Number 8: The Hobbit The Desolation Of Smaug

The Hobbit The Desolation Of Smaug is Peter Jackson’s second installment in the The Hobbit trilogy. The film revisits the grand quest pursued by Bilbo Baggins, Gandalf The Grey and the 13 dwarves as they set to reclaim the lonely mountain from the evil clutch of Smaug the dragon.

I can imagine the negative perception of many people as they realise that for me, this is my favourite Middle Earth adventure and your flabbergasted curiosity in many instances is justified. This picture does not obtain the mass critical success of The Lord Of The Ring trilogy and for many it is loathed for taking liberty with Tolkien’s marvelous work. But as many will agree, film is an artform that should not be tainted by others views or opinions. For me, The Desolation Of Smaug is a special film. As I am of a of a young age (being only 4 when The Fellowship was realised), The Hobbit Trilogy has been my only cinematic gateway into Middle Earth and what the second feature did was fully captivate and immerse me in this world.

In describing any Middle Earth film one word always comes to mind and that is epic. Epic in scale, epic in narrative and The Desolation Of Smaug certainly captures the meaning of epic. Grandness courses through this films veins, which catalyses the viewers enjoyment of the picture immensely. Every shot seems meticulously crafted, with the sets perfectly encompassing each wonderful aspect of Tolkien's work.

As an avid admirer of The Hobbit novel, I have to credit Jackson once again for conjuring the atmosphere and imagination that permeated the timeless tale. Although aspects have been tampered with and many additions have been made, nothing in this installment (note how I say this installment) feels unnecessary. For instance, one of the main discussion points prior to the films release was the inclusion of Legolas a character whom did not feature in the original story. Overall this was met with wide disfavour. But on the whole, post release it’s hard not to admit that Orlando Bloom, and also Evangeline Lilly (playing his fellow elf companion whom again was not part of the original), stole practically every scene they were in (especially a certain barrel scene).

The cast is again a tremendous accomplishment with Martin Freeman elevating his portrayal of the on edge burglar Bilbo. I am a great admirer of Freeman and in my opinion, I prefer his role as well as his lead performance in contrast to Elijah Wood’s Frodo. I often chuckle at his simplest of facial expressions, and feel compelled as he takes the character of Bilbo to all new darker areas. However, a real surprise The Desolation of Smaug sprouts is the development of Thorin, acted terrifically by Richard Armitage. Thornin in this installment progresses from the stereotypical stubborn leader we met in An Unexpected Journey, to an all new brooding and complex level. Armitage captures the progression into corruption seamlessly, and the picture can’t help but to focus on his story arc front and center.

 But for me the feature contains one aspect that has been imprinted on my mind and will stay a part of my love for film forever, and that moment is Smaug the dragon. I think every generation of film has a moment like this. The 30s have King Kong, the 70s have Jaws and 2013 had Smaug. I would consider the reveal of this particular dragon to be the King kong and Jaws of our generation. What I love is that this is not just a visual spectacle (but come on what a visual spectacle), Smaug is a villain for the ages. Voiced and motion captured by the wonderful Benedict Cumberbatch, the dragon is enabled to become menacing, dominating and beautifully articulate. A real show stealer that just left me breathless when I first witnessed its immenseness.  I could talk for hours on every scene the sinister Smaug steals but sadly the only way I can do the event justice, is by enthralling you to watch (even if not a fan of Middle Earth) as then you will only fully understand my enthusiasm.
It is on this note that I conclude that The Desolation Of Smaug is a great installment of a wonderful world. Peter Jackson’s commitment to bringing Tolkien's Middle earth to life has to be seen as one of the greatest cinematic triumphs, most definitely of my generation, let alone in the history of blockbuster. In the Middle Earth platter of terrific films, The Desolation Of Smaug is the one that has touched and inspired me the most. Bringing about moments that will live with me throughout my love for film. It may not be seen as the best by many, but there is a beauty to the film, that each individual is captivated by ones own association with the picture and not how others perceive it.

My score: 8.9/10

Rotten Tomatoes: 74%

IMDB: 8.1/10

Did You Know?: Benedict Cumberbatch suggested to read the Necromancer’s Black Speech backwards to ensure that it would be seen as more unholy and menacing.

Number 6: Hot Fuzz.

Edgar Wright’s original Cornetto Trilogy flourishes in its second installment Hot Fuzz. This wacky and out the box caper follows Sgt Nicholas Angel (Simon Pegg), a cop who’s married to the force and due to his over the top talent (with qualifications in advanced cycling), he is forced to take a job in the small English village of Sandford as a result of making everyone else look bad. However, after further insight everything in this ‘Village of the year’ contender is not as perfect as perceived and it is up to Nicholas and his bumbling partner of justice Danny (Nick Frost) to ensure everyone gets their comeuppance.

