Hello to you film buffs! A belated happy new year to you all and I hope you enjoyed a restful Christmas, if that is at all possible. Looking back on the film 2023 calendar, it’s been an eventful yet volatile year to say the least. Both the WGA and SAG-AFTRA strikes had an enormous impact on box office takings for expensive blockbusters, the underperformance of so many leading to the creation of the term “flopbuster”. On Oscar night Daniel Kwan and Daniel Scheinert’s absurdist comedy drama Everything Everywhere All at Once was the crowning winner of an impressive seven awards including best picture, director(s) and three acting prizes. And then there was a little thing called Barbenheimer over the summer which saw both Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer released on the same day. I wimped out of doing the double bill for fear of a numb lower half and caffeine crash. Both are available on streaming services so no regrets there. Anyway onto my top 5 picks. For clarity my list includes films I saw last year, not all are official 2023 releases.
The Fabelmans dr. Steven Spielberg
The semi-autobiographical tale of Steven Spielberg’s childhood, family life and passion for filmmaking. Despite ticking many typical awards boxes and centring on Hollywood’s arguably most influential director, The Fabelmans went unrewarded by trophy voters and unwatched by cinemagoers. For me, the film’s simplicity and basic storyline are among its strengths. The ensemble cast are excellent but Michelle Williams steals the show with both childlike playfulness and volatile frustration as the unhappy family matriarch. Paul Dano does impressive work as the caring, dependable father doing his utmost to hold the family together. It’s interesting how Spielberg’s on-screen character Sammy occupies the observer role, quietly watching the fun and games on a family camping trip from afar and capturing every moment on his camera. I liked the film’s departure from a standard biopic to a more intimate focus on fractured but nonetheless loving relationships and how they shaped Spielberg. Even if Spielberg’s life story isn’t something you care to see in a film, you will nonetheless be moved by the warmth and gentleness of The Fabelmans.
Tár dr. Todd Field
Todd Field’s psychological drama starring Cate Blanchett as revered fictional conductor Lydia Tár facing allegations of misconduct that threaten to destroy her reputation. Seeing Tár on the big screen was essential to appreciate not only the musicians’ artistry but also the high quality of filmmaking. The cinematography and sound editing in the orchestral scenes has such gripping, pulse-racing effect that I thought I was watching a thriller. Cate Blanchett possesses the gravitas to portray this respected figure and delivers a masterful performance that earned her a BAFTA. The narrative avoids being clear-cut and several scenes pass where nothing significant appears to happen. If a slow-burning drama is not something you enjoy, my advice would be to give Tár a miss. There is a restless tension throughout that eventually culminates in an explosive climax that shocks in its violent fury. The film is relevant as it deals with modern issues that dominate headlines and everyday conversation. It provokes us to ask is Tár the victim of a relentless cancel culture? Or is justice finally being served for unpunished misconduct? What enhances the film is its refusal to answer these questions and how it challenges us to draw our own conclusions. See it and judge for yourself. You won’t regret it.
Psycho dr. Alfred Hitchcock
For clarity’s sake a remake of Hitchcock’s most famous work was not released last year, unless I’ve been living under a rock. On Halloween I was fortunate to see the 1960 classic screened with a live orchestra. I’m not the first or last to say this, but what sets Psycho apart from the average horror/suspense/slasher (however you categorise it) is how finely constructed every single camera shot is down to the smallest detail. Nothing is there by chance and everything we see has meaning. Anthony Perkins conveys courteous hospitality which instantly switches to menacing defensiveness at the mention of separating himself from his domineering mother. Shame on the Academy for failing to award him the best actor Oscar for his exceptional performance. Even those who haven’t seen Psycho know the iconic shower scene, however the shock value is still there in the brutal casting off of the leading lady 45 minutes in. Bernard Herrmann’s screechy violin score is cleverly used throughout to create pure terror, and it frightens six decades on. It’s noticeable how Psycho has aged better than some films made after its era. Seeing the film in a live setting reinforced the enduring appeal of Hitchcock’s masterpiece and why it’s worth checking into the Bates Motel again.
The Banshees of Inisherin dr. Martin McDonagh
The latest tragicomedy from award-winning writer and director Martin McDonagh sees two lifelong friends played by Colin Farrell and Brendon Gleeson falling out over the latter’s decision to abruptly end their friendship. Admittedly I was late to the party in seeing the film everyone was talking about last awards season. The script is wickedly funny and utilises the differing comedic styles of both leads, and it works perfectly. There is the McDonagh trademark of unexpected tragedy undercut by dark humour that doesn’t allow us to dwell on moments that tug on the heartstrings. I would have liked a slightly longer focus on the moving parts of the story to give the film more poignancy. The rapport between the friends turned foes is believable and Farrell’s pitiful desperation to win back his friend is balanced by Gleeson’s stubborn unresponsiveness. The stunning scenery is aesthetically pleasing with an element of bleakness. I laughed regularly throughout the film, but I wouldn’t put it on the level of Three Billboards Outside Ebbing, Missouri. If you’re not familiar with McDonagh’s previous works you may find Banshees a bizarre watch for its irrational characters and lack of resolution after all the chaos that ensues. If you enjoyed the heist comedy In Bruges and are keen to see another Farrell/Gleeson pairing you will most likely enjoy Banshees.
Wonka dr. Paul King
A musical prequel that chronicles the origins of Roald Dahl’s Willy Wonka and how he became the world-famous inventor of chocolate delights. It’s a natural response to roll your eyes and groan at the idea of yet another reimagining of a beloved classic, but Wonka is the perfect antidote to an uneventful winter’s night. There is a wholesome charm to the film and it celebrates goodness without being saccharine thanks to Paul King and Simon Farnaby’s winning script. Timothée Chalamet showcases his musical talents as the aspiring chocolatier and British household names Rowan Atkinson, Olivia Colman and Jim Carter among many others make up the supporting cast. Chalamet is sincere and optimistic with a sprinkle of mischief in his portrayal and there is none of the cynicism of Gene Wilder’s Wonka. This works in the film’s favour as Chalamet’s appealing performance elevates every scene. Despite the controversy over his casting Hugh Grant provides plenty of laughs as Lofty the pompous Oompa-Loompa. The costumes and production are fabulously designed with lustrous colours which have gone curiously overlooked this awards season. There is a lovely reference to Mary Poppins in Wonka’s bottomless top hat that carries his chocolate-making supplies. I enjoyed the catchy Broadway-esque songs and the platonic bond between Wonka and new pal Noodle breathes tender heart into signature tune ‘Pure Imagination’. A wonderfully uplifting watch for all ages, Wonka is a scrumdiddlyumptious treat guaranteed to satisfy your sweet tooth.
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