My Top 5 Picks of 2023

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.

‘Bombshell’: a timely drama that doesn’t quite deliver the headline ★★★

It would be fair to assume that ‘Bombshell’ is jumping on the bandwagon of #MeToo era films with themes of female empowerment in male dominated arenas at the centre. As a matter of fact, Annapurna Pictures began the process of getting the greenlight for the film’s production almost three years ago – notably before the shocking allegations against Harvey Weinstein catapulted a global movement to stop workplace harassment against women. When newscaster Gretchen Carlson (Nicole Kidman) files a lawsuit alleging sexual harassment against Fox News founder Roger Ailes (John Lithgow), the dirty truth begins to unravel as multiple other women, including correspondent Megyn Kelly (Charlize Theron), come forward with their own experiences. This becomes an unprecedented sensation across the world – sparking questioning of what constitutes workplace harassment other than the obvious.

There is a skimming quality to ‘Bombshell’ that prevented me from fully engaging with it. The film glosses over the intricacies of the high stakes lawsuit in favour of a focus on the casual sexism the women depicted here – and beyond – face in the workplace and what needs doing to challenge it. The film loses its way around the half way mark, which is a shame as this is where the central trio begin putting into motion the steps to filing the lawsuit. There is an issue with pacing here, as the screenwriters seemed to be in a frantic hurry to wrap things up so the credits could start rolling. At a shorter than average 108 minute running time, they could have afforded to give us that bit more detail instead of constantly reminding us that harassment of all levels is wrong.

One of my other issues with the film is the very aspect it’s receiving attention for: the makeup artistry. I can’t overlook the startling transformation of Charlize Theron into Megyn Kelly, however the facial prosthetics and hairline alteration permit her only the one deadpan expression throughout the entire film. The makeup mishaps ultimately hinder the actress’s capability to give a formidable performance worthy of a Best Actress Oscar nomination. As a fan of Nicole Kidman’s work, I was disappointed in her performance as I felt like I was watching Kidman playing herself instead of an established news anchor. Perhaps this role wasn’t much of a challenge in comparison to her usual method roles. Fortunately Margot Robbie saves the film from being a disaster with her excellent turn as fictionalised producer Kayla Pospisil. Robbie shines with her wide-eyed, earnest ambition, which is swiftly turned on its head in her first meeting with Ailes during which she is ordered to show her underwear. Robbie showcases some of her best acting here, her silent anguish and struggle to conceal her tears as she fumbles with her skirt are excruciating to watch. What’s very clever about this scene is how it manages to avoid sexualising her for anyone’s pleasure.

‘Bombshell’ very much reminded me of ‘I, Tonya’, the mockumentary that followed ice dancer Tonya Harding’s fall from public grace, in the sense that there were moments I didn’t know how I was supposed to react to the film, which is largely due to the darkly comic tone. The occasional fourth wall breaking works in a counterintuitive way, for it distracts us from the film’s serious subject matter and message to women everywhere. On a positive note, ‘Bombshell’ has a polished, glossy aesthetic that aligns with the pressures for women on the air to look perfect, and in Roger Ailes’ eyes, to always be ‘likeable’. I enjoyed the sub-focus on double standards between how men and women are viewed, in particular Gretchen calling out resolute women being unfairly labelled hard work and difficult. On the whole, Jay Roach delivers a watchable drama on a timely topic thanks to the conviction of its power trio, even if the headline isn’t quite there.

‘Little Women’: Greta Gerwig breathes new life into a timeless classic ★★★★

Cinemas have nothing more to offer now than superhero blockbusters, prequels/sequels and remakes of classics done countless times before is the common complaint of pretty much every cinema goer I speak to. The same could easily be said of the latest adaptation of Louisa May Alcott’s ‘Little Women’, given how many times it’s been adapted for the large and small screen since publication. The 1994 version that starred Winona Ryder is a favourite from my own childhood admittedly. Anyone could easily roll their eyes at this umpteenth attempt to make easy cash out of another literary classic, but there is nothing samey or dull about this adaptation: in fact, it’s one of the finest period dramas for years. Greta Gerwig, whose directorial debut was the superb mother/daughter saga ‘Lady Bird’, brings us her take on Alcott’s coming-of-age novel. Rather than taking the shine off previous adaptations, Gerwig’s unpretentious stance breathes new life as well as nostalgic tenderness into the novel – albeit a few minor tweaks to bring the story up to date with concerns of women of today – where in doing so she proves just how timeless Alcott’s story of sisterhood and growing up still is.

Following the lives of the four March sisters – beautiful Meg, headstrong Jo, romantic Amy and shy Beth – ‘Little Women’ charts their journey into adulthood, and, in the protagonist Jo’s case, the search for identity and fulfilment. Familiar the storyline may be, but Gerwig’s narrative divides itself between Jo trying to get her break as a writer in New York and growing up with her sisters in genteel poverty. The constant flitting may cause confusion for some, however, Gerwig’s non-linear format is cleverly reflective of the intermittent writing process as Jo pens her debut novel whilst being surrounded by reminders of her previous carefree life. The most minute object such as a letterbox key carries sentimental significance to the sisters’ childhood game, within it a lifetime of memories. The golden-tinted innocence and homely domesticity of the March sisters’ younger lives work as a distinct foil to the colourless, patriarchal harshness of the city. My only reservation with the film is the hurried development of Jo’s relationship with mentor Friedrich Bhaer, whose significance the screenwriters have remembered at the last minute as Jo all of a sudden realises the depth of her affection for a man she held animosity towards. A more gradual approach to this turn of the story would have worked better in correlation with Jo’s personal growth and allowance of herself to feel again following tragedy.