Edgar Wright is truly a director who inspires confidence in his ability. His ambition to juggle genre cliches is pulled off expertly in every piece he masterfully puts to screen. Hot Fuzz certainly does not stray away from what has made Wright a household name in British cinema.  Being a comedy, cop and action hybrid it would be easy to presume that the film struggles knowing what it is. This could not be farther from the truth. Wright purposefully balances badass with satire so seamlessly that the audience feels grateful to be part of this cocktail of genres. This is what has accredited the young directors career as it is a rare commodity to find anyone in Hollywood who can make a spoof, yet still maintain the films integrity in the genre it is spoofing.

It is no surprise then, that Hott Fuzz lives up to both the comedy and action genre demands. In my eyes, this is one of the funniest comedies I have ever seen. The film is easily rewatchable (I must have watched in excess of 20 times) and unlike most, revisiting the jokes is not a task with every viewing unearthing new unknown laughs. Credit has to go to Wright and Pegg for penning such intelligent comedy, that even when resorting to basic slapstick, never feels stupid or unnecessary. This is not a smirk comedy, this is a full on laugh out loud joy. There are absurd moments for instance, the climactic encounter in a ‘Summerfields’ ,but it all feeds into the atmosphere of what is a certainly bold narrative.

As the narrative climaxes and the protagonist scratches the surface of Sandford, the action aspects of the picture is tremendously unearthed. Don’t worry its all for the GREATER GOOD (echo). The filp to kickass is not only well done but also earnt, there is no undeserved suckerpunch change that leads us feeling like we had walked into another movie. The ending can be summed up by the image of Simon Pegg with at least 3 heavy caliber guns, sat on a horse, with tinted shades, post kicking a farmers mother in the face. If that does not scream badass what does. Yes, the action to many may seem comedic, but it can’t be denied that due to Wright’s fresh direction, great pace and thrills are created.

However, it is the chemistry between Pegg and Frost that excels the picture. The Charming bromance is not only a comedic gem, but also a relationship that does not feel forced. We feel emotionally tied to the two, caring for both of them. So much so that the ending is poignant and sombre on the surface. Their banter, in my opinion, is iconic and defines British humour, so much so that the simplest of lines can have such a brilliant effect.

Overall, it has to be said that Hot Fuzz is a comedy of a generation. Many of my friends and I have grown up on this film, quoting almost every line over and over again, with laughs never failing to emerge from every reference. But this film, under the marvellous control of Wright, progresses beyond a cult hit to a wonderful genre blend that is not only good but terrific and for that, Hot Fuzz deserves to be regarded as a timeless comedy.   

My Score: 8.8/10

IMDB: 7.9/10

Rotten Tomatoes: 91%

Did You Know?: When in costume Nick Frost and Simon Pegg often were assumed to be police officers. Many strangers asked them for directions and instead of telling the truth they went along with it. They claimed it made them feel powerful.

Number 7: X-Men Days Of Future Past.

Bryan Singer’s return to the X-men directors chair, reveals a post apocalyptic world in which man and mutantkind have been driven to the edge of extinction by the sinister Sentinels. In a desperate bid to prevent the bleak future, the remaining X-Men send Wolverine (Hugh Jackman) into the past to unit the young Professor X (James McAvoy) and Magneto (Michael Fassbender) to inhibit the rogue Mystique (Jennifer Lawrence) from assassinating Bolivar Trask (Peter Dinklage).  

From the opening scene this film feels fresh. A palate cleanser for what many would consider the repulsive 2006 X-men The Last Stand. Energy seeps from every shot, and the opening fight scene is amongst the best choreographed and well thought through that I have ever witnessed. From the first whistle, we are left gasping without seat belts on the most outstanding of take-off, and the film is less than ten minutes old.

The motif of rebirth persistently hangs around the picture in every aspect of it’s design. Bryan Singer revisiting the beloved franchise he kick started connotes a sense of redemption,  not only for his career but also for the series which never reached the heights that he initially set. Rebirth permeates the narrative itself, as the main focal point being  a broken Professor X terrifically portrayed by McAvoy having to be aided by the future Wolverine (acting similarly to an AA sponsor) back to his more notable and iconic stature.

The ensemble cast is terrific, start studded in every sense of the word. With returning original  members consisting of the legendary Sir Patrick Stewart and Sir Ian McKellen (not often you have a film containing two Knighthoods, playing mutants) whom are always assets to any motion picture. Also revitalising his role for the seventh time Hugh Jackman, is on top form and again front and centre, returns as fan favourite Wolverine. Many X-men purists have a negative outlook of the prioritisation of Wolverine’s character. For me, this ideal would be founded if it were not for the stunning commitment and perfect persona Hugh Jackman brings to the role. Days Of Future Past is most certainly one of his finest examples of the character he has made his own.

