Film Highlights of the Decade 2010-2019

As the decade reaches its close, I take a look back at some of my favourite film trends and cinematic highlights from the last ten years…

The New Breed of Unmissable Directors

This decade has seen the emergence of a new breed of directors delivering must-see films. Leading the pack in Hollywood are Damien Chazelle and Barry Jenkins. Chazelle has delivered one of the decade’s best pictures with Whiplash, and two other fantastic films (La La Land and First Man). Meanwhile Jenkins gifted us two beautiful, nuanced pictures with Moonlight and If Beale Street Could Talk. Jennifer Kent has also created two different but powerful movies (The Babadook and The Nightingale), making her mark.

Other impressive directors who have emerged this decade include Ryan Coogler (Fruitvale Station, Creed), Robert Eggers (The Witch, The Lighthouse), Ana Lily Amirpour (A Girl Walks Home Alone at Night), Justin Simien (Dear White People), and Julia Ducournau (Raw) also offered impressive debut features.

Excellent Late Franchise Entries

It really has been a decade of remakes, reboots, and belated sequels. Whilst many of these have been passable or forgettable, a couple of late franchise instalments have really stood out. George Miller bucked the trend to deliver one of the best films of this decade with Mad Max: Fury Road. The exhilarating fourth chapter in the franchise was breathtaking. Director Christopher McQuarrie re-teamed with Tom Cruise for the sixth Mission: Impossible film, and produced the best of the franchise and one of the best action films of the decade with Mission: Impossible – Fallout. Elsewhere director Steven Quale revived the tired Final Destination franchise with the very entertaining final chapter Final Destination 5.

Career Resurgences

This decade has seen a notable uptick in the careers of certain veteran actors. After a fairly quiet previous ten years, Laura Dern’s resurgence has been most rewarding to watch. This decade has seen the actress in an array of film roles including The Master, Certain Women, Marriage Story, and the upcoming Little Women. She has also been memorable on television in Twin Peaks and Big Little Lies. Michael Keaton has also had a belter of a decade, after a fairly unremarkable 2000s. He had major roles in Spotlight, The Founder, and Spider-Man: Homecoming (living long enough to become the villain), and was nominated for an Oscar for his brilliant turn in Birdman. Regina King has always delivered solid performances since her debut in Boyz n the Hood. It is only in the last few years that she has finally received the praise and calibre of roles she deserves, winning an Oscar for her role in If Beale Street Could Talk and playing the lead in the critically acclaimed show Watchmen.

Paddington Bear

In a bleak decade politically, Paddington Bear has been the hero we needed. Paul King’s Paddington and Paddington 2 have been a salve against the cruelties of this decade. A lead who is decent and kind (not to mention incredibly cute) has cut through the cynicism of the current world. The films were very entertaining, and a wonderful escape from current affairs. Paddington 2 in particular was very memorable and enchanting, with Hugh Grant on top form.

Christopher Nolan

If the decade had to belong to a single director, in terms of both critical acclaim and box office receipts, then that filmmaker would be Christopher Nolan. No one has been able to create original tentpole blockbusters in the way he has this decade. Nolan began the decade on top form with the action-thriller Inception, one of the biggest films of the year. He followed this with the final chapter of the Dark Knight trilogy, The Dark Knight Rises. The film is just about the most hopeful blockbuster of the decade, reaching a peak of exhilaration that is difficult to match. Interstellar and the truly superb Dunkirk exhibited Nolan’s comfort in a range of genres. With the upcoming Tenet, Christopher Nolan’s films are always hotly anticipated.

Park Chan-wook and Chung Chung-hoon’s Continuing Collaboration

Director Park Chan-wook and cinematographer Chung Chung-hoon collaboration began in the 2000s, working on three films together (Oldboy, Lady Vengeance, and Thirst). The fact that their partnership continued into this decade is a benefit to us all. With Stoker and The Handmaiden, Park and Chung delivered two of the decade’s handsomest pictures. The photography, the mise en scène, and the style are truly beautiful.

Trent Reznor Film Scores

After composing pieces for films earlier in his career (including for David Lynch’s Lost Highway), the 2010s was when Trent Reznor’s career as a composer really took off. His collaborations with Atticus Ross have been a highlight of cinema this decade. Highlights include the partnership with David Fincher (which netted Reznor an Oscar for The Social Network), as well as Mid90s and the recent Waves. Reznor and Ross also created the superlative score for the show Watchmen.

