A mind-bending Spanish psychological thriller with Penelope Cruz, which later was remade as Vanilla Sky, an ill-received American version with Tom Cruise and, bizarrely, Penelope Cruz again. I’ve watched this in a rather groggy state of mind after a poor night’s sleep, and the movie’s twists and turns definitely perked up my brain by the end of it all.
In my mind, the original Blade Runner was a cinematic lightning-in-a-bottle that emphatically did not call for a sequel, so when Blade Runner 2049 was announced I felt rather sceptical about the idea. I can’t say I’ve been entirely converted, but I can definitely say that Denis Villeneuve’s film is worth watching on the big screen for the spellbinding visuals alone, and if Roger Deakins doesn’t win the Best Cinematography Oscar for his work here they can just disband the whole Academy Award thing.
An excellent addition to the coming-of-age highschool movies, with a spiky star turn by Hailee Steinfeld which proves that her memorable performance in True Grit was no fluke. It doesn’t reinvent the wheel, but it’s funny, bittersweet and biting enough to make it stand out. If you found highschool and teenage years in general a trying experience at times, the movie will resonate with you in some moments and probably make you cringe with self-recognition in others.
Another gem brought to my attention by the History Buffs YouTube channel. Directed by Peter Weir and adapted from nautical historical novels by Patrick O’Brian, Master and Commander unfortunately didn’t make enough money to become a series, which is a shame. Maybe the long unwieldy name put people off; as far as terrible film titles go it’s no Mrs Caldicot’s Cabbage War, but unless you’re a fan of the books it doesn’t really sound like an exciting proposition, which is probably why I skipped the theatrical release myself.
Loosely based on a novel by Virginia Wolf, Orlando chronicles 400 years through the eyes of its gender-bending hero/heroine, played by Tilda Swinton. Born in the time of Queen Elizabeth I, Orlando is a young nobleman who becomes the favourite of the aging monarch, and is commanded to never wither and grow old. The film then moves through the four centuries as Orlando falls in love with a Russian princess, tries different careers including a stint as an ambassador to the Middle East, dabbles in poetry… and changes sex midway, awakening one morning to find herself a woman (Orlando’s calm reaction while observing her new body: Same person. No difference at all… just a different sex.)
I was on the fence about this one, but in the end I decided to catch it before it disappeared from the cinemas. I can’t say I regret the decision and I’m glad I’ve watched the film, because no one shoots sci-fi like Ridley Scott, but the most damning thing I can say about Alien: Covenant is that it’s the first entry in the series that doesn’t offer anything new, and instead plays like the Alien: Greatest Hits. Even the runts of the franchise had some individuality about them, whether it was the director’s unique visual style or some new ideas, and even when these ideas were terrible, *cough* human/alien hybrid from Alien: Resurrection *cough*, at least they were still memorable. My biggest complaint about Alien: Covenant is how little of this adequate movie was truly memorable.
Our trip to the cinema to see this French film with the incomparable Isabelle Huppert started off with a bit of drama: as the room went dark and the opening credits rolled in, Mum and I realised we were in a wrong cinema and instead were watching a British war film, which explained the trailer for Dunkirk. Oops. We hurried across into the right theatre and luckily our session hasn’t started yet.