The new ‘First Class’ cast also return and it is evident that this is a seamless passing of the baton to the younger generation of the beloved characters. Similar to First Class there is a focus upon the dynamic between McAvoy and Fassbender, but the duo is beginning to become more of  trio with the rise of Jennifer Lawrence’s Mystique. All are clearly invested in the characters and the tug of war between Magneto and Professor X for Mystique's loyalty is fascinating to watch.

There is also the introduction of Even Peters’ loveable speedster Quicksilver. If I were to be honest this depiction of Quicksilver had me on eggshells prior to release, but after Days Of Future Past all doubts were not only corrected but I felt guilty for ever questioning it’s logic. There is one scene that I will not spoil but is by far the most amazing piece of film that has ever graced the comic book genre. Literally it is worth the price of the ticket on its own.

However, the greatest strength possessed by Days Of Future past is its boundary pushing narrative. This film for me, sets a new standard for the comic book genre. It breaks away from the stereotypical goodie encounters bad guy, loses, and as a result has to rebuild to beat the baddy. The plot is bold, tackling the concept of time travel head on in a bump-less fashion in which I never felt lost or manipulated. There are twists and turns but the strong cast and gripping story allows us to travel down the rabbit hole without apprehension. We are also left with a sentimental insight into the main theme of hope. Hope is the main driving force and we are willed to believe (in the simplest terms possible) that a broken man is capable to channel his demons for betterment of a race subjected to mass prejudice. The story is not defined by a great fight spectacle (although there are many), but so wonderfully realised character developments that makes Days Of Future Past succeed as not just a terrific comic book adaptation, but more so a captivating energetic immersion into the thoughts of the main protagonists and antagonists.  

My Score: 9/10

Rotten Tomatoes: 92%

IMDB: 8.4/10

Did You Know?: Shooting went under the working title ‘Hello Kitty’. Which refers to X-men member Kitty Pryde.

Number 5: Inglorious Basterds.

Quentin Tarantino’s Academy award nominated epic, Inglourious Basterds, tells the tale of 8 Jewish-American soldiers led by Lt Aldo Raine (Brad Pitt),  dropped into Nazi occupied France in the heat of World War Two. They are assigned to do one thing and one thing only, kill Nazis. In an interweaving plot that also involves a Jewish cinema owner's (Melaine Laurent) seek for vengeance for the murder of her family by the cunningly evil Col. Hans Landa (Christoph Waltz). What transpires is truly a Tarantino fest of World War proportions.

Any discussion surrounding a Tarantino film, cannot begin without discussing the legendary auteur himself. In a time where star power reigns supreme, it is rare to find a director, who no matter which ‘big name’ actor features in his film, still remains the focal point of discussion surrounding the movie. Tarantino is one of the few remaining who commands such power. His stylization is truly unique, his use of dialogue unparalleled and all this culminates perfectly in Inglorious Basterds. The innovative concept, to apply the Tarantino stylization to a World War Two setting, is truly a stroke of genius. Although his flare may be more evident in the popular Pulp Fiction, in Inglorious Basterds, his film making traits breathe life into a genre which is not stereotypical for the director. Tarantino allows Inglorious Basterds to become a unique war film and like all of his other work, the picture thrives on his energy, suspense and outright violence.

The main focal point of the plot centers around the band of eight Jews led by Brad Pitt’s Lt. Aldo Raine. For me, this is one of Pitt’s finest roles, on the same caliber as his performance as Tyler Durden in David Fincher’s Fight Club. Pitt is on top form here, able to deliver every expertly crafted line with it’s intended malice, witt or smoothness. His character is truly fascinating, and a compelling badass. Raine is consistently walking the line of action hero and comedic relief, but Pitt has the acting capacity to juggle and excel in both aspects. His character looms over the picture tremendously, despite only featuring in 3 of the films five chapters. Never firing a single gun, Pitt is tremendous at being a action hero with his most valuable asset being the amazing ammunition provided in the form of sharp, inspirational and in some cases hilarious dialogue.

However, the standout performance has to go to Christoph Waltz. In the role that propelled him to an Oscar, he masterfully triumphs as the Nazi’s answer to a sinister Sherlock Holmes. He delivers all his lines, be it in English, Italian or German, with a menacing brilliance. The best example of this is revealed in the first scene. Here Tarantino has crafted the perfect tense tennis match of conversation in which, with one line (be it in French or English), Waltz can just flip atmosphere and tone. He thrives in Tarantino’s meticulously crafted character, and I feel he handles the ‘big bad’ without falter. Waltz’s greatest accomplishment is his ability to steal every scene he is involved with. It’s an amazing accomplishment that a man, whom is not a physical presence, can dominate a scene with nothing more than his mannerisms, delivery and facial expression. Waltz as Landa, even overshadows Pitt in the scenes they share, in what is a triumph of a role.