Directorial Debuts By Actors

This decade has seen some brilliant directorial debuts from well-known actors. These actors have proven their talents extend to behind the camera Highlights from this trend include Greta Gerwig’s wonderful Ladybird (Gerwig co-directed Nights and Weekends, but Ladybird was her first solo effort), and Jordan Peele’s fantastic Get Out. Other notable debuts include Chris Morris’ Four Lions, Olivia Wilde’s Booksmart, Joel Edgerton’s The Gift, Bradley Cooper’s A Star is Born, and Brie Larson’s Unicorn Store.

Film Review: Waves

Trey Edward Shults’ Waves is tender, powerful, and finely executed. 

High school wrestler Tyler struggles with balancing practice, family life, and his relationship with his girlfriend. His sister Emily, meanwhile, struggles in the aftermath of a life-changing event…

Focusing on Tyler and his family as he faces pressure from all corners, Waves is a meditative drama. Written and directed by Trey Edward Shults, the film tackles powerful themes within the confines of a teen-focused drama.

The narrative has a definite break, when the focus is pulled from one protagonist and on to another. The first segment feels like a complete film when it reaches its climax. As the second segment begins it is difficult to see where Shults will take his story. As the second part continues, it is absorbing. There is humour to be found in both parts, but the emphasis remains on drama. There are several emotional moments, and each of these is earned by the solid script, good character development, and the filmmaker’s considered direction. 

Camera work in Waves is frenetic to begin with; it does not stop moving for the opening scenes. The pace and range of movement slows in tandem with Tyler’s momentum. It acts almost as a mirror to Tyler’s drive; as aspects of his life spin out of control, the camera slows to meet his level. Later in the film, the camera is more laconic, matching the personality of Emily.

Colour is used to good effect in the film, underscoring the mood and energy at times. Trent Reznor and Atticus Ross’ score is a brilliant accompaniment to the on screen action. Performances in Waves are great all round. Kelvin Harrison Jr. is completely believable as Tyler. As his life spirals out of control, his frenzy is conveyed in a disconcerting fashion. Taylor Russell is also great; she has great chemistry with Lucas Hedges. Sterling K. Brown is a strong asset as their father.

Shults’ third film illustrates the filmmaker’s considerable skill and adeptness at storytelling. Waves is memorable viewing.

Waves is being screened at the BFI London Film Festival in October 2019. 

Film Review: Gone Girl

David Fincher’s adaptation of the best-selling novel Gone Girl is a finely executed mystery.

When his wife Amy is missing from the family home, Nick Dunne faces a media frenzy over her disappearance. Things intensify when speculation that Nick was involved in Amy’s disappearance begins to grow…

Adapted from Gillian Flynn’s novel (with the author acting as screenwriter), Gone Girl is an engaging mystery thriller. The film is superbly structured, and executed with flair.

Director David Fincher guides the story with aplomb, Given the nature of the narrative, Gone Girl could have easily been a trashy thriller more suited to television movie status with some hokey twists. In Fincher’s capable hands, however, the film is elevated beyond this. The result is an engrossing mystery with satisfying progression.

Pacing of Gone Girl is great. Viewers are engaged from the outset, with the story providing a rich hook. The reveals in the narrative are measured, and arrive at suitable intervals. It is this that keeps the audience gripped; the story is meaty enough for viewers to demand to know where it will lead.

At the heart of Gone Girl are two themes. The first is marriage, as the film plays out a complex relationship between the two protagonists, particularly through the use of flashbacks. Secondly, and more interestingly, Gone Girl satirises media coverage of missing person cases, such as the one featured in the film. The satire is on point, with parallels in sensationalist coverage abundantly clear. There are also laughs to be found within this.

Ben Affleck offers a good performance as Nick Dunne. However, it is Rosamund Pike as Amy who really steals the show with a convincing performance. Cinematography in the film is polished, and the score by Trent Reznor and Atticus Ross is a good accompaniment.

Gone Girl may actually work much better for viewers who have not read the book; it is the potent mystery which is so engrossing. Notwithstanding, David Fincher offers plenty besides to please his audience.

