#(zoolander came out in 2001 for context)

[achilles-left-ankle]

watched zoolander for the first time today and man the whiplash of seeing donald trump and david bowie in the same film

[ratingtheframe]

Enola Holmes, The Devil All the Time and i’m thinking of ending things: Everything I watched in September.

Thank God we are almost at the end of the year. With October just around the corner and 2021 in full view, it seems like the film industry is slowly piecing themselves back together after months of being on a complete hiatus. Cinemas are slowly starting to return back to normal and streaming services are now full to capacity with content.

Netflix in particular has some exciting things to come and the successful release of Harry Bradbeer’s Enola Holmes and Antonio Campos’ The Devil All the Time, has proven that their ability to produce outstanding content hasn’t been stunted at all by COVID-19. Here are the 31 titles I watched this month and for you to add to your watch list. 

Searching (2018) as seen on Netflix

Searching recently came onto Netflix, however the film was actually first released in 2018, screening at Sundance Film Festival. It had a very impressive response and grossed $75 million worldwide and with a budget of only $880,000 it was certainly a success. I rate this film highly, due to the simplicity and execution of it, with a lot of twists and turns in appropriate places. Structurally, the film is flawless and it’s clear a lot of thought had gone into the payoff of the entirety of the film. Certainly an indie filmmaker's dream and a film to watch to learn about the “less is more” rule of screenwriting.

Score: 10/10

Zodiac (2007) as seen on Netflix

I’ve been avoiding Zodiac on Netflix for a loooong time, and after watching it I wonder why I didn’t check it out sooner. David Fincher’s (Fight Club, Panic Room, the Social Network) thriller based on the case files of the “Zodiac Killer” stars the likes of Mark Ruffalo, Robert Downey Junior and Jake Gyllenhaal, all of which had amazing on screen chemistry. The dialogue and structure is Aaron Sorkin-esque as you figuratively become one the detectives, unravelling the case as the two and a half hour film delves deeper and deeper. You honestly feel as if you become one of the team whilst watching Zodiac and just for that, it goes down as a praise worthy film with a perfect structure and surprising twist to the end. Zodiac is the thriller of thrillers.

Score: 11/10

I See You (2019) as seen on Netflix

Now a film like I see you has me questioning

Netflix’s

choices a little. The film scores handsomely on

Rotten Tomatoes

, with a metric score of

78%,

which is quite high for a largely gimmicky film. I can’t quite fault the overall concept, however the story itself fell flat by the end. Things just seemed to mount too much to the point that it became overtly inauthentic and questionable. Instead of paying attention to the movie, I found myself picking up all the irregularities such as why a police man would suffocate someone, drive them to their own home and then shoot them in the head. Surely a policeman would just leave her in the woods? On a brighter note,

Judah Lewis’ (Babysitter: Killer Queen)

was quite praiseworthy in his performance, but it wasn’t enough to drag the film out of a hole of confusion.

Score: 2/10

Fear and Loathing in Las Vegas (1998) as seen on Netflix

If there is one film that you NEED to watch from this list, it would be Terry Gilliam’s Fear and Loathing in Las Vegas. The crackhead energy in this film is OFF THE CHARTS as Johnny Depp and Benecio Del Toro play two drug addicts exploring Las Vegas. The production design in this is marvellous and really captures the psychedelic world the two men enter every time they’re high. I particularly enjoyed Depp’s narration throughout this; his voice is the most sensual yet hilarious thing to listen to for 2 hours straight. Fear and Loathing in Las Vegas is HILARIOUS and such a well rounded, off the wall film to watch.