Where credit can be awarded for casting, which is possible now that BAFTA has introduced a new category to recognise excellence in this aspect of filmmaking, Greta Gerwig deserves heaps of praise for her near perfect choices of actors. Saoirse Ronan negotiates the fierceness and vulnerabilities of Jo’s personality with remarkable sensitivity and nuance. So affecting is her performance that I would put money on her finally bagging an overdue Oscar this year. The dashing Timothée Chalamet does impressive work as Jo’s best friend Laurie, capturing the pain of unrequited love with relatable sensitivity without being gushy. Laura Dern, Chris Cooper and James Norton are also considerably good in their limited screen presence. Gerwig has clearly paid close attention to the impact of family on the individual, as the ties Jo shares with her sisters are just as much the making of her as leaving the safe family haven to succeed as a writer. The feminist aspect is brought up to date with contemporary norms as Jo rebels against her publisher’s expectations and ardently commands control of her heroine’s destiny. Intelligently crafted and sensitively directed, ‘Little Women’ is a thoughtful drama anchored by an outstanding lead performance from Saoirse Ronan.

‘Joker’: Todd Phillips’ bleak origin tale is a clowning achievement ★★★★★

“Is it just me, or is it getting crazier out there?”, Arthur Fleck ponders out loud to his overloaded therapist with a weary glance over the grim Gotham horizon. Rhetorical as the question may be, Arthur’s observation is unnerving in its precise resonance with the increasingly divided, frightening world we live in. Failed comedian Arthur works as a party clown and lives in a rundown apartment with his frail mother. Bullied, marginalised and desperate to be noticed by those around him, Arthur slowly unravels into madness as he begins his metamorphosis into the criminal mastermind and chaos-seeking anarchist known as the Joker.

To deem ‘Joker’ the most polarising film of 2019 is an understatement in itself. As the release of Todd Phillips’ gritty character driven piece ticked closer, the waves of heated controversy surrounding the film, more so the real-life violence the actions of the unstable lead could inspire in the eyes of some, showed no signs of dying down, giving the film the publicity it craved if it ever stood a chance in the congested blockbuster market. I went into ‘Joker’ with a list of my own concerns: will it legitimise violence? Will it send out a pro-anarchy message? Is it totally normal now to sympathise with the motives of alleged ‘villains’? More worryingly, will this film give people with psychopathic tendencies a platform to justify their actions? The end result hasn’t completely calmed my concerns, but the film’s many triumphs are enough to forget about them for now. It’s only fiction, right?

The most crucial factor to the success of ‘Joker’ is its central performance. Fans of Heath Ledger’s Joker need not worry, for Joaquin Phoenix doesn’t try to imitate the late actor. Whereas Ledger’s portrayal lacked backstory, motive and explanation, what stands out here is Phoenix’s excruciating commitment in getting under the character’s skin to be fully immersed in his turmoil. As a consistently impressive actor whose talent has no boundaries, Phoenix is on tremendous form here and will no doubt be having the last laugh in awards season. His natural ferocity and weary ruggedness works as a distinctive foil to arch nemesis-to-be Bruce Wayne’s choir boy youthfulness. My advice to anyone planning to see this film is not to make comparisons to Ledger’s Joker, as it will ruin the intoxicating effect of Phoenix’s turn. Robert De Niro does decent work as a slippery talk show host, but his purpose is more narrative than to be anyone of interest. Then again, De Niro would be hard pressed to try and steal the spotlight from Phoenix’s virtuoso performance.

The parallels ‘Joker’ draws to current affairs are executed with sophisticated flourish without talking down to us. Gotham City is in a state of disarray rife with crime, unemployment and corruption. Government funding for social services has been scrapped. Trumpian career politicians i.e. businessman/mayoral candidate Thomas Wayne publicly denounce disruptive behaviour and vow to help those in need without any intention of doing so. So poignantly integrated are the political overtones in this alternative take on comic book tropes, the real monster of this story is society for its ignorance of those who are deprived of the resources to prosper. Phillips could afford to go that bit further in confronting the effects of poor mental health issues on victims, as there are more facets of Arthur’s mental anguish worth exploring than just what make him depressed. Arthur’s interpretive dance to Gary Glitter’s ‘Rock and Roll Part 2′ is bound to divide viewers with the questionable track choice, but then again the Joker doesn’t play by the rules of what we can and can’t do. There are hints of Scorsese’s 1970s films in the nocturnal lightning and film noir aesthetic, but these cinematic techniques are also symbolic of Arthur’s fragmented world without deterring our experience of the film.

In Todd Phillips’ towering masterpiece, there is one counterintuitive problem. The sheer brilliance of ‘Joker’ is confirmation that DC has temporarily run out of ideas to compete with Marvel’s trailblazing domination of the superhero market. Cynical as I am, but the brains behind ‘Joker’ have had to come up with something half original upon realising that DC don’t have an engaging enough hero to generate easy cash anymore – Jason Momoa’s six pack abs don’t pass for superhero credentials. ‘Joker’ fits in quite seamlessly with the string of badass stories that give the misunderstood ‘villain’ a voice, though this one is far superior to predecessor attempts such as the critically loathed ‘Venom’. ‘Joker’ is a politically charged, at times provocative film that manages to be more layered than a formulaic comic book adaptation. Through the dark tone and risky departure from the source material, ‘Joker’ emerges as a bleak, compelling character study that refuses to rely on capes and spandex to maintain our interest.