Molly Mortimer

made me lose my cat and whole house after my sim died :(

Noah Baumbach's 2012 comedy-drama film is a light-hearted feature that follows aspiring dancer Frances Halladay (Greta Gerwig). Shot in stylish black and white, 'Frances Ha' allows Gerwig to show the talent she has in front of the camera, as well as behind it. Its premiere at the Telluride Film Festival led the film to receive generally positive reviews - Gerwig even received a Golden Globe nomination for her performance. Frances Halladay is a 27-year-old dancer who resides in New York City alongside her best friend from college, Sophie (Mickey Sumner). When Sophie decides to move out to Tribeca, Frances moves