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: Mad Max: Fury Road

Mad Max: Fury Road

George Miller’s reboot of his post-apocalyptic film series is a force to be reckoned with. Mad Max: Fury Road is exhilarating viewing; and perhaps the best example of how to produce a superlative belated sequel.

In a post-apocalyptic desert, Max lives life as a scavenger. An encounter with the ruling tribe throws Max together with Furiosa, a woman on a mission…

With so many reboots, remakes and belated sequel, Mad Max: Fury Road could have easily been another franchise film lost in the mix. Viewers who experience the ferocity of writer-director George Miller’s latest instalment quickly realise that this does not apply here. Mad Max: Fury Road is a handsome addition to the Mad Max universe.

Revisiting his film franchise after thirty years, George Miller brings plenty of the old and new to Mad Max: Fury Road. Action sequences meet the best of Mad Max 2: The Road Warrior. This latest instalment is visually evocative of the earlier trilogy, yet is fresh and powerful.

Like the earlier instalment, precedence is given to action over narrative. Nevertheless, the story is effective in giving meaning to the action, and giving the characters a sense of purpose. Miller wisely eschews lengthy moments of reflection which would have slowed momentum. The main characters are given enough backstory to give their mission a purpose, yet the film forgoes melodrama to play to its strengths. Miller creates parity between his two protagonists, offering audiences a strong female character missing from many films of this genre.

Just like the earlier films, Mad Max: Fury Road is aesthetically striking. The film continues in the same industrial-primitive post-apocalyptic vein as its predecessors, but ventures further in its extreme depictions. There are plenty of wonderful touches that intensify this memorable setting. Cinematography is excellent, as is art direction, with a restricted palette being utilised to great effect. Charlize Theron and Tom Hardy offer good performances, whilst Hugh Keays-Byrne returns to the Mad Max fold with a memorable and intimidating portrayal.

Action is Mad Max: Fury Road‘s benefaction, and the film provides a tremendous ride. Miller’s film is almost relentless in its energy, providing viewers with little respite from the tour de force sequences. These are executed with a finesse missing from a lot of recent action movies. More than gratuity, Mad Max: Fury Road offers a pace that is pulls viewers along on the most nerve-wracking of rides.

Mad Max: Fury Road is the blockbuster to beat this year. Two hours of heart-pounding, engrossing, visceral and above all enjoyable entertainment.