Score: 12/10

I’m thinking of ending things (2020) as seen on Netflix 

Even though I watched i’m thinking of ending things nearly a month ago, I’m still recovering from it. Charlie Kaufman (Adaptation, Being John Malkovich) directs this satisfying yet highly confusing tale based on the Iain Reid book with the same title. Despite it’s perplexing plot, I certainly can’t fault the film’s performances or set design. Jesse Plemons, Jess Buckley, Toni Colette and David Thwelis made a surprisingly good ensemble and the makeup in this film is probably the best I have ever seen. HOWEVER and this is a big however, the waywardness of the story can’t override the success of artistry behind the film. I feel like there’s becoming a trend where films are visually perfect but make zero sense. By sense I mean a clear, concise story, that has character journeys and some sort of resolution at the end, no matter how big or small. I’m thinking of ending things that had just about NONE of these elements, and that doesn’t make it a bad film at all. It’s certainly not a film I’ve seen before and perhaps it raises the questions whether films need to make complete sense in order for them to be good. We can take a look at experimental cinema to delve deeper into that theory, for within this type of cinema, films can still be appreciated even when they are confusing. Perhaps the meaning of i’m thinking of ending things, is more powerful and higher than the average movie goer can understand, but still appreciate.

score: 9/10

Hacksaw Ridge (2016) as seen on Amazon Prime

Again, another film I’ve been avoiding for a loooong time and regret not watching sooner. The film stars Andrew Garfield as a devoted Christian who goes to war to serve his country, but refuses to carry a weapon yet lives to tell the tale. Preacher Desmond T. Doss saved the lives of between 50-100 men on Hacksaw Ridge during the Second World War. He was heavily commended for his service and the film itself earnt 6 Academy Award nominations. It’s a story that was born to be on screen and it’s hard to believe it was all true. Andrew Garfield’s performance was exemplary and he is definitely underrated as a truthful actor.

Score: 10/10

Fear (1996) as seen on Netflix 

I am sucker for a thriller, good OR bad and this one from 1996 was surprisingly decent. Starring Mark Wahlberg and Reese Witherspoon in their early days, Fear follows a pair of young lovers whose strong relationship turns into a possessive one, when Witherspoon’s character, Nicole learns the true intentions of her boyfriend. It's a 90s teen flick that isn’t talked about enough and certainly an easy one to get sucked into as a guilty pleasure.

Score: 10/10

Make Up (2019) as seen at the BFI Southbank 

Make Up first screened at the London Film Festival last year and was later released this year. I wanted to catch it at the festival and was glad it made it into cinemas. The eeriness of the british film directed by Claire Oakley, was a slow burnt, intriguing watch, however as artistically visual it was, a satisfying resolution to the film was missed. The payoff of the story was easy to define despite it’s ambiguity, however it wasn’t as hard hitting as it should’ve been, which is common in most indie features. The better ones expose ideas and truths in a punchy way, such as La Haine or Whiplash. The film’s genre was also undefinebale and although the story was interesting, I wouldn't be inclined to come back for more of it. 

Score: 7/10

Zoolander (2001) as seen on Netflix

I’m not a huge comedy fan, however it’s about time I watched Zoolander, for it’s probably one of the most iconic films of the early 2000s. The film follows a model targeted by a fashion brand who wants him to kill the prime minister of Malaysia. Anyone who was anyone in the 00s is in this film, from Naomi Campbell to Lil’ Kim, Paris Hilton, Donald Trump, Lenny Kravitz, Natalie Porter and even David Bowie. How they managed to get these famous faces as well as the actual cast (Owen Wilson, Ben Stiller and Will Ferrell) onto this film is certainly a mastery at casting. As far as comedies go, Zoolander is iconic and a must watch for those who are thoroughly in love with these types of outlandish films. 

Score: 8/10

American Pie (2001) as seen on Netflix 

This is the my first time seeing American Pie and for someone who hates comedies, it thoroughly made me laugh. I definitely had to look past at the amount of misogyny and questionable scenes in this film and just sit back and enjoy it all. I felt that all four leads (Jason Briggs, Thomas Ian Nicholas, Chris Klein and Eddie Kaye Thomas) were well casted as an ensemble and were really down to earth in their performances. They were authentic in being high school boys still figuring themselves out and in the end I found each one to be highly likeable. As a comedy, this is definitely a go to and an iconic film from the early 2000s. 

Score: 9/10

Clemency (2019) as seen on Amazon Prime 

A Sundance Film Festival graduate, Clemency was a deeply moving and well shot film that exposed the shocking reality of prison inmates on death row in the US. The word clemency is essentially a term used to define an act of mercy by the justice system, who at the last minute of a prison’s life can grant “clemency” if they feel worthy of doing so, stopping them from being executed. Factors such as new evidence or a parole grant can influence this decision and this film shows the abrasiveness of such an idea. Imagine being a prisoner moments away from death and because of Clemency, you sit there thinking your life can still be saved. But as this film depicts, this isn’t always the case and the masterful acting of Alfre Woodard puts this grief into context beautifully. Her performance ignited this film and it was easy to see this story got to her on a deeper level, that went beyond serving a character. A seriously good film that is professional, dynamic and heart wrenching.

