Dropping movies in this period of self-isolation-don’t-go-outside-FUCK-the-world-is-burning-AAH seems to be a tricky business; as I write this, a number of cinema chains are boycotting Universal due to their decision to release Trolls: World Tour on VOD before cinemas — what a loss. Despite this, Netflix and other streaming platforms are, predictably, thriving, with everyone smothering their crippling detachments in boxsets and comfort films. It comes a little surprise, then, that a couple of the bigger, would-be theatrical releases are dropping straight to front rooms and laptops — aka the bronze screen.
One of these films is Extraction, the Chris Hemsworth-starring, Russo-produced action-thriller about a reluctant mercenary, Tyler… something (I wanna say Rake? But surely not…), who is charged with finding, and extracting, a vaguely-powerful criminal’s son from the slums of Bangladesh, where he is being held captive by a rival, even vaguelier-powerful criminal. Hijinks and mishaps ensue. There’s a possibility, especially considering its reputation for John Wick-esque violence, that this could be a helluva time — or it could be as painful as pulling teeth…
…because extraction.
It’d be unwise, though, to expect Extraction to be anything other than what it is; bland. From a technical stand-point, there isn’t a lot here that writer Joe Russo and director Sam Hargrave (also known for co-ordinating the stunts to the Avengers movies) have delivered that is original, attention-grabbing or even that enjoyable.
To be fair, there isn’t that much to direct in terms of performances. Considering that he makes up at least 90-95% of the screentime, one would hope that Chris Hemsworth could inject some kind of human quality into Tyler fucking Rake (I refuse to call him anything else), rather than delivering this stilted robot that only knows how to punch and cry. The supporting cast are even less distinct, with, I think, two villains (but I think one isn’t?) that are pure nothing, and a kid who, despite being the literal focus of the movie, I had forgotten about until I looked up the cast. Oh, and Hopper’s in it, yayyyyyyyyyyyyyyyyyyyyyyyyyy.
In his feature directing debut, it’s very little surprise that stuntman Hargrave hasn’t got the keenest sense of how to direct a movie well, often returning to cliché and standard tropes for action-thrillers; the shaky, on-foot camera work, visually drab settings and lots of grizzled close-ups of stubbled, bloodied faces. That’s all well and good, but it’s the lighting and sound that really ruin the film at multiple moments — with many key scenes being either frustratingly quiet, poorly lit or both. Sure, you can be shadowy and mysterious, but it’s kind of counter-productive when you don’t know what’s going on.
From a dialogue perspective, though, it might be better that you can’t hear it. Also doing something that isn’t his usual job (take a hint, guys), MCU director Joe Russo helms the screenplay for this one, which is based off of a graphic novel that I’m not going to read. Of course, you’d think directing the franchise that defined a style of action-comedy-blockbuster would’ve rubbed off on him, giving Extraction some kind of redeemable humour. However, this isn’t the case and I can’t think of a single line that wasn’t either veiled exposition, profane threats or murmuring about a dead kid.
Plot-wise, Extraction doesn’t fare much better, as its generic-as-all-beige-hell title will have you assume. The story somehow manages to be predictable, basic and convoluted all at once, channelling pieces of Taken and Call of Duty and every WWE-produced-Marine, bargain-bin trash you’ve ever and never seen. Moreover, perhaps in an attempt to compensate for this, there are sequences here that feel nasty for the sake of being shocking. These scenes don’t even serve their purpose either, as they’re so transparently antagonistic that you’ll be sooner rolling your eyes than clutching your pearls.
However, to redeem myself from potentially coming across as a joyless asshole in this article, Extraction does deliver on at least one aspect of its hard-to-justify existence; it does kick off. Sure, since films like the Bourne trilogy (because there were only three) and The Raid have given everyone a pretty thorough blueprint on how to make someone go “OH SHIT”, it isn’t reinventing the bloody, punchy wheel.
That said, it doesn’t take from pure giddiness I get when I see Hemsworth knock someone the fuck out with a baked bean tin (wasn’t specifically labelled as such, but it’s much more fun). While the reports of the ‘proper violence in Extraction‘ may be a bit exaggerated, it does have this fun lil’ tendency to get very brutal very quickly, as there’s a real bluntness to the choreography that’ll have you wondering how many teeth were spat out on set. This is in addition to sharp and visual gunplay that doesn’t feel as mandatory or rudimentary as it does in other action flicks, it does pack a punch.
Overall, there are no bones about it; Extraction is not worth pulling out (because extraction). If you’re looking for mindless, violent eye candy, there is so much out there that’ll satisfy you more. If you’re looking for something genuinely compelling or enjoyable, then you are very, very lost, and I hope you get the help you need. It fails to present anything original or worthwhile, apart from a bevvy of meaty action that is sure to elicit a “fAckin hell” or two. But then, wouldn’t you rather just watch John Wick do that for his cute dog? Instead of Tyler fucking Rake do that for a kid who I’ve literally just forgotten about again.
Star Wars: There’s little more omnipresent in film culture than this. Or, indeed, global culture in general. From the very first time it hit the big screen back in ’77 and captured just about everyone’s imagination, to the prequel trilogy’s strange tirade when we were but li’l babbers, and finally to the tumultuous, opinion-splitting grandiosity of last decade’s sequel trilogy, George Lucas’ brainchild has been through a lot. And, such is its usual grand propulsion, even whilst The Mandalorian is grabbing ludicrous viewing figures over on Disney+, it feels as if the world’s beloved sci-fi planet-hopping language-barrier-breaking lightsaber-battling franchise has finally come to somewhat of a standstill, The Rise of Skywalker reigning in the latest cinema saga in dramatic fashion. As we celebrate The Empire Strikes Back‘s 40-year Anniversary, we thought it fitting here at repress to rank all of Star Wars‘ cinema appearances, from worst to best. – reuben.
