.

This film could easily have turned into an action-fest without any sense to it at all. However, thanks to the spot-on direction and pitch perfect script, we are bestowed with this, an entertaining, darkly comic, no-holds-barred or punches-pulled superhero film which rivals the best of them. You may actually find yourself crying while some dude's getting his head blown off. Not that I did. No. Definitely not. I'm way too cool for that. Oh shut up. Anyway, it's the most fun you'll have at the cinema this year and is so far my pick as the best for 2010. Watch it!

Defining Scene:
In terms of awesomeness, Mindy's assault on Kick-Ass' imprisoners.

Quotes:
"Three assholes laying into one guy while everybody else watches, and you wanna know what's wrong with me?"
"I'm Kick-Ass!"
"I'd never learn to drive, find out what me and Katie's kids would look like, or find out what happened Lost."
"And if you're reassuring yourself that I'm gonna make it cos I'm talking to you right now, quit being such a smartass! Hell dude, you never seen Sin City, Sunset Boulevard, American Beauty?"
"Dude, I think I love her!" "She's like 11 years old." "I can wait, I solemnly vow to save myself for her." "Yeah I can see how that would be difficult for you."
"As a great man once said: wait til they get a load of me."

Everybody knows about The Dark Knight. Absolutely everyone. The morbid curosity which surrounded the film as a result of Heath Ledger's passing was global. So the hype which surrounded Christopher Nolan's second chapter of the rebooted Batman franchise was unbelieveable. Good thing it was warranted then.

From the opening scene, the opening shot, the opening note of Hanz Zimmer and James Newton Howard's incredible score, the very moment that the film begins, you know you're in for something good. What follows is 2 and a half hours of pure cinematic brilliance, with amazing set piece after aMAZing set piece, all the while interjected with character building side-steps and action escalating build-ups. This film will have you rooted to your seat from start to finish. You won't even notice the exhorbitant runtime.

Christopher Nolan's direction in this film is masterful. Making full use of his incredible cast and their abilities as well as keeping you on the edge of your seat in the action sequences, he uses his IMAX cameras in groundbreaking form, shooting chase sequences, hesits, fights, everything, in crystal clear IMAX quality. He gives a sense of serenity to the chaos, doing away with the handheld camera feel which action movies tend to lean towards, utilising, instead, some incredible cinematography and inventiveness to capture beautifully long-held shots in places where you wouldn't expect to see beautifully long-held shots. He shows that as long as what you're watching on screen is as ridiculously awesome as it is in this film, you don't need to shake the camera from side to side constantly. This makes for much easier viewing. Instead of having to fight to see what's on the screen, you're basking in the awesomeness of the choreographed genius being played out on screen.

The script is fantastic, a perfect balance between the over-stylised feel of a comic book and often-too-cryptic realism, creating a script which is both entertaining and definitely not superficial. The comedic moments are underplayed enough to not feel forced, as are the emotional moments, and unnecessary dialogue is trimmed to great avail. The script could have been twice as long and incredibly bulky, as comic book films often are. Instead, this script is endlessly quotable and a perfect place for the actors to find their characters.

Speaking of characters, The Dark Knight dances its way through the usual troubles of a sequel without a step wrong, even including extra little flourishes for good measure. Batman keeps his character of incorruptibility, but instead of finding it in the first place like in its predecessor, this time its put to the test; stretching and straining him to breaking point and seeing the results. And the stretcher and strainer is none other than one of the greatest characters created in the last 20 years: The Joker. A ramping-up and supercharging of Tim Burton's Joker in '89, The Joker is, in his own words, "an unstoppable force." The moment he appears on the screen, you can see the crazy in his eyes, with an even deeper level lurking at the back. A true psychopath, he is vicious, cold, brutal, chilling and utterly likeable. No matter how bad he gets, no matter how many chills run up your spine, there is not a moment in the film when you truly don't like him. Maybe it's the hint of laughter in all of his craziness or the dark humour in everything he does, but it makes it difficult to root for Batman when there's such a fascinating opponent onscreen. As with all great films, the two characters are a perfect juxtaposition of each other; each with the same level of ambition, each with a mind to change the world, each with the same ability to influence people to their respective causes, but each one having chosen or being forced down a completely opposite path to one another. And this aspect is the most difficult for Batman to conquer; to, in essence, face himself. His bizarro-self maybe, but himself nonetheless. When these two titans clash onscreen, that's where stars are born.