The narrative is also a delight. The story twists and winds in the stereotypical Tarantino fashion, choosing to use a chapter structure which focuses on a variety of wonderful characters. The ending is terrific and certainly the point in the narrative where the plot quickens. Many may argue that the story, until the final third, is lethargic and slow, however I must disagree. Inglourious Basterds, although not as swift as the aforementioned Pulp Fiction, uses it’s time wisely to brood and tell a story in all its detailed novel fashion.  The length is not unnecessary, as the dialogue deserves all the time to wash over the audience. Honestly, anyone with the vaguest of interests in screen writing will be blown away by this picture.

Despite Tarantino's public persona, as a person that can only be described as your embarrassing uncle, wearing a leather jacket who turns up to lecture you about how good he was in his peek, Tarantino the film maker has never been better than he is in Inglorious Basterds. For me, it revitalised a career, that after the second KIll Bill and Deathproof, was on the ropes. This is the film that restored Tarantino’s  credibility and showed a director who can go past over the top violence (although much of that is still maintained) and tell a story.

My Rating: 8.4/10

IMDB: 8.3/10

Rotten Tomatoes: 89%

Did You Know?:  In the scene where Diane Kruger is strangled, Tarantino was unimpressed by the initial shot claiming it did not have enough realism to it. Taking matters into his own hand, the director literally strangled Kruger for the scene.

Number 4: Skyfall.

Skyfall is the twenty-third installment in the James Bond franchise and Daniel Craig’s third outing as Britain’s finest secret agent. In this epic addition to the iconic franchise, Bond must channel his inner demons and creaking ability to track down Raoul Silva (Javier Bardem) a former MI6 operative who has a plot to disgrace, humiliate and kill M (Dame Judi Dench). But after a long absence and a formidable foe, the odds and risks are piling up against the aging Bond.

The James Bond series has cemented itself as the pin point for spy films for over fifty years. The character is one of the most beloved of all time and quintessentially a symbol of  Britishness. Being a man in any generation, it is hard not to feel the influence of Bond. Every occasion I get to formally dress in a suit, I cannot resist to swiftly turn to the mirror, pretending to shoot a pistol… I promise/hope that I’m not the only one. Household name does not suffice in summing up the influence the renowned Mr Bond has had upon society. Therefore it is no surprise that one of the spy capers has made a place on my top ten.

Skyfall is my perfect James Bond film. Notice how I say my, as the Bond series has a film for everyone. Just for me Skyfall is the best rounded film that the series has spawned. It entails all the aspects that make Bond brilliant style, humour, action and a wonderful villain. However, Skyfall encompasses the Casino Royale realism that when shaken not stirred, with the expected features of any of the spy capers, what is presented is the perfect balance that will appeal to almost everyone.

The narrative is grand yet well realised (no jetpacks here) with the picture having a great self awareness to where it is aiming to propel the franchise.  For instance, there is a tremendous scene in which the Bond’s new Quartermaster (Ben Whilshaw) replies to James’ disappointment at just a gun with “What did you expect, an exploding pen?”. This satire is well formulated and appeals to the fans of the more traditional Bond’s without, well a pen exploding. Sam Mendes here has adopted what can only be described as a ‘Nolanish’ style to his direction, This is no discredit to Mendes, as he has not straight out copied Nolan’s signature traits, but merely adopted and tweaked the relevant attributes to aid Skyfall excel on a cinematic level.

The new shade of Bond which seems is here to stay, has to be owed greatly to what Daniel Craig brings to the super spy role. Similar to Skyfall being strategically rounded, it’s hard not to credit Craig for perfectly balancing all the assets Bond as a character needs. He is sleek, whilst still being physically formidable. It is fair to say that if all the Bond’s were to fight, my money is on Craig. The actor, in his third outing, brings new emotional depth to what many would describe as a cold character. The audience are allowed to see Bond become broken and plunge into uncertainty. Despite there still being plenty of sleek moments that Craig can bite his teeth in to, Skyfall narratives allows him to define himself as the truly talented actor he is.

Skyfall also succeeds in the redefining of the Bond villain.  What Javier Bardem brings to the role of Raoul SIlva is tremendous and will go down in Bond history as the iconic turning point, away from the stereotypical evil genius with the volcano layer. Silva as a character is well modernised: the Bond villain of a generation of cyber terrorism, bomb plots and disloyalty. Acted with a playful menace, Bardem secures our belief that this is a foe not to be taken lightly, despite his lack of volcano, choosing to locate in an abandoned island instead (better interest rates available in this tough economic climate). Surrounded by blinking hard drives instead of supermodels, Silva’s threat seems grounded in realism and therefore more relevant to this society.

The narrative sprouts many other gems that will have Bond fans excited, such as the reintroduction of the aforementioned Q (Ben Wilshaw) and Bond’s new interest Miss Moneypenny (Naomie Harris).