12. Episode II – Attack of the Clones (2002)
Of course, the natural place to start this list would be on The Phantom Menace, no? I mean, it’s offensive, classless, stupid and dated. However, Attack of the Clones, more than any other Star Wars film, commits the cardinal sin that we feared would happen; it’s *boring*. Bar the laughably bad dialogue of some scenes (^^) and the admitted dopeness of Yoda doing his li’l green tricks, most of Clones‘ 2hr22min (!) runtime is spent on extended exposition and the blandest action in the franchise. Plus, I think we can all agree that this is Hayden Christensen’s most aWful Anakin turn, GODDDDD. – milo.
11. The Clone Wars (2008)
Again: What makes this worse than The Phantom Menace, you may ask? Nothing. But 2008’s precursor to the incoming animated TV series is nothing if not achingly mediocre, and, no less, immediately forgettable. Sure, we get our introduction to Ahsoka Tano, a new central character who turns out to, as the TV show continues, be a very solid addition to the series. And sure, we get this and the introduction into a world between Clones and Revenge of the Sith that turns out to be a wide-ranging, colourful and fun one. But – and this is a but – all this is, is an introduction, plain and simple. Do you remember what happened in this? I sure as hell don’t. All I know is, I have a sincere lack of any kind of desire to re-watch it and find out. That clunky, dated animation style certainly doesn’t help its cause, either. – reuben.
10. Episode I – The Phantom Menace (1999)
Ironically, it takes us to get through two whole films to get to what is debatably one of the worst of all time. And, sure, it’s pretty agreeable. It’s that fact, though, that puts it above those other two. Because, whilst Clones is painfully boring and that animated tripe is about as memorable as what you ate for lunch last Tuesday, this is utter, UTTER, crap. Not quite Ratatoing level, perhaps, but this is just about teetering into so-bad-it’s-good territory: And that’s what makes it a memorable, intriguing, morbidly fascinating re-watch — so at least it’s got that going for it. Of course, we’ve got Jar Jar and his antics which were in such poor taste that the repercussions have been troubling, whilst the little respite we do get from racist stereotypes in the rest of the cast comes in the form of a certain little smirking git who’s unfairly good at driving racers, Liam Neeson’s most forgettable turn yet and a genuinely well-designed and exciting villain with about 10 minutes of screentime. Did the world ever truly get over the fallout of The Phantom Menace? I wager not. – reuben.
9. Solo: A Star Wars Story (2018)
Not by any stretch a bad film, Solo lands on the bottom half of this list for very similar reasons to Clones, if not as extreme. Unlike every other Star Wars released in the 2010s, Solo just didn’t feel like essential viewing, to the point that it was the only one I didn’t see at the cinema (and I’m guessing I wasn’t the only one). Moreover, when you do watch it, it only proves that theory. Aside from a few fun set-pieces and a great Donald Glover turn, Solo really struggles to provide anything that necessitates re-watches, or even initial watches. – milo.
8. Episode III – Revenge of the Sith (2005)
Only George and his merry crew could make something like the killing of children a laughing stock by calling them younglings, right? Revenge of the Sith had it all: The younglings, the intergalactic politics, the unbelievably hammy acting, and more lightsaber battles than you could ever imagine — and it had it all across a very long run-time. This final foray into one of the biggest travesties in cinema history shows everything that it was about; it showed what huge potential it had with the awesome battle sequences, General Grievous and his famous dopeness, all in an explosively gratifying smorgasbord of ending sequences — so why wasn’t it brilliant? It also lingered with the stench of a lot that was wrong with it. Sure, Grievous was pretty damn cool, but he was only in it for about 20 minutes. Still, all told, this remains the rough gem amidst the proverbial vomit that this saga was, and the one redeeming quality it has that could make me begin to start to agree with the nostalgic folks talking about the prequels being better than we remembered. Not that I will. Oh, you would be sorely mistaken. But I do have a lot of fun watching this one, I won’t deny. – reuben.
7. Episode IX – The Rise of Skywalker (2019)
I will admit, however, that there isn’t all that much separating this from Revenge of the Sith. All the same, you could argue with me all day trying to convince me that the prequels are better than the sequels, and that the sequels are the real travesty. I’ll just never agree with you. The sequels are better. They cut out the space politics. Gave your villains actual screen-time. Upped the acting quality exponentially — Daisy Ridley against Hayden Christensen, is that even a competition?? And okay, sure. The Rise of Skywalker went about things pretty clumsily (hence its place here in the list’s bottom half); the first half-hour or longer, even, felt like a confused slideshow, Finn was still something of a non-character, yada yada. But what this final piece did, was it closed a saga that defined a generation, and it closed it with a flash and a crash. It wasn’t perfect, but I feel like Rey and Kylo’s conclusions were apt, and I’m glad that I could experience Star Wars in the cinema one last time. Even if, admittedly, it probably won’t be the last time. – reuben.
6. Rogue One: A Star Wars Story (2016)
Quite comfortably the best Star Wars spin-off property by a mile, Rogue One doesn’t rely on familiarity, so to speak, in its characters, atmosphere etc. and nor does it need to. In fact, it’s the tonal shift of the film that makes it such a refreshing watch in comparison with the rest of the franchise. Gareth Edwards delivers some stunning, yet gritty, visuals and a narrative that recontextualizes the “Star Wars” into what they are — a war. In addition, it creates a surprisingly strong ensemble cast of characters, with Alan Tudyk and Donnie Yen putting in particularly entertaining performances. – milo.
