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: If Beale Street Could Talk

Barry Jenkins has created one of the best films of the year with the beguiling If Beale Street Could Talk. The film is powerful viewing.

In 1970s Harlem, Tish and Fonny are in love. When Fonny is accused of a crime, Tish and her family do their best to prove his innocence…

Barry Jenkins exhibits his mastery as a filmmaker with If Beale Street Could Talk. An adaptation of James Baldwin’s novel, the film tells the story of Tish and Fonny. Despite being set in the 1970s, the film feels as relevant as ever. 

There is so much to be in awe of in If Beale Street Could Talk. Jenkins’ attention to detail is superb. His storytelling is absolutely enchanting. The narrative begins in the middle, before telling the love story through a series of flashbacks interspersed with present day scenes. Jenkins let the relationship unfold in a careful and natural manner, letting viewers fall in love with the characters as they themselves fall in love. 

Despite the age of the source material, the film is incredibly resonant today. The themes of persecution of minorities, police brutality, discrimination are all present. Jenkins deals with these themes sensitively, yet does not shy away from frankness. The conversation between Fonny and Daniel is one of most powerful moments in If Beale Street Could Talk. It really gets to the bones of issue; the trauma feels real. Elsewhere the show of solidarity from the landlord is an incredibly moving scene. 

Jenkins frames characters in such a beautiful way. The cinematography by James Laxton is wonderful. There are several beautiful shots, such as the close up of Fonny on the phone delivering his moving monologue. The camera is fluid in other situations, sweeping the viewers into the action. The use of colour and lighting charms. The score works very well; it is distinct from the diegetic music, but beautifully sets the mood. 

Performances are flawless all round. Kiki Layne and Stephan James are superb. Layne’s quietness is perfect, while James is so expressive. Regina King finally gets a role with real meat; she is wonderful. Colman Domingo is also great.

If Beale Street Could Talk shows Moonlight was no fluke. Barry Jenkins is one of the best directors working today.

If Beale Street Could Talk is being screened at the BFI London Film Festival in October 2018.

Film Review: Our Family Wedding

Our Family Wedding is a formulaic but fairly amusing culture-clash rom-com. What differentiates it from other films of this nature is the fact that none of the protagonists are white; instead a Latino family clashes with an African-American one, over the wedding of their children.

Lucia and Marcus are madly in love and want to get married before they go abroad to work. The problem is neither of their families know about this. When they decide to reveal all at a joint family dinner, sparks fly…

Our Family Wedding is pretty much what one would expect from a film like this: humour based on cultural and racial stereotypes, a few prickly bumps for the star-crossed lovers, and the inevitable happy ending. Director Rick Famuyiwa does a fair job in creating an amusing film, though there is nothing too remarkable, as far as the narrative goes.

Hollywood heavyweight Forest Whitaker gives an adequate performance in a film that requires little effort, in all honesty. Elsewhere, Carlos Mencia, Regina King and Lance Gross are believable in their respective roles. It is America Ferrera who disappoints, bringing very little to the Lucia character.

Though the young couple may seem like the focal point, it is really their two fathers who take centre stage in this film. Their initial clash and one-upmanship are what provide most of the laughs in this comedy. Much of this feuding transcends race/culture, making the humour accessible to all.

Perhaps the most interesting thing about Our Family Wedding is the paucity of white characters. Whilst films featuring non-white protagonists often have at least a white friend or sidekick,  Famuyiwa’s film completely omits white characters, save for a few extras. Thus, Our Family Wedding exhibits that a mainstream Hollywood film can be multicultural, yet does not need to feature obligatory white characters. It is an interesting role-reversal of the dominant ideology. It’s just a pity that the point couldn’t have been made by a more compelling or memorable film.