Score: 10/10

Gladiator (2000) as seen on Netflix

I never saw myself as someone who would like Gladiator, however Ridley Scott’s Oscar winning film thoroughly surprised me in an unexpected way. Moving past the amazing visuals and outstanding production value of this film, the actual story itself was just so damn good. It had an excellent, Hollywood worthy structure that saw a hefty and clear journey of it’s lead, Maximus (Russell Crowe). I was VERY surprised to see Joaquin Phoenix play alongside Russell Crowe, who gave a great performance as a bratty roman emperor. Gladiator was nominated for 12 Academy Awards in 2001, which is unsurprising seeing as it's a pretty much flawless film, with the character’s fierce journey being the main contributor to this. 

Score: 11/10

American Pie 2 (2001) as seen on Netflix 

Now sequels are known to be the downfall of some films, especially as the first films were okay on their own. However, I definitely enjoyed American Pie 2 as much as I enjoyed the first. The performances of all characters seemed to get better with time and it still remained outlandish and hilarious to watch. 

Score: 9/10

3096 days (2013) as seen on Netflix

When you laugh more at a film than you should have, there’s something clearly wrong. This Netflix film based on the true story of the kidnapped Natascha Kampusch was directed by German-American director Sherry Hormann. This is gonna sound whack, but one of the most annoying things about this film was the lighting. It felt as if it was never truly dark in this film and because of that, it distracted from the fear of the situation young Natascha was in. Lighting plays an important role in thrillers and horror films, as the idea of these films is to keep people constantly on edge and the dark is something that does that perfectly. I felt safe when watching this film and although it’s meant to be a biopic, I don’t think it captured Natascha’s situation as best as it could have. Another thing that really let the film down was the dubbing from German to English. This is a pet peeve I have with films, but is understandable seeing as the majority of people are too lazy to follow foreign language subtitles and miss out on some of the best films ever made. Because of this, it forces foreign language films to cater towards an English speaking market so the film becomes more viable. I would’ve respected this film a lot more if it was completely in German and had English subtitles.

Score: 5/10

Cruel Intentions (1999) as seen on Netflix

About a year ago, I saw the Glenn Close and John Malkovich film version of the french novel Dangerous Liaisons and I fell asleep. Maybe it was the film I had seen before it that had made me nod off or the fact I couldn’t understand what the hell was going on. However, Cruel Intentions follows the same story with younger leads; Sarah Michelle Geller, Ryan Phillipe and Reese Witherspoon and is set in the modern day. As you can probably tell by now, I am a sucker for a 90s teen movie and Cruel Intentions was all that and more, for the performances and story structure in this film were top notch. Ryan Phillipe is a much underrated actor and heartthrob, playing a jealous and callous Sebastian, the step brother of Sarah Michelle Geller’s character, Kathryn. Both of them were spiteful, abrasive and mean and I LOVED IT. Their non-fuckery was enviable as they cheat and turn the lives of others upside down. Reese Witherspoon was an angel in this film, and I thoroughly appreciated the strength of her character throughout. Cruel Intentions sits highly as a film from the 90s and boasts a hoard of young talent from that era.

Score: 10/10

Wildlife (2018) as seen on Netflix

If you are in love with Paul Dano as much as I am, you’re gonna want to marry him after you find out that he’s also a director. His first feature Wildlife, stars Jake Gyllenhaal and Carey Mulligan as a couple battling the demons in their relationship whilst caring for their young son. I really really REALLY can’t wait to see what Paul Dano directs in the future based off this film. It’s everything I love about a good indie film; well shot, a perfect cast and a touching story. It truly is a beautiful film and one I would recommend to my indie lovers out there.