Also, the introduction of Ralph Fiennes’ character Gareth Mallory breathes a sense of fresh air that reinvigorates and provides optimism for the series moving forward. However, if Skyfall is a jewel encrusted crown, the twenty-four carat diamond centerpiece has to be Dame Judi Dench as M. The whole narrative centers on somewhat of triangle between her, Bond and Silva. With much of the plot focused on her beloved role, Dench handles every laugh, tear and raised eyebrow with perfect vigor and that it is hard not to love her part in this film.

Skyfall does not just solely rely upon it’s gripping performances and tremendous story arcs, but also it’s ability to stand as a well crafted piece of art. Shot by the legend that is cinematographer Roger Deakins, there is no doubt that Skyfall is the most beautiful of all the bond films put together. The lighting is truly staggering. The set design flawless. This truly is a work of beauty, you need look no further than the wonderful scene in which Bond has to sneak up on an assassin in a high rise. The lighting and reflections of the many glass panes is jaw droppingly awe inspiring and proof that the action genre is not dead in dull cliche and gaudie violence.

To conclude, watch Skyfall. For all that is holy. This is a spectacle that redefines James Bond, and the future of the beloved franchise. It’s story is great, it’s witt hilarious and it’s action still brilliant. I love this addition and I have faith that if Bond keeps heading in this positive direction we will still be seeing 007 as the hallmark for cinema spies, for 50 years more.  

My Rating: 9.4/10

IMDB: 7.8/10

Rotten Tomatoes: 92%

Did You Know?: Skyfall obtained the most number of Academy Award nominations and wins a Bond film has ever earned. Winning two Oscars in Best song and Best Achievement In Sound Editing as well as being nominated in other categories such as best cinematography. This is the first Bond film in forty-seven years to warrant an Oscar and only the third film of the franchise to win an award.

Number 3: Trance

Trance is the through the looking glass heist film that follows an art auctioneer (James McAvoy), who after becoming mixed up with a group of criminal partners (Vincent Cassel), has to seek the help of an hypnotherapist (Rosario Dawson) to unlock the secret that will help find a stolen painting. As the plan unfolds things aren't what they seem, with twists and turns that leave us guessing, scratching our heads with a wonderful dumbfoundedness.  

Initially, it has to be said that Trance is a film that succeeds on so many levels, and that success has to be credited to Danny Boyle’s en-TRANCING (sorry) direction. This relatively low budget flick ticks every box a film watcher, film critic and film lover could desire from a psychological twisty turny venture. Boyle, fresh of the wonderful London 2012 opening ceremony, formulated what could only be described as the surprise of 2013. Personally, I have admired Danny Boyle’s work tremendously. Ranging from Trainspotting, 28 days later and the Academy Award winning Slumdog Millionaire, Boyle’s diversity has cemented himself as one of Britain’s best directors. However, in my opinion all his brilliance culminated in Trance. The film is sleek to say the least, with seamless transitions that aid the audience greatly. If this film is Wonderland, then Boyle is certainly the Mad Hatter, guiding us through all the joys that the movie spurts out.

Trance also benefits from a superb cast, whom all help tremendously realize the characters they are playing. Firstly, Rosario Dawson is brilliant in her role as the consulting hypnotherapist. Dawson goes all out in her role… Literally. Her character is a tremendous balance of intellectual calmness and on edge fear, with Dawson balancing her on screen emotion with sheer professionalism. Also we have Vincent Cassel as the oddly lovable bad guy. Cassel certainly is an actor who possess the persona to be a sophisticated mob type, who obtains a keen interest in art. I mean come on, the guy screams well-educated badassery.   

However, where the cast excels is the stunning performance by James McAvoy as the man over his head, desperately trapped in a place he wants to escape.  His performance certainly captures every essence of Trance, with an emotional journey that twists and turns in perfect harmony, matching the demands of the story. The performance on display really does show McAvoy’s talent as an actor and how he truly is a force to be reckoned with going forward.

It’s hard not to notice as well, that Trance is a beautifully shot film. DP Anthony Dod Mantle whom has worked with Boyle on his previous titles, expertly crafts luxurious sets which are sublimely shot. The metaphorical significance and perfect disjointed feel of the cinematography provides a coat of richness that polishes the picture. This meticulous beauty helps elevate the small scale picture, allowing it to feel somewhat of a blockbuster thriller instead of a b rate movie that the modest budget suggests.  

For me however, the real pivotal asset that the film has is a very intelligent narrative. Joe Ahearne’s story is sublime. The pacing is excellent and the unfolding of the plot is so amazingly unexpected, that if divulged would be a shame to anyone wishing to enjoy Trance for the first time. This a bonus for me as I now save time and online ink. All I can say is the narrative surrounding Trance is a delightfully engaging puzzle that, unlike a Rubik’s cube, is rewarding with time.  

