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: Paddington 2

Paul King’s Paddington 2 is a brilliant sequel. The film is both thoroughly entertaining and genuinely heartwarming.

Living with the Brown family, Paddington seeks the perfect present for his Aunt Lucy’s birthday. When he finds it, he sets about getting a job to pay for it. Unfortunately it is stolen before he can purchase it…

A sequel to 2014’s Paddington, director and co-writer Paul King’s latest film does its predecessor justice. The film features the same wonderful style as the 2014 film, and packs an emotional punch. The beauty of Paddington 2, and its predecessor, is the projection of a wholesome character in an idealised world. Yet this is never overly schmaltzy or patronising. Instead, the film is joyously positive and provides a charming and kind protagonist. The demographics of the street which the Browns inhabit might be a little less convincing, however this is barely noticeable in an otherwise finely rendered film.

With the origins story established in the first film, Paddington 2 moves the action forward to the title character’s established life. The narrative is predictable, but this does not matter as the script is great, characters are well written, and the set pieces are amusing. The story moves at a good place, allowing space for humour and emotional moments. Wisely, the Brown family take secondary roles in the film. King focuses the action on Paddington, and new characters he interacts with. This works well, allowing for larger-than-life characters to take centre stage.

Phoenix Buchanan is a great antagonist. Hugh Grant steals most of the scenes he is in, with a delightfully self-deprecating and outlandish performance. Ben Whishaw is most fitting as the voice of Paddington, and Brendan Gleeson appears to be having fun in his role. Special effects in the film are seamless; it is easy to forget that Paddington is a CGI character.

Paddington 2 is a welcome dose of happiness in a troubling world. Both children and adults should lap it up.

Paddington Cast and Crew Q&A

Last weekend, Paddington‘s writer-director Paul King, producer David Heyman, and cast members Hugh Bonneville, Madeleine Harris and Samuel Joslin gathered in London for a question and answer session following a screening of the film. Here is what they had to say…

On bringing Paddington to the big screen…

David Heyman: My mother gave me a Paddington Bear when I was around five years old, and this was the beginning of the journey. Rosie in my office around eleven years ago said “why don’t we do Paddington?”. I mentioned it to my mum, who is a hoarder, and she brought out that Paddington Bear. Then I met Paul King, who cam along to write and direct Paddington. When you find the right person, the film all of a sudden takes shape. And Paul was the right person. He is Paddington Bear! My son was born six years ago, and then comes the urgency to get things going. It’s not often that you get to make the film that your young child can go and see.

Paul King: I was very keen to get it right. I met David and we had the same sort of ideas about the character. Part of you does sort of fear the idea of doing a Paddington film because I loved the Ivor Wood [illustrations] so much. We thought there was a proper, movie-sized story to be told about Paddington.

On the appeal of Paddington…

Hugh Bonneville: It was sort of like, “you had me at Paddington” really! Like millions of people, I grew up with this beloved bear as part of my childhood. I was concerned when the script arrived, but when I read it, I was in. I was surprised at how moving the script is.

Madeleine Harris: I knew of Paddington before the auditions, but as I went through the auditions, and when I got the job I learnt so much about him, so much about the story of him.

On the technical achievements in the film…

David Heyman: The ability to put a bear, to have a central digitial character, was just not possible [many years ago]. Technology really has moved on. Fur, for example, you just couldn’t do it. And now we can.

Hugh Bonneville: I think it is astonishing; the work of Framestore and all the other effects teams that worked on the film. It shows the level to which animation and digital effects animation has got to. I am so convinced that bear is real, and that we worked with him!

On casting the film…

Paul King: We asked, and Nicole Kidman’s agent said that it’s definitely not going to happen, but they would send her the script. And she said “Paddington Bear? I love Paddington Bear!”. She read the script overnight, and the following morning, she got on the phone saying she would love to do it. She was the easiest person to cast.

David Heyman: Much easier than Bonneville!

Paul King: Ben Whishaw wasn’t our first choice for the voice of Paddington. We started with Colin Firth, and we worked with Colin for a while and we recorded him for a piece of the film. And you heard the voice, and you didn’t believe that it was coming out of this small creature. We sat down and we all felt it wasn’t working.

David Heyman: To give Colin his credit, he sensed it before even we did.

Paul King: It all worked out brilliantly. I think Ben is wonderful; he’s got a lighter, younger, slightly sort of ‘other’ voice. We’re thrilled with the results.

Paddington is out in UK cinemas on 28th November 2014.

Film Review: Paddington

Paul King’s Paddington is a perfectly pitched comedy adventure that should satisfy all demographics.

Paddington is a young bear in darkest Peru who is brought up b his aunt and uncle. When he travels to London to look for a new home, Paddington is spotted by the Brown family, who offer a temporary home…

Based on Michael Bond’s books which first appeared in the late 1950s, Paddington could have easily misstepped the mark in bringing the character to the big screen for contemporary audiences. Thankfully, the film avoids this, instead offering a lovingly crafted picture that is sure to win over audiences.

Director and screenwriter Paul King has created a film that will appease fans of the original series of books, whilst also attracting a new audience. Paddington works well because it suits different audiences without alienating any demographic.

The film is peppered with humour from the very beginning. Whilst some of this is the more physical kind aimed at young viewers, for the most part the film with have older viewers laughing throughout. The narrative is a simple one, but one that works well thanks to the endearing characters and good pacing.

Themes in the film are conveyed successfully. The main theme of the outsider is effective in this context. It is a theme that feels pertinent in the landscape of contemporary British politics. Paddington does offer emotion as well as laughs. The more dramatic or pensive moments never become too mawkish, thankfully.

Ben Whishaw is well cast as the voice of the title character. Nicole Kidman appears to be having fun in her role, while Hugh Bonneville and Sally Hawkins are believeable are the Brown parents. Special effects in the film are excellent; particularly the rendering of Paddingon’s fur. Music also works well in the film, especially with the appearances of the band.

Paddington is a delightful film, which should prove to be highly entertaining for children and a most pleasant surprise for adults.