Score: 10/10

The Perks of Being A Wallflower (2012) as seen on Netflix

My excuse for not having seen The Perks of Being A Wallflower is that I thought it would be yet another predictable high school blunder, with flat dialogue and basic character arcs. And I was half right in that. The first half of the film (mostly exposition) was filled with cringey dialogue and basic high school motifs that set up the film. Some moments were overtly far fetched and it took me a while to fall in love with the main character instead of feeling desperately sorry for him ALL THE TIME. Ezra Miller, Emma Watson and Logan Lerman all together as an ensemble was whack casting that just about worked. However, once we made it through the blizzard of exposition and got to the heart of the story, it truly was a touching and tear jerking movie to watch and for that, it scores highly. “We accept the love we think we deserve” was the ringing message of the film and certainly something I carry around with me daily as I reflect on the unfulling crushes I’ve had in the past.

Score: 9/10

The Devil All the Time (2020) as seen on Netflix

Probably my most favourite film on this list, The Devil All the Time is pure ART. I have a full review uploaded onto my tumblr account so please do check it out to see an in depth review of the Netflix film. All I will say is that it is a must watch film with an unreal cast and story.

https://ratingtheframe.tumblr.com/post/629443058079055872/the-south-of-america-meets-gritty-gothic-horror

Score: 11/10

Way of the Gun (2000) as seen on Amazon Prime 

Ryan Phillipe and Benicio del Toro star side by side in this action packed crime thriller about two guys who kidnap the wrong woman. Simple in it’s log line with the potentiality to be limitless in its telling; ie the basis of every good film. Juliette Lewis (the it girl of the 90s) also stars in the film and really compliments the performances of both leads. Any film that Juliette Lewis is in, is a good film and she is an actor with a very impressive portfolio of work under her belt.

Score: 9/10

Judy and Punch (2019) as seen on Netflix

I’ve been waiting since the end of last year to see Judy and Punch and was thrilled to see it had been put onto Netflix. However, after watching it, that thrill deteriorated and what was left was a disheartened feeling towards this film. It’s a shame to say this, seeing as the story of Judy and Punch is so satiable and fulfilled in its possibilities of telling it. However, probably the biggest problem within this film was its pace; it was too quick of a film. The beginning was organic and smooth, but as it went on it started to become continuously rushed. There were characters I didn’t have time to get to know and actually didn’t even end up knowing their names. There’s a point in the film when Judy is welcomed into an isolated society outside of her home, most of which in that society were women. I would’ve liked to get to know them better and see how they influence Judy’s character and revenge on her husband. The film felt very rushed, which is a shame because everything else; acting, production and story were well aligned.

Score: 6/10

22nd July (2018) as seen on Netflix

I remember the 22nd July 2011 as clear as day but for all the wrong reasons. On this day, 77 people in Norway were killed by a terror attack caused by a right wing, anti-immigrant supporter, Andres Brevik, who was a member of a radical organisation and spent nine years preparing his attack on Oslo and Utøya Island. The most shocking part of this massacre was what happened on Utøya Island, which was the main body of Netflix’s film 22nd July. Viljar Hanssen was a teenager attending a political youth camp on Utøya Island in the summer of 2011. Whilst on the island with his younger brother, a bomb went off in the centre of Oslo, outside a government building, killing 8 people. By the time news of the attack got to Utøya Island, its perpetrator had also arrived, and begun gunning down the kids on the island. 69 people were killed, most of which were under 18. Viljar Hanssen was shot five times, in the head, arm, legs and hand. The attack lost him an eye, several fingers and bullet fragments still remain in his brain. He also lost close friends and the ability to perform in many activities he used to do growing up. His ordeal and that of many on the island, is captured in 22nd July, that from beginning to end, approaches this story with sensitivity and facts. Out of the many events I have heard of that include a massacre of some kind, this attack always sticks out in my mind. The perpetrator was truly merciless in his rage against immigrants coming into Norway and he made sure to express that hatred in such a shocking and profound way. The entire story is one that is so hard to believe and is important in preventing future attacks of this kind.