To conclude, Trance is the perfect example of a film that catches you off guard with its brilliance. I think the majority of the movie going population have developed narrow vision when it comes to their selection of films. Formulaic, explosion studded, predictable movies have sadly dominated the mass population. Therefore, the majority of people have been under the false impression that if a film does not posses a budget of plus £100 million there is no top quality enjoyment to be had. Trance breaks that misconception. Not only breaks it, smashes it. Every aspect of this picture is top-notch and I would encourage anyone to go and see it just to experience something not stereotypical. The brilliance of the film is just a bonus.

My Score: 9.0/10

IMDB: 7.0/10

Rotten Tomatoes: 68%

Did You Know: Originally Michael Fassbender was cast as Vincent Cassel’s character but due to scheduling had to drop out of the project.

Number 2:The Dark Night.

The Dark Knight is the epic second instalment in Christopher Nolan’s Dark Knight Trilogy, in which we witness the iconic Batman (Christian Bale) face off against the formidable, the twisted, the all round crazier than ever Joker (Heath Ledger), in what can only be described as a match-up to challenge all match-ups. We can expect collateral damage as the unstoppable force collides with the immovable object, as Gotham's brightest such as Harvey Dent (Aaron Echart) and Jim Gordon (Gary Oldman) are dragged into this struggle for justice.  

The Dark Knight was the film that captivated my love for cinema, superheroes and well, just entertainment. I can’t think of a piece of art which has had such a profound effect on me as this movie. Released in 2008 off the back of Batman Begins, The Dark Knight inspired me so much at the age of 11, that I went to see the film three times in cinema which was a lot of pocket money. In reflection, I can imagine that my excitement then mirrors that what children of 1980 felt at the release of The Empire Strikes Back. It blew my mind and exposed a whole new darker more brooding side to cinema which till then, had been hidden away from me.

Now in order to do this film the *insert throaty voice* JUSTICE it deserves, I will have to talk spoilers and all. So If you have not watched The Dark Knight, go and watch it now, for all that is holy in this world watch it! Fan-boy rant over, lets get onto the film.

It’s a common perception in show business (so I’ve been told) that you always open with your strongest performance, and if a film were to be judged by its opening scene alone The Dark Knight would stand shoulder to shoulder with such films as Raiders Of The Lost Ark, and in my eyes, even surpass such greatness. This opening flawlessly throws the audience into the deep end, as we encounter a bank heist in which one by one, mobsters start taking each other out to ensure one less share. Not only is this concept ingenious, but also tense and sophisticated. Honestly, until that point nothing, and I mean nothing, had reached that level of well crafted intelligent action in a comic book based film. But the the show stealer is still yet to be revealed. Yes, Heath Ledger taking of the clown mask to reveal himself as the dark tattered Joker, is literally a goosebump moment. This scene never gets old, nor loses its brilliance.

Nolan, like a master conductor of an orchestra, then slows the pace down. Many would argue why do such a thing? The fan-boy in me is screaming Nolan-we-Trust! But the film reviewer, If I can call myself that, knows that this is merely time to allow the onwatchers to be entrenched in the excellent backstory. Despite it’s unquestionable success,  there are a few people who feel or felt mislead by The Dark Knight, for not living up to stereotypical comic book film traits.  However, this is where The Dark Knight exceels. Nolan ensures that this is a story, not just a visual spectacle revolving around gaudi fight scenes. In a film grounded in realism, it is only fitting that Bruce Wayne as Batman, alongside Jim Gordon and Harvey Dent, prioritises the Mob over one nut-job who has had a bad make up day. However, after the engaging melody, a crescendo must follow.

The film has now gone without The Joker since the first scene, trust me when I say It’s brooding. Out of nowhere, in the echo of the mob’s hide out we hear it, the simple “Haha haaaha hooheehe ha”. The Joker has arrived and with the simple question, “How about a magic trick?”, a film icon is born. What follows is history. The Academy Award Winning performance by the late Heath Ledger is simply perfect. Never before in my eyes has an actor committed so much to a role. Surrounded by a superb cast, such as Bale, Oldman and Freeman, Ledger simply blows everyone away and in my opinion, crafts a performance that surpasses any I have ever seen. Aided by brilliant dialogue and expert realisation, we are presented with symbol of everything wrong with society. That is the brilliance about Nolan’s and Ledger’s Joker: although he is sick, crazed and psychotic there is a sense of rationality to the ideas he is portraying to Gotham. The Joker acts as a foil of societies flaws, trying to expose every inch of badness within people. Along with Ledger’s magnetic performance is nothing less than compelling.