Thoughts on David Fincher’s The Girl with the Dragon Tattoo

I have come to the conclusion that Stieg Larsson’s Millennium trilogy must be literary dynamite. The first novel must combine the descriptive prowess of Charles Dickens, the wit of Oscar Wilde and Agatha Christie’s flair for mystery. For what else could explain the success of a book that has spawned two mediocre film adaptations?

When I first heard about an English-language cinematic adaptation of The Girl with the Dragon Tattoo, I really could not see the point given how recently the Swedish film had been released. I was much more enthused when news of David Fincher and Trent Reznor’s attachment to the project was announced. Fincher would be the man, I thought, to fix the numerous flaws present in Niels Arden Oplev’s cinematic version of the book. The narrative would be tidied, the pacing would be rectified, and the film would sound fantastic to boot.

Unfortunately only one of these three is true of Fincher’s version of The Girl with the Dragon Tattoo. It is pretty tough going when the best thing about a film is the title sequence. It is worse when that film is almost two and a half hours long. The title sequence is amazing, the combination of the visuals and the version of ‘Immigrant Song’ by Trent Reznor, Atticus Ross and Karen O works sublimely. However, the rest of the film is a let down. Although it is more stylish than its predecessor, the flaws are all too apparent.

This leads me to believe that The Girl with the Dragon Tattoo is not a very good story. The murder mystery premise is intriguing enough. However, it is poorly executed; the climax of the action arrives prematurely. This poor pacing means that the ending feels as if it lasts for an age. Moreover, if this mystery is secondary to the two protagonists’ journeys, than the characters should be more interesting. Neither Lisbeth nor Mikael are particularly fascinating characters; they offer nothing that really engages the viewer. Without a good narrative or absorbing characters, David Fincher’s film simply offers decent visuals and a great soundtrack.

In summary, no more film versions of The Girl with the Dragon Tattoo should ever be made. David Fincher should be more picky about his projects. So should Trent Reznor, who should return to contributing to film projects of the same calibre as David Lynch’s Lost Highway.

Film Review: The Social Network

Even to the most ardent Facebook fan the premise of this film doesn’t sound enthralling; a movie about the founding of the social networking site. Don’t let this put you off, however, as The Social Network is a wholly entertaining and surprisingly funny film.

On the 2003 night that his girlfriend breaks up with him, Harvard student Mark Zuckerberg begins to work an idea that will revolutionise online communication. As the success of his idea grows, however, so do the problems in both his personal and professional life…

Director David Fincher does an excellent job of generating such an interesting film out of what looks on paper to be a fairly simple chain of events. The Social Network concentrates on the human side of the story, developing characters that appear natural and multi-demensional. Nevertheless, the film does not shy away from presenting details of the court cases, as well as detailing the way in which Zuckerberg creates the site that will lead on to Facebook.

Rather than focussing solely on Zuckerberg, The Social Network gives sufficient attention to the various others involved with the creation of the site. This is an important factor as the film depicts real people and court cases, which occured very recently. Thus, the filmmakers offer a view of proceedings from the various people involved, rather than siding with a particular character’s account of events. The result is a film that tells an engaging story, but avoids placing blame or praise too much on any of the characters.

Aaron Sorkin’s screenplay is excellent. The Social Network is peppered with wit throughout, particularly from Zuckerberg’s character. Mark Zuckerberg is a protagonist to both sympathise with and be irritated by, the film suggests. Sean Parker comes across as obnoxious but entertaining, whilst Eduardo Saverin is the most relatable of the bunch. It is hard not to empathise with Saverin as he experiences the company slipping away from him.

Jesse Eisenberg perfectly embodies the Zuckerberg character. Eisenberg masters the awkwardness of the character, whilst delivering his lines with precision. Andrew Garfield gives a solid performance as Saverin; in the later scenes particularly, his anguish appears genuine and affecting. Justin Timberlake is good as the brash Parker, though the performance doesn’t seem too much of a stretch from the entertainer’s natural personality.

The visuals have a polished quality to them. With the use of lighting and colour, the atmosphere of Harvard contrasts greatly with the California scenes. There is a darkness to The Social Network that adds a weight to the action. This is aided by the score by Trent Reznor and Atticus Ross, which is notable without becoming overbearing.

In its account of true events, The Social Network offers a compelling story that does not lose sight of the humanity of its protagonists.