Score: 11/10

Les Misérables (2019) as seen at Curzon Bloomsbury

Les Misérables was nominated for Best Foreign Language film this year at the Oscars and despite it being thrilling and highly well made, I felt quite disappointed by it. The film was accurate in exposing the many communities now prevalent in France today and it was definitely one of those gritty, Cannes worthy films to sink your teeth into. It's not a bad film at all, it's just one I found hard to relate to and therefore I switched off whilst watching it. In fact, I think Portrait of a Lady on Fire was a better contender as Best Foreign Language film at the Oscars and I was left fuming when I found out it hadn’t been nominated in that category. Les Misérables is a film I’d recommend but found it hard to love it overall.

Score: 9/10

A Cure for Wellness (2016) as seen on Netflix

The logline for Shutter Island (2010) is as follows: Teddy Daniels and Chuck Aule, two US marshals, are sent to an asylum on a remote island in order to investigate the disappearance of a patient, where Teddy uncovers a shocking truth about the place. 

And the logline for A Cure for Wellness is as follows: Lockhart, an executive, is sent to a wellness spa in the Swiss Alps to retrieve his company's CEO. At the centre, he encounters strange activities that make him investigate the illness of the people.

Notice anything? They are literally the same film and it's not just the loglines that share an alikeness. On watching A Cure for Wellness, I noticed how similar it was to Shutter Island, from the location, to the colour grading, costumes and even lighting. Both films are almost identical and I pretty much hate both films anyway. I’ll admit, A Cure for Wellness has a better story and tells it better as well, but if it's just a rip off from Shutter Island, is it all that good? I appreciated the production value of this film yet it was hard to tear it away from Shutter Island’s own production. Overall, I found it quiet gimmicky and too close to Shutter Island for it to have much originality.

Score: 6/10

U want me 2 kill him? (2013) as seen on Netflix 

The only thing that let this film down was the acting. There’s something about solely British productions that rub me the wrong way. Admittedly, their structure is always good and the story is well put together, however the artistic side of these films lacks in parts, from acting to set design. U want me 2 kill him? Is based on a true story which really alleviated the film. I thoroughly enjoyed delving into this story and it was an interesting, engaging plot. However, its production value and acting is what let it down.

Score: 7/10

After (2019) as seen on Netflix

So in short, this wasn’t a good film. The twist was satisfying, however the rest of it was just plain annoying. Any film that uses reality tv type music in its montages pisses me off. It's just such a cringey way of showing emotion on screen and I’d much rather they use music with no lyrics or music that actually conveys the emotion of the scene. The relationship between the leads, Hardin and Tessa (Hero Fiennes-Tiffin and Josephine Langford) was very predictable and the conflict between the two only made up like 5% of the film; 2.5% at the beginning and a further 2.5% at the end. For the rest of the 95% of the film, they were pretty much happy throughout, meaning the story had nowhere to go, besides the fact that Tessa’s mom disapproves of Hardin. But besides that and a shocking revelation..that was about it. No one died, no one was really hurt. Hardin was made out to be more troubled than he actually was (his dad is chancellor of a college for fuck’s sake) and I found myself laughing when I shouldn’t be. As for After We Collided, I can’t wait to tear it apart this month.

Score: 4/10

Miss Juneteenth (2020) as seen at BFI Southbank

Miss Juneteenth is the underdog movie of the month for me. You can read a full, in depth review of it right here:

https://ratingtheframe.tumblr.com/post/630357041253400576/she-my-dream-now-miss-juneteenth-review

Score: 11/10

Monsoon (2020) as seen at BFI Southbank 

Why this film was praised by critics is unknown to me. The number one thing that this film did wrong was not showing ANY conflict on screen whatsoever, the characters merily TALKED about conflict. Conflict and actions based on those conflicts is what moves a story forward, and this film was certainly static. The story follows a man (Henry Golding) and his return to Vietnam as he learns about the war and the life he left behind. But the film shows no war, no deprivation or heartache that many vietnamese people had to go through. It's just filled with empty shots of Vietnam and Henry Golding looking out at the city. Why not just make a documentary about The Vietnam War with Henry Golding presenting it, as that is what this film was virtually. You can’t get away with nice looking shots to produce a praise worthy feature. Maybe I’m getting the wrong jist of the film, but in terms of its telling, I didn’t feel anything at all whilst watching it and if I didn’t feel anything, I wasn’t thinking about anything because it was so mundane.