5. Episode VIII – The Last Jedi (2017)
Rian Johnson’s stint here as Star Wars director here was something of an opinion splitter, huh. And, granted, The Last Jedi is far from sheer perfection. Whilst Finn’s sub-plot was genuinely entertaining in hindsight, it did signal an abrupt end in significance for what was an immensely promising character — and, of course, old git Luke Skywalker can’t go without a mention. I, for one, though, am a fan of Hamill’s grumpy Luke and, let’s face it, all its imperfections (which, I think, are actually pretty sparse) aside, Rey and s w o l Kylo Ren’s story was what mattered more than anything here, and oH was it scrumptious. Their effortlessly enticing dynamic coupled with some of the most visually impressive set-pieces the series has ever seen makes for some of the best cinematic spectacle we’ve seen for years, and for that, I am very grateful. – reuben.
4. Episode VI – Return of the Jedi (1983)
To put a film as *classic* as Return of the Jedi as low as 4th in any list feels like a crime; but it’s one that’s necessary — for all its brilliance, it’s probably the weakest of the original three. Make no bones about it though, Episode VI is, indeed, brilliant all the same. First things first, Luke’s gothic makeover and that green lightsaber were the coolest damn things on the planet for kids like me the world over, I’m sure, and seeing him battle it out for all that’s right against the almighty, elusive and unfathomably heinous Emperor Palpatine remains one of the best clashes between good and evil on-screen — topped off, of course, with the greatest little redemption arc in history for a certain Darth Vader. We also get to explore the world of Endor with those scruffy li’l rapscallions we call Ewoks and, in the remastered edition, get a little taste of Hayden Christensen as a ghost, oh boy. Is there anything inherently wrong with this or indeed worse about it than its predecessors? Maybe it’s a little less focused, I don’t know. Its only real crime is that what came before it were two of the greatest films ever made. – reuben.
3. Episode VII – The Force Awakens (2015)
I could forgive you for calling my placing of this above Jedi a crime, too. Bare with me here though, let me argue my case. And that case is, I believe what we all flock to Star Wars to in our masses for is its spectacle. That wonderful clash of lightsabers, X-Wings and laser guns. Those awe-inspiring set-pieces hopping between planets and spanning sets as grand as the greatest places the eye can see. What else do we come to it for? The midichlorians? Give me a break. Myself, anyway, I don’t come to Star Wars for big-brained sci-fi writing or worry about consistent world-building. I come to it for the Star Wars. Walking into the cinema that first time to see a new saga unfold, it was a dream come true. And, yes, it’s practically a cut-paste of the original with a modern spin, but is there anything wrong with that when it’s as entertaining as this? I don’t think so. Disney bought out this franchise to captivate a new generation, and The Force Awakens did just that. – reuben.
2. Star Wars (1977)
Damn right, I insisted on calling this one Star Wars instead of A New Hope — that’s how ludicrously seriously I take this film. Whatever you choose to call it, there’s no denying that this film was revolutionary. In taking the elements of Kurosawa samurai epics and fairytales, and combining them with a more accessible, less science-oriented brand of sci-fi, George Lucas, while maybe not inventing the blockbuster, surely defined it. Plus, it still holds up ridiculously well today, with the writing and performances keeping it from aging a day, let alone 40+ years. The game-changing score, the ingenious effects and the genuinely gripping action are all facets to why this is my personal favourite Star Wars film; the one that created an Empire, in more ways than one. – milo.
1. Episode V – The Empire Strikes Back (1980)
How do you open the greatest ever decade for film? With one of the greatest ever films. Milo, like many others, very respectfully argues that the original is best — just, I respectfully disagree. Without A New Hope, we wouldn’t have got here in the first place, and, yes, it’s a classic in every single regard imaginable; but this is when Luke Skywalker becomes a Jedi. That aforementioned clash of epic inspirations continued and Lucasarts‘ growing lust for adventure and excitement made this famous sequel a bigger and better blockbuster than its predecessor. The Empire Strikes Back bestows a greater proportion of action-packed set-pieces, character depth and yet more planet-hopping escapades, topped off with the snowy aesthetic of Hoth, a whole lot more lightsaber swinging and, of course, Yoda — alongside Vader in the best damn assertion of villainy dominance this side of Ramsay Snow cutting off your man-parts (not sorry). When I think Star Wars, I think “I am your father”. I think that lightsaber battle. This, surely, is Star Wars at its most iconic. And – rather fittingly on its anniversary – its best. – reuben.
So that’s that. It’s DECIDED. We should win a Nobel Prize, don’t you think? Because of this list, no-one will ever argue about Star Wars again…
Originally a novel written by Bret Easton Ellis, one of the many writers that introverted white teenagers will indulge in to mask their inherent misogyny as intellectual “dark humour”, American Psycho, directed by real-life human woman Mary Harron, follows the first-person account of Patrick Bateman (Christian Bale), a Wall Street professional-asshole moonlighting as a depraved killer, rapist, cannibal etc.
The film was met, despite its dramatic toning-down of the source material, with a similar reception to Ellis’ work; as a garishly-transgressive, if morbidly-captivating, piece of narcissism satire. Since then, it’s been immortalised as a cult classic, with its mass of iconic scenes, as well as Bale’s breakthrough performance (not counting Empire of the Sun, of COURSE). Now celebrating its 20th anniversary, critiquing American Psycho, so opposed to and mocking of critique, seems only too apt.
Obviously, the prime talking point around American Psycho is Christian Bale smugly butchering his way to mainstream recognition as the eponymous anti-hero. As Bateman, Bale injects this insistently-confrontational charisma that only serves to further cement the character as totally hateable. Everything from his pretentious meandering about the history of Genesis (I’m reminded of the many times I’ve been cornered at parties by someone compelled to tell me about the difference between prog and psych (I have also been on the other end, granted)) to passive-aggressively competing with his co-workers, all the way to his chainsawing of a prostitute, it’s all imbued with this male need for dominance.