This crescendo comes to a climax with Batman’s confrontation with The Joker. What many expect now, presuming that they are expecting the typical comic book film, is the fist fights to end all fist fights. Wrong. This is simply a interrogation. An Interrogation that revolves around debating morals with The Joker articulating his perception of the world and it’s values flawlessly. A quote that comes to mind is “People are only as good as the world allows them to be.”. We are left dumbfounded that the guy with the worn clown make up, green hair and yellow teeth, is picking fault with society and my god he is right. That is the genius that Nolan culminated in the Joker, as we are lead to realise he is not someone motivated by greed or fortune, more so anarchy and destruction. His only point is to prove that the world we live in can be turned upside down by a few bullets and some dynamite. That one man no matter how morally strong, can be corrupted, and he succeeds.

Aaron Eckhart as Harvey Dent is one of those characters that could easily have failed. I'm always impressed when an actor is capable of a convincing character 180. Dent’s descent into hateful vengeance is not only convincing but sublime. Despite the Joker failing in his public ‘social experiment’, he won the victory by converting Gotham's white knight, Harvey Dent, into the symbol of malice that is Two-Face. Two-Face is truly a product of The Joker’s chaos, and thus the failure of Batman.

The film ends with Batman realising that the only way he can portray any belief in the good of society, is to act as a symbol of it’s depravity and take blame for the crimes committed by Dent as well as Dent’s death, to ensure that people still believe that one man can triumph adversity. This self sacrifice is truly captivating as we the audience not only pity Bale’s iconic character, but accept that maybe the best things that are encouraged in our society are founded upon ideals rather than the individuals that are promoted. The Dark Knight asks the question is the truth always what is necessary for prosperity.

I refrained from full in depth spoilage in this review, more so skim reading. The truth is I could never summarize this film in a review. The Dark Knight has to be experienced to allow yourself to fully soak in the sheer scope of this feature. Although perceived to be fueled by fandom, The Dark Knight truly is more of a film. It is a triumph, one of the most iconic and renowned films of my generation.  Christopher Nolan has succeeded in producing a film that to dismiss as merely a comic book flick, is a crime of the highest caliber. The movie is an in-depth study into the working of society and how it reacts when establishment is upset. With numerous terrific performances and one truly breathtaking portrayal from Heath Ledger, The Dark Knight not only succeeds on so many levels but also raises the bar for what intellectual direction and storytelling can bring to a franchise that is brushed aside as hype. The Dark Knight is certainly the film the world deserves… (I’m not going to finish the quote but you get my point).

My Score: 9.8/10

IMDB: 9/10

Rotten Tomatoes: 94%

Did You Know: During production Nolan and company decided to shoot various scenes in the Dark Knight on IMAX cameras. This created all manner of issues for the team due to the device’s impracticality. Plus, at that time in 2008, there were only 4 IMAX cameras in the world, which doesn't help the fact that during filming the team destroyed one of the cameras. Totalling around £300,000 a piece, this was not some simple run to the Kodak store.

Number one: *Insert Drum Roll*... Inception.

Inception follows the work of master thief Dom Cobb (Leonardo Dicaprio), who steals corporate secrets through the use of dream-sharing technology. However, in a desperate bid to return home to his family, Cobb must assemble a team to attempt the impossible, plant an idea in the mind of a CEO. In simple terms, Inception is a masterpiece.

When I first went to see Inception I was only 13 and I was held spellbound for the entire two hours and twenty minutes. I went to see the film out of recommendation from my dad, he said to me that it was the only film he had experienced where at the ending the audience clapped in admiration. As the credits rolled I understood why that reaction was created. However, still being 13 my mind was very much overwhelmed, I had to watch it a further two times in cinema and ask persistently to ensure that Inception would be a christmas present the same year. It’s safe to say that I was obsessed. Even today Inception resonates on so many wonderful levels for me that it could be in no other place than number one in my top ten.

In my previous review I had listed the Dark Knight as my second favorite film, however what I had saved for this review was to discuss in depth the inspiring director Christopher Nolan. Nolan is my most admired director, not a single film in his roster (trust me I have exhausted all of them) I dislike. From The Following to The Dark Knight rises, his work has never fell below fantastic. In this instance however, Inception is truly perfect. Being credited with both writing and direction, Inception is truly the renowned filmmakers most original, ambitious and terrific work to date. It took ten years for Nolan to formulate Inception: a fact that truly explains how massive in scope this intellectual thriller is. Every aspect is faultless with the director choosing to go for wonderment at every available opportunity. No expense seems lost in this film, with the opting to build in real life instead of using CGI, really shows a director firmly entrenched in creating  realism in the most unrealistic and wonderful scenarios.

At it’s heart, Inception is a heist film. Be it the most complex of it’s kind, every trait of the genre remains. Cobb is the man with the plan and he still has to assemble the best team to pull off the impossible task. Along the way there will be twists and turns, but it is how Nolan embraces these formulaic genre conventions and completely makes them his own original way of allowing the audience to enter this beautifully complex world of dreams. We are engaged from the offset to come along for this illustrious plot that seems like the amalgamation of James Bond, 2001: Space Odyssey and Memento. It is only fitting that for a film about layers, be it layers of the subconscious, that the film succeeds on bring so much depth to every element that the picture aims to deliver. Depth is key to Inception, and Nolan ensures that his masterpiece never loses it’s way, and delivers on emotion, witt, scale and relevance.