Score: 5/10

The Riot Club (2014) as seen on Amazon Prime 

I’ve had a strong soft spot for Sam Claflin since he played Finnick in The Hunger Games. My crush on him was further confirmed with The Riot Club a British Production based on Laura Wade’s theatre play Posh that shows the ongoings of Oxford’s Riot Club. The group of ten men are all self entitled posh twats who think their education and parent’s money allows them to act in a horrendous way, with their initiation ceremonies and club rules. Sam Claflin plays Ryan, a 1st year student at Oxford and one of the Riot Club’s newest members. Max Irons plays Miles, another new member of the club, who becomes the focal point of Ryan’s jealousy, causing him to do some unspeakable things in one night out of envy for Miles. The ten men in the film work brilliantly as an ensemble, which is unquestionable seeing as five of them went to Guildhall School of Music and Drama, three went to LAMDA, one studied drama at University and the last went to Bristol Old Vic. All the leads in this film are well trained and it's clear to see that in their performances. A really enjoyable, yet eye opening film that exposes the privilege of some living right in the UK, including Boris Johnson and David Cameron, who were former members of this heinous club.

Score: 10/10

Enola Holmes (2020) as seen on Netflix 

Hmmm...there is a great deal of hype going around for this film and with a 92% rating on Rotten Tomatoes, Enola Holmes is well liked. This is understandable, seeing as Fleabag’s director Harry Bradbeer directed this film for Netflix and the cast includes the likes of Millie Bobbie Brown, Henry Cavill and Sam Claflin. I have never seen Millie Bobbie Brown in anything and yet I don’t think she’s doing anything special for me at this moment in time. As a viewer, I am 100% not into actors talking to the camera, a communication technique that I think should stay in theatre. I get this is a big part of Fleabag however I think Enola Holmes could have done without it. Another movie pet peeve is when the opening of a film explains what the film is about directly, something Enola Holmes did in an artistic, yet blatant way. Audiences aren’t dumb and will catch on with given clues, there’s no need to go through a character’s entire history in the opening of a film. For kids aged between 8 and 12, this film is great and Enola Holmes makes a great hero for many young girls. I don’t fall in this age bracket and therefore I enjoyed it a whole lot less.

Score: 6/10

American Murder: Family Next Door (2020) as seen on Netflix

Netflix is known for producing some of the finest, most eye opening documentaries out there. Despite this one being quite simple using found footage, its impact is certainly something that grew organically throughout the documentary. You can read my full review of American Murder: Family Next Door here:

https://ratingtheframe.tumblr.com/post/630780350645354496/netflix-documentary-delves-into-the-murder-of-a

Score: 10/10

Peppermint (2018) as seen on Netflix

I was thoroughly shocked to discover this film was made 2 years ago. You’d think we’re past a time of creating bad films that actually get released, but I guess we’re not. Peppermint was released in the same year as The Favourite, Blackkklansman and A Star is Born, three courageous films, all of which were showered with awards. Peppermint had two major problems; 1) it was boring and 2) the lead wasn’t orchestrated properly. The mexican drug cartel who murder the protagonist’s (Jennifer Garner) husband and child was almost insulting. Because it felt so inauthentic and gimmicky, I didn’t really understand why the drug cartel in the film was even mexican. Peppermint proves that a good story can turn bad in the wrong hands. The script was quite terrible and surrounding that was the nonsensical, half asked directing which saw Jennifer Garner get way too many injuries to still be alive in the end. The whole thing just had my eyes rolling, as nothing about it was original or provoking at all. In fact, the film didn’t even EXPLAIN how Garner’s character became a bloodthirsty vigilante. It merely showed us her training as a cage fighter. Das it. Nothing else in her character made her into this dominant and highly skilled fighter who takes down an ENTIRE DRUG CARTEL ONE HANDED. It, made, no, sense and sits a good example of how NOT to make a film. Also the only reason why it was called Peppermint was because of peppermint ice cream...yeah I don’t get it either.

Score: 2/10

And that is September, which marks an entire year since I’ve been critiquing movies and in that time, I’ve watched well over 350 films. There’s a lot more to come though, for the London Film Festival commences in October and titles such as Dune and the No Time to Die await a winter release. Stay tuned!