Even in his most frenzied moments, Bale portrays Bateman with a preciseness that you don’t really see anywhere else. It speaks to a need of control over one’s surroundings, from the conversational to the sexual to the professional to the homicidal; Bateman needs to win. Despite the copy-and-pasted dialogue from the book, there is a framing from Harron that is knowingly masculine; almost like catcalling a construction worker. The blatant misogyny in a lot of the dialogue is unchallenged yet is so blatant that you can’t help but laugh at the perpetrators, turning that “product of its time” trope on its head.
This shamelessly tacky dialogue contrasts the focus on sophistication throughout the movie. Of course, if there was one thing that American Psycho as a narrative is looking to dismantle, it’s the consumerist idea of “fitting in”. The way it does this, through Bateman and his murdery tendencies, is through their adjacency to such murderiness. A great scene is where Patrick is furiously working out, with The Texas Chainsaw Massacre on the telly. It only lasts a second, but seeing the two acts, the two sides to Bateman’s coin, run so concurrently is a really excellent piece of visual storytelling on Harron’s part.
This is the idea that is explored in the more nuanced dialogue. As mentioned, a lot of the screenplay was lifted verbatim by the novel and, with that, the razor-sharp, yet bluntly-delivered, wit of Ellis. Some of most famous scenes (Hip to be Square and the business card comparisons) are defined by how bone-dry and self-knowingly funny they are. However, there is a level of obvious comedy to the film, as well, as all of Bateman’s co-workers, all with executive, nondescript job titles, are bumbling idiots. The pinnacle of these is Paul Allen, played by Jared Leto. Though he’s not initially memorable, as he only sticks around for a dinner before being axed to fuck to Huey Lewis, the sheer similarity to Bale’s performance only serves highlight how homogenised yuppie culture, or any kind of clique or “aesthetic”, can be.
That said, there was nothing forgettable about where Leto met his end. While American Psycho has got its moments of being a bit too obvious, everything about the scene where Bateman kills Allen with an axe to Huey Lewis (most 80s Cluedo guess ever) is joyful maximalist. The intersections of frustrating twattiness, brilliant humour and shocking violence come together here perfectly. Bale plays the scene with a levity that cuts through how disturbing the whole thing is, at one point moonwalking as readies his weapon, before launching into a frenzy. The actual murder is offscreen, but the image of Bale in a shock of blood-stained hair will be one to line the halls of horror with.
The scene is a prime example of the dynamite use of music in the film. It’s well-known that much of the already-slim $7million budget was spent on music licensing from the aforementioned Huey Lewis, Phil Collins, Chris De Burgh and others — including an appearance from New Order’s True Faith, which has an eerie parallelism to the documentary Don’t Fuck With Cats on rewatching. Much of the more violent moments are soundtracked with this psychopathically-peppy 80s pop music, your Hip to be Squares and Sussudios etc. On the other hand, the rest is lilted by John Cale’s comparatively ambient, eerie score. This is yet another exploration of contrast in the film, that Bateman’s homicidal outbursts are heralded with joyous synth-pop, and his supposed-domestic bliss is droned with a nulling hum.
However, no film is without fault and the perceived-perfection of American Psycho is no different. With such a strong lead performance, there is no room for anyone else to build even a semblance of a real characterisation. Sure, there is that level of single-minded narcissism that is knowingly perpetrated, but it’s still a shame when you have such strong talent as Chloe Sevigny and Willem Dafoe — both of which I bet you forgot were even in it if you haven’t watched it recently.
One critique that Ellis had of the film was its narration, which wasn’t as obvious in the novel. For the most part, however, I really found that the, especially in the opening scenes, Bateman’s monotonous breakdown of his material worth was a great tonesetter. That said, as the film progresses, these narrations stop providing a satire and start just peddlin’ that exposition which, as noted, takes away any ambiguity. Speaking of which, the conclusion, a real point-of-contention in the novel, plunges itself in a tonal switch-up that comes completely leftfield, forcing that maximalism into a more unforgiving exposure.
Overall, American Psycho is a fascinatingly-sharp satire of masculinity, narcissism and consumerism — hitting each facet with the blunt force of a meat tenderiser. Carried by a superb, career-making turn from Christian Bale, the characterisation of Patrick Bateman is extremely well-realised, making him one of the most watchable assholes to ever grace the big screen. A couple of narrative discrepancies slightly mar what is one of the most notoriously-repentless, yet morbidly-gratifying thrillers of the century.
There comes a time in a person’s Hollywood career when they feel like they should be taken seriously. That time came in the tail-end of the 10s for Jonah Hill, the transcendent master of stupid comedy and inexplicable voice acting stints in various animated films. From Sausage Party to 21-22 Jump Street, he’d become somewhat of a joke straddling between fun and trashy outputs; but, a star role in the ambitious and thought-provoking Maniac series later and a first taste of directing, incidentally for Danny Brown’s Ain’t it Funny music video, it seemed there was becoming more to Jonah Hill than gag movies. So what better to test that than by trying his hand at an indulgent piece of nostalgia porn in his directorial cinema debut?
Part of A24’s fast-growing library of somewhat unorthodox gems, mid90s feels right at home with company like Lady Bird and Midsommar, inherently off-beat, charming and nuanced. And as an ode to its titular time setting, shot entirely in 4:3 and with a blurry-dark colour pallet, it certainly looks the part.
There’s nothing else to it, though: mid90s smacks of nostalgia porn, through and through. Hill and his production team put together a team of misfit trendy actors, dress em all up in baggy jeans and colourful t-shirts, and together with that warm and fuzzy filming direction, it feels like a pleasant wavering memory — but there’s absolutely nothing wrong with that. Particularly from the perspective of someone who never actually lived through the 90s, it’s fascinating to see a portrayal as lovingly accurate as this seems to be, and it plays just as much like a historical microcosm as a transcendental coming-of-age piece.
In fact, it feels like they used this setting with the intention of exploring it, rather than just using it as an aesthetic tool, and in doing so avoiding a pitfall many modern film-makers have fallen into. By exploring it, Hill and co. approach it with an uncompromising eye for detail, and a refreshing lack of fears of offending current mainstream audiences with the viewpoints and mannerisms of a time long past. Sickening as it rightfully is, the N-word is brazenly used a million times, kids tell each other not to say “thank you” for fear of being perceived as gay, and so on. But it’s in this unrelenting portrayal of since-changed attitudes which separates mid90s’ use of time-setting with that of Stranger Things’ loveletter to the simpler times of the 80s. There’s little exploration of the misogynistic and racist attitudes of the time in the latter, but the former is unafraid to explore them, and in that it finds its greatest and most powerful moments.
Following the tumultuous story of 13-year-old Stevie’s (Sunny Suljic) summer sprawling domestic abuse and a turbulent new friendship with older skaters, mid90s, effectively, encompasses a powerful coming-of-age tale for both its nominal character and the society in which it is set. Bouncing between profanity laden political incorrectness and moments of nuanced beauty, this directorial debut is amusing, shocking and touching in equal helpings. From fellow young teen Ruben’s troubling attempts to be gangsta by making every effort not to be gay to older kid and wannabe-pro-skater Ray cautiously opening his heart in genuinely heartwarming scenes in acts of honest kindness, there’s a juxtapositional atmosphere created here that plays like the 90s’ reluctant first admission to let boys cry, as freeing and difficult as the journey of Stevie himself.
Rolling in with a nice, short n’ sweet hour-25-minutes run-time, mid90s doesn’t beat around the bush in any regard, and it’s all the better for it. Subtly meandering across party scenes, skating get-togethers and moments of self-harm and violent abuse, it plays like a film-reel, blurry off-shoots and all, telling a story through moments and imagery rather than classical dialogue. Moments, which, are made yet more memorable by a fantastic use of score, which showcases what seems like a thousand hip-hop tunes (including Tribe’s Sucka Nigga, ayO) and an ambient soundtrack composed by Trent Reznor and Atticus Ross, which, work hand-in-hand to poignant results.
It’s not all good, however. As per with the majority of directorial debuts, this film probably won’t remain Jonah Hill’s best effort. Moments like Stevie’s sexual exploration with an older girl, are, honestly, uncomfortable and to a degree disturbing — ironically pushing that uncompromising nature a notch too far, as much as I hate to admit it. The ending, too, while in hindsight a nice one, doesn’t feel as hard-hitting as its most poignant moments, which, to me, feels like a shame. Perhaps Hill was trying too hard to push a message through? Maybe he could have entertained us a tad more? All that can be explored in his future directorial efforts as he dusts off the rough edges.
Rough edges intact, though, and this remains a wonderful and meaningful watch, created with a grassroots integrity that feels, for lack of a better word, real. Portrayed with acting excellence, especially from such a young and (relatively) unheard of cast, and punctuated by a score as aesthetically on-point as its visual pallet, mid90s is much more than just a bit of nostalgia, and comes instantly recommendable to anyone in the mood for exploring their adolescence.
What you need to watch if you ever want self-respect again.
The 2010s for film: a public disaster to some, a raging success to others. However you see it, this last decade was one of extremes. On one hand, we were brought some of Hollywood’s biggest successes in an era of world-conquering superhero universes and a Star Wars revival — with all but three of the world’s top thirty highest grossing films of all time coming from before 2010 hit (inflation notwithstanding, of course). On the other hand, though, gross cases like Weinstein’s have brutally uncovered the dark underbelly of the industry, whilst fat cats like Disney seem to be dead set on monopolising the whole thing. Still, it’s by no means all bad. With watching films perhaps more popular than ever, the growth of modern technology has grown hand-in-hand with film-making prowess and we’ve got a bunch of memorable flicks in the process.
Imagine having a compendium list of the top 100 best films of this particular decade by two uninformed strangers you’d probably want to avoid in the street who open said list with a film about cowboys fighting cannibals. Well, that obscure wish has been granted! Here are ours at repress’ picks that took a literal month to decide. So skim, read, click away if needs be, just don’t @ us.
100. Bone Tomahawk (2015)
On paper, it sounds like one for the bargain bin; Kurt Russell + cowboys + cannibals. However, director S. Craig Zahler managed to blend these seemingly unemulsifyable genres almost seamlessly. Of course, shocking punctuations of extreme gore always help too. – milo.
99. Four Lions (2010)
As Chris Morris’s first endeavour into movie direction – having previously directed some TV (Big Train big uP) – this was a mighty impressive debut. Being able to turn an issue such as terrorism, about as touchy as it can get, into something genuinely hilarious is also pretty damn impressive. – reuben.
98. Captain Marvel (2019)
Truly the kick up the arse the MCU needed, Captain Marvel is a similar flavour of Marvel fun, but with a protagonist you really enjoy watching. Even as a Brie Larson skeptic early in the decade, she really won me over here. – milo.
97. It Chapter Two (2019)
There was some trepidation going into this sequel seeing as possibly what made the first film so special, its entertaining pre-teen ensemble cast, would not be in it; and while this was a worry, it was instantly swept away. The new adult cast, including Bill Hader at his peak, is just as fun, and this sequel, while still genuinely spine-tingly scary, is probably funnier than its predecessor, which came as a very welcome surprise. – reuben.
96. Turbo Kid (2014)
A film that piqued our interest in the whole cult, 80s, “oh do you remember thAt” kinda thing, Turbo Kid was lucky enough to be released just before it got over-saturated and boring, and batshit enough to be feverishly enjoyable regardless. – milo.
95. ParaNorman (2012)
Laika Studios’ successor to the brilliant Coraline, ParaNorman plays out like a fun take on The Sixth Sense but put in a blender with dumb zombie movies. With some of the nicest animation of the decade, Laika tells this playful plot with a ghostly flourish and a great youthful energy at its heart. – reuben.
94. Arrival (2017)
Onto the brooding directorial stylings of Denis Villeneuve in Modern Foreign Languages lessons gone spooky. What may appear on the surface as Amy Adams taking alien language lessons for a couple hours, though, is an intelligent, aesthetically powerful piece of sci-fi masterclass, which, granted, may not be Villeneuve’s best yet, but is an integral part in his growing prominence behind the camera. – reuben.
93. At Eternity’s Gate (2019)
A performance-driven piece, though the beautiful cinematography throughout doesn’t hinder proceedings, At Eternity’s Gate centers purely around Willem Dafoe’s jaw-dropping turn as Vincent Van Gogh, cementing him as one of the best actors of his generation. – milo.
92. John Wick: Chapter 2 (2017)
The first John Wick was a fun time, don’t get me wrong, but this was better. Keanu Reeves and his jolly pals do more stupid kung-fu gun-shooting fist-to-the-face absurdity than we could ever imagine and with the plot spiraling into ludicrous levels of ridiculousness and the fisticuffs getting yet bigger and more impressively choreographed, it’s about as fun as a straight-up action movie has got in a while. – reuben.
91. Drive (2011)
Now that Nicolas Winding Refn has established himself as one of the most stylish directors of the decade, it’s very easy to see how his debut piece, Drive, is such an aesthetic force of nature, with its understated cinematography and iconic soundtrack. It’s also notable for its blaring strikes of violence and for setting Ryan Gosling on his way to one of the strongest decades an actor could wish for. – milo.
90. Wreck-It Ralph (2012)
After a dithering 00s, Disney picked up the pace the right way with Wreck-It Ralph, a film basking in the joys of arcade nostalgia and allowing its audience to do the same. John C. Reily is perfectly cast as the titular ‘good’ bad guy, while the visual gags and references throughout play to its schtick perfectly. – milo.
89. Deadpool 2 (2018)
Just more Deadpool, really. And that’s by no means a bad thing, is it. While it may lack that fresh spark the original had in such abundance, this is about as strong a sequel as any and with about as much stupid as it could stuff into itself. Inclusions like the X-Force freshened things up, too, and Kiwi kid Julian Dennison showing us why he’s one of the most promising young actors of the day is always welcome. – reuben.
88. Avengers: Endgame (2019)
It was inevitable that the highest-grossing-film-ever-it’s-made-all-of-the-money-we-live-in-a-capitalist-nightmare was going to make an appearance on this list. To be fair, however, in terms of story-mapping, Endgame is a real triumph in universe-building and unconventional narrative which you might forget behind all of those merch sales. They nailed it. – milo.
87. Kick-Ass (2010)
A few years before Deadpool, we got something in a very similar vein. Adapted from a comic book favourite, Matthew Vaughn kept faithful to the source content with one of the stupidest, most gruesome superhero flicks of the decade, starring Adam-Taylor Johnson in what is by far his best role and Chloë Grace Moretz before she got annoying and was still a genuinely promising rising talent. – reuben.
86. X-Men: First Class (2011)
An underrated entry into the X-Men franchise, FirstClass managed to bring a new precedent within a universe with already established characters and actors. With that, McAvoy, Fassbender and Lawrence, in particular, shone in their roles, even bettering Patrick Stewart and Ian McKellen, in my opinion. One of the better superhero prequels you can hope for. – milo.
85. Attack the Block (2011)
Here we see pre-Star Wars John Boyega in what remains his best role as the ringleader of a teenage London gang fighting big fuzzy aliens. With a playful and surprisingly heartfelt script, it ends up one of the better British comedies of the last ten years and an entertaining insight into that side of London culture. – reuben.
84. A Quiet Place (2018)
John Krasinski hit the jackpot with this one. From predominantly starring in comedies like The US Office he acted in his sophomore directorial effort, a horror-sci-fi set in a silent world, an ambitious and unique hook which resulted in a genuinely memorable flick that was as successful as it was in the box office for very good reason. – reuben.
83. Star Wars: The Rise of Skywalker (2019)
We could pick at the flaws of this film all day, and indeed, it’s probably the weakest of the trilogy. Still, however clumsily the first parts of the film went about it, this gave us an ending that was genuinely satisfying, and the whole flashy crescendo that was the last hour or so of this film is about as entertaining as cinema gets and made this writer feel like an excitable kid watching Star Wars in the cinema for one last time. Well, hopefully the last time… – reuben.
82. Midsommar (2019)
Although not Ari Aster’s best (we’ll get onto that later…), Midsommar is about as ambitious as modern horror has got and with yet heaps more ambition on top of that ambition. One of the most exciting directors in the game today brings us a troubling nose-dive into the dark corners of paganism and ritual set entirely in bright, blooming summer’s daylight. A film hinged on unsettling juxtapositions and delivered with the confidence of Florence Pugh’s best performance to date — definitely one to give a try. – reuben.
81. Shazam! (2019)
Probably D.C.’s best effort in its fight against Marvel’s superhero empire, but from a radically different angle. Shazam! is just silly, and it wears its silly proudly on its sleeve, a genuine film-making effort that was clearly made with love — a refreshing take against the backdrop of monochrome we’re used to seeing. – reuben.
80. Rogue One: A Star Wars Story (2016)
Maybe it lacks the excitement attached to Rey and Kylo Ren’s story, but it’s still a rather good time and very much holds it own against Star Wars‘ elite crop. In the end, it’s a missing piece of the Star Wars story puzzle directed extremely capably by Gareth Edwards (previously of mediocrity like Monsters and Godzilla). It’s a breath of fresh air, too, in that Edwards and co. managed to put together a Star Wars film without relying on huge lightsaber battles or an overuse of CGI. – reuben.
79. Ex Machina (2014)
Fronted by Alicia Vikander, Domhnall Gleeson and Oscar Isaac on their strongest form, 2014 gave us a throwback to Isaac Asimov brand science fiction, and what we got was an ominous, isolating and head-ache-inducing modern classic in a fascinating exploration of the dangers of the advancement of A.I. – reuben.
78. The Lobster (2015)
The clinical approach to surreal comedy of Yorgos Lanthimos comes to a more mainstream edge in The Lobster, the anti-Valentines movie of the decade. Colin Farrell and Rachel Weisz are both seethingly deadpan in their roles and their disjointed chemistry is a joy to watch. While its not as sour as Dogtooth, it was perfect run-up to what would be the director’s crowning achievement in The Favourite. – milo.
77. You Were Never Really Here (2017)
Joaquin Phoenix had a bit of an under-the-radar start to the decade, but by the end he was, rightfully, back as one of Hollywood’s hottest properties. This is a nasty, gut-punch of a thriller, with Phoenix convincingly throwing (and taking) blows that’ll leave you tasting blood by the end of it. – milo.
76. The Witch (2015)
A masterclass in slow-burn horror, The Witch doesn’t explode in the same way its spiritual successor The Lighthouse does, but its manipulation of sheer supernatural terror arguably sticks with you longer. The small cast are wonderful in their roles and the sparse soundtrack only add to the *evil* atmosphere this film cultivates with its imagery. – milo.
75. The Book of Life (2014)
With production backing from Guillermo Del Toro of all people, this charming animated feature boasts a stunning visual palette and culturally rich narrative that draws from the folklore without totally westernising it (Radiohead cover notwithstanding). – milo.
74. Ghost Stories (2017)
If you want some genuinely unsettling horror, you’ve come to the right place. Under the veil of a bleak, uncompromising artistic direction, Jeremy Dyson and Any Nyman both utilise and challenge typical tropes of the genre to equally successful effect with a no holds barred plot sprawling three brilliant scary stories in a very grey, wet British manner. – reuben.
73. Submarine (2010)
Another British production to be proud of, Richard Ayoade impressed just about everyone with his directorial debut: A bittersweet foray into the teenage condition and the struggles of a broken family in a fittingly Welsh setting — quiet and understated, but with a very real beauty hidden beneath the clouds. – reuben.
72. Let Me In (2010)
Chloë Grace Moretz featuring twice on this list? You what? Indeed, this was still before she believed her own hype and, hopefully, before everyone on the internet got creepy. Part of a genuinely strong cast, too, under the yet stronger directorial hand of Matt Reeves in a blood-sucking horror rich with imagery, adapting a modern Swedish classic to an American setting to surprisingly great effect. – reuben.
71. Edge of Tomorrow (2014)
I mean if you were to look at everything surrounding this flick, you’d be forgiven for thinking it was an unsolicited piece of blockbuster, overblown trash. However, in no small part due to the great performances (Paxton forever), throttling action and a sublime plot so bonkers it could’ve only come from Japan…. but none of this “Live.Die.Repeat” bollocks, aye? Pick a damn title. – milo.
70. It (2017)
We weren’t necessarily expecting this one to actually be any good. But holy crap, they just went and did it. Coming in from the reigns of Stranger Things‘ success, this was another 80s throwback and a Goonies wannabe, but it still felt fresh. It is pure edge-of-the-seat shock horror pure cinema and one of the funnest blockbusters of the latter part of the decade that with its grand score and lively script genuinely feels like something straight out of that time, far more than just a nostalgic imitation. – reuben.
69. The Disaster Artist (2017)
The very likely true allegations against James Franco are made yet more disappointing coming since one of the more promising performances of the decade in his here as the famous and extravagant creator of The Room, Tommy Wiseau. That aside, however, The Disaster Artist remains an almost painfully hilarious ode to one of the greatest travesties in cinema history, and one of the better biopics out there. – reuben.
68. The Wolf of Wall Street (2013)
From one of the more versatile and plain brilliant directors of the current crop, this was Scorsese just having a party. From DiCaprio’s obvious relishing of his role as the sleazy drug-addled sex-addicted stockbroker to Jonah Hill clearly having some of the most fun of his life onscreen as a cousin-loving scumbag, the love that went into making this film is palpable and it’s the most ridiculously obscene embodiment of the most ridiculously obscene sector of American moneymaking. It’s just three hours of expertly crafted ridiculous obscenity. And it’s fantastic. – reuben.
67. It Follows (2014)
This decade really had a knack for bringing out the best in fresh talent with solid premises, must’ve been something in the water (or blood, mwahaha). That said, this indie thrill-piece quickly gained some steam once the ingenious plot, subverting the two hallmarks of horror (gratuitous sex and spooky followy OH MY GOD THAT TALL FUCKER WHERE ARE HIS EYES), hit the eyes (or LACK THERE-FUCKING-OF) and ears of audiences. – milo.
66. War for the Planet of the Apes (2017)
The grand finale of one of the grandest trilogies to hit the big screen in the decade, and a grand finale at that. Andy Serkis is yet again brilliant at managing to stop his actual face from being onscreen in literally any film, with the CGI quite possibly the most impressive of any examples we can think of in the decade. This is no Avatar-style graphics demo, though, this is one of the biggest, best action sci-fi movies of the last ten years. – reuben.
65. Skyfall (2012)
This is still very much James Bond, action man shoots other action men and has sex with women, but this is a modern James Bond directed by Sam Mendes — a gritty, sinister Dark Knight-inspired action film and a coming of age for the old, old series. While the nostalgic nods to the Aston Martin and so on are still appreciated, this is the series very much modernising itself and simultaneously hitting its peak, with arguably the best 007 yet. – reuben.
64. The Death of Stalin (2018)
Armando Iannucci made his name with some of the best political satires of the century in Veep and, of course, The Thick of It. However, making TV about current political affairs and swearing is a very different kettle of fish to adapting historical politics into something equally silly and clever. Luckily, he nails it again, of course one of the strongest ensemble casts of decade will always help with that too. – milo.
63. Prisoners (2013)
While Denis Villeneuve is more associated with his cerebral sci-fi odysseys, I’d argue that his greatest triumph is this truly pained crime thriller. Hugh Jackman gives one of his most underrated performances as a father who will stop at nothing to find his child. This ain’t Taken though, no slick fistfights — just the lengths a broken man will go. – milo.
62. The Incredibles 2 (2017)
Given Pixar’s track record with sequels (if it ain’t Toy Story, don’t bother), you could be forgiven for not having the most faith in the follow-up to one of their best efforts, 2004’s The Incredibles. However, they managed, almost effortlessly, to bring us another great, varied, take on the characters, with some truly hilarious moments and awesome action. The Incredibles 2 is also wonderfully modernised in its approach to the family dynamic, which is what both films are metaphors for anyway. – milo.
61. Your Name. (2016)
It’s truly rare to come across a love story as legitimately heart-wrenching, or as carefully crafted as the one in this masterful anime production, which is animated as beautifully as the story unfolds. Your Name. tells a unique and clever love story, too, which is told across a whimsical roller-coaster of unwinding knots, ancient spirits and long train journeys. – reuben.
60. Doctor Strange (2016)
Around this time in the decade, MCU fatigue had begin to kick in, with Avengers: Age of Ultron in particular hitting us in the mediocres. However, with a solid, if weirdly American, Cumberland Sausagebitch turn at the helm of it (and a bit of dodgy whitewashing), DoctorStrange managed to be breath of fresh air in the franchise — helped enormously by its mind-bending special effects. – milo.
59. Seven Psychopaths (2012)
While perhaps not Martin McDonagh’s finest film yet, Seven Psychopaths pins Collin Farrell together with Sam Rockwell, Woody Harrelson and Christopher Walken, and it doesn’t get much better than that. Put that great cast in a blender with a spiraling story about an entourage of unsuspecting murderers and a very important shih tzu, and you’ve got yourself an absolute time. – reuben.
58. The LEGO Movie (2014)
One of the best-written kids movies of the century, The LEGO Movie, despite its very family-friendly, safe aesthetic (I mean what can you expect), is greatly entertaining for any age. It has brilliant voice acting, especially with Chris Pratt at his *peak*, which elevates the already funny one-liners to nigh-on hilarious. Plus, don’t @ me, one of the best twists of the decade. – milo.
57. Super 8 (2011)
From lens-flare loving, Steven Spielberg worshiping J.J. Abrams, this was only his second foray into movie direction and while not in any sense groundbreaking, it remains one of the better sci-fi flicks of the decade. It was another Goonies or E.T. wannabe, maybe, but the kid ensemble cast here is about as entertaining and well acted as you’re gonna get, in a couple hours of just quality cinema spectacle. – reuben.
56. Shutter Island (2010)
Proof if proof were needed that Scorcese excels at pretty much anything he tries his hand at, this psychological thriller opened his decade up with some impressively complex narrative (a stunning twist) and an atmosphere created that feels endlessly uncomfortable. DiCaprio also shines in his starring role, delivering one of his more underrated roles with feverish intensity. – milo.
55. Avengers: Infinity War (2017)
I imagine just about everyone was squirming in their seats with this one. The first half of the MCU’s decade defining 2-year-spanning Avengers party, and possibly the best. It didn’t finish the saga like Endgame did so dramatically, but what can be said for Infinity War is that things happened. Just thing, after massive thing. It was a colourful, explosive melting pot of superhero action and it was pure theater. – reuben.
54. Coco (2017)
Pixar made us all cry with Inside Out, so the bastards thought they’d just go and do it again and shove this lovely little Mexican boy’s turbulent and heartfelt story in our faces. Not that we’re complaining, of course. This story is rich with culture and feeling, a celebration of all things Mexico in an explosion of joyous colour and music. – reuben.
53. The Raid (2011)
A truly multicultural affair, Welsh director Gareth Evans brings us an Indonesian crime, martial arts modern classic, featuring some of the most jaw-clenching “ooooffff” moments in action cinema of the decade. The narrative, acting and cinematography all act as vehicles for the cacophonious avalanche of combat and injury, choreographed with both beauty and brutality. – milo.
52. Kingsman: The Secret Service (2014)
One of the best adaptations of Mark Millar’s work, Kingsman has the budget and the nuttiness to provide bonkers visuals with irreverant comedy, as well as action sequences and special effects befitting of a big blockbuster. The chemistry between Colin Firth and Taron Egerton is undeniable, while Samuel L. Jackson is having more fun onscreen than he has in a while. More than, say, RoboCop, at least… – milo.
51. Hereditary (2018)
We told you we’d get back to Ari Aster’s best earlier and here it is: Another disturbing descent into the dark world of ritualistic paganism dipped in a pool of family tragedy — lovely business. Truly, though, Aster’s first dive into movie direction is one of the most troubling horror films in recent memory, and yet it remains enthralling in a story that unravels with both an expertly calculated building pacing job and a bold, intelligent style with a lasting impact. – reuben.
repress. 