The acting is of a completely different, higher, standard than its predecessor, good as it was in the original. The inclusion of Ledger is a perfect casting choice, and the posthumous Oscar is proof of that, but it truly is a tour de force performance. He inhabits The Joker entirely, from his scarily dark undertones in his voice, muscular ticks, everything. It's an incredible character to be trusted with bringing to life and Ledger lives up to the task and even goes beyond. The rest of the cast are fantastic as well. Though nobody in the film measures up to Ledger's monumental role, they all pull their weight, Bale especially. He shows more sides to the often one-dimensional character and shows a depth which is lacking among a lot of the current Hollywood "talent." His previous amazing performances (see American Psycho) are enough to make any casting agent's jaw drop, but this one is especially notable. His softer moments are ironically the most hard-hitting. Not that he is any less convincing in action, but the raw talent and incredible skill shown in his moments of doubt should show the rest of the world how to really play a superhero. The rest of the cast, though they are not the main focus, really are great, with Michael Caine, Morgan Freeman, Maggie Gyllenhall, Gary Oldman and Aaron Eckhart creating a thick web of talent.

But this is the film worthy of this incredible cast list. A film which stays true to its superhero roots while, at the same time, redefining the entire genre. From the beautiful blue filter of nighttime, remeniscent of Michael Mann's 'Heat,' to the amazing work with the fantastic IMAX cameras, to set-piece after set-piece after set-piece, each more amazing than the last, and not least of all Ledger's incredible performance of an amazing character, The Dark Knight will spin you about and knock you for six every time you watch it. Heath, we hardly knew you. Rest in peace.

Defining Scene:
Batman and The Joker in a not quite conventional interrogation scene.

Quotes:
"Why so serious?"
"Whatever doesn't kill you simply makes you... stranger."
"You wanna know how I got these scars?"
"Some men just want to watch the world burn."
"And here... we... go."
"I'm gonna make this pencil disappear."
"And I though my jokes were bad."
"So we'll hunt him because he can take it. Because he's not our hero. He's a silent guardian, a watchful protector. A dark knight."

There is so much to like in this film. Incredible images. Fantastic script. Great story. Kevin Spacey. Spot-on humour. Enrapturing stillness. Mena Suvari. Perfect music. Capativating cinematography. Mena Suvari. Fascinating insight. Mena Suvari. The list goes on. All of these elements combine together and make an absolutely brilliant movie which won five oscars including Best Picture, Best Director, Best Actor, Best Writing and Best Cinematography. All the important ones. The secret of this film is in its portrayal of the different themes which it conveys. It does this in the same sort of fashion as David Fincher's Fight Club in many ways; using dark humour to make something abhorent slightly more acceptable being the most prominent. In any other representation, this film would be seen as too confronting for the public, but the humour makes it acceptable. I for one am very thankful for the delightful splashes of humour throughout the film, making it a much more pleasant experience than other films with the same themes represented.

Lester is the main humourous element in this movie, with fantastic conversations with his estranged wife Carolyn (Carolyn: "Where's Jane?" Lester: "Jane not here right now." Genius.). Kevin Spacey plays him to perfection, from his wild outbursts to his mellower moments, he is pitch perfect the whole way through. Similarly, Annette Benning is brilliant as Carolyn, forcing us to hate her in every way imaginable, though slightly feeling sorry for her at the same time. But it is Mena Suvari who is the revelation here, from her many speeches about her sexual adventures to her fragility and vulnerability in the later scenes. Thora Birch plays Jane wonderfully as well, no matter how tired our current generation is of the "striving to be different teenage girl" character which seems to occupy our screens far too much these days. Each of these different parts perfectly compliment each other and together it makes for a brilliant film. The direction, too, is astounding, especially with Mendes' use of the camcorder for clever shots within shots. This is one of my new favourite films of all time. And I don't say that too often, so Mendes should feel very proud of himself.

Defining Scene:
The Spartanettes dance routine. Wildly innappropriate and visually stunning. Film at its finest.