The cast is outstanding with every actor pulling his/her weight and there is no room for tourists on this film. Notable stars such as Marion Cotillard, Cillian Murphy and Ken Watanabe all star, but it is only fitting to start with the leading performance delivered expertly by Leonardo DiCaprio. The task at hand for DiCaprio was not an easy one: Cobb is a character who needs to maintain professionalism whilst solely being motivated by guilt and determination to return to his children. But the devilishly talented DiCaprio delivers every aspect of this master extractor convincingly with the necessary depth for the audience to feel invested in his cause.

Joseph Gordon-Levitt also knocks it out the park with his role as the more straight point-man who basically acts as Cobbs number 2. His character of Arthur would be, in the hands of a less gifted individual, rather dull and predictable, however Levitt through his interaction with other characters really does feel in place and at home in this film. The teams dynamic really does excel with the chemistry between Arthur and Eames who is portrayed by Tom Hardy. For me, this is one of Hardy’s finest performances, often providing the comic relief necessary through his onscreen charisma as well as adding to the thriller elements of the film. His dynamic with every member of the team is wonderful to witness.

In my eyes though, Inception’s cast really does succeed through the use of Ellen Page’s character Ariadne, as the new architect exposed to the world of the dream for the first time. Many a film critic upon it’s release hounded Inception for being overly complex, and that many people felt alienated by its intelligence. Despite this I still see the film to be widely accessible as long as attention is payed, but for moments where anyone feels lost it is the Inexperience of Ellen Page’s character who comes to the rescue. Page flawlessly acts as the companion to the audience and through her expert realisation by Nolan we are allowed to venture down the rabbit hole without any blockades.

Nolan however is the VIP of this film, his story and his direction are the main driving force that sustain the sheer existence of this picture. It is hard to envisage a director who could dawn a project this bold let alone succeed. The narrative is the most perfect I have ever witnessed with every twist and development serving a purpose to drive the audience forward in a unjarring seamless fashion despite being at a phenomenal pace. Every aspect is branded with directors trademark style and we, the audience can’t help but step back and gasp in awe at this stroke of genius.

In this review I aim not to give away any plot details for reasons that I will divulge later, but there is one scene that I would love to discuss which I think is fairly safe in terms of spoilers. The famous zero gravity which featured in the trailers. This scene for me perfectly encompasses everything about Inception. The back story is that Arthur (Joseph Gordon-Levitt) has to fend off the projections from finding Cobb and company who are resided in a hotel room dreaming. However, as this is the second dream level, the swaying of the car containing the dreamers on level one causes gravity shifts on the lower level. Thus what unfolds is my favourite scene ever to be put on screen.  The on screen spectacle is enough to captivate any audience member but as you delve deeper into the mechanics of shooting the scene you can’t help but be truly impressed with Nolan and his team for creating such genius. The crew actually assembled a one-hundred foot corridor that would actually revolve. Whilst in rotation a camera would be fixed to the supposed floor of the room, giving the effect that it was actors whom were falling from side to side. This Kubrick-esque technique provided an experience never before seen by me on a cinema screen. I was gobsmacked, and that scene must have been the topic of conversation to anyone who asked me how the film was.

But in retrospect, I feel that this particular scene connotes a more in depth insight into what makes Inception my most praised film I have ever seen. This scene shows the commitment of the filmmaker and studio to really go above and beyond to make an otherworldly scenario possible, not only possible but real. This scene could have easily be added post production with the use of CGI, however being the Director he is Nolan chose to actually create that effect in real life. No shortcuts, no budget control, just pure filmmaking.

Inception really is a film that anyone be it aspiring filmmaker, long term lover of movies or casual viewer should watch. I wanted to refrain from spoilers as I know that there are still few who have not witnessed this film, and Inception truly is a movie that the audience member benefits from knowing as little as possible about. The plot is truly unique, mind blowingly original in many ways secures Nolan as one of the best directors working in Hollywood today. It is some what satisfying to know that in a Movie-machine that is Hollywood, that a film can stand out and not be formulaic. That a film can demand its audiences attention and strive to push the bar of intelligence we see in cinema. Nolan, for me, has made the perfect film. I am very proud to say that I was one of the first generations to witness Inception, because I feel in around twenty to thirty years it will be discussed as the masterpiece of its time.

My Score: 10/10

IMDB: 8.8/10

Rotten Tomatoes: 86%

Did You Know?: If you take the first letters of the main characters names; Dom, Robert, Eames, Arthur, Mal and Saito, you will spell out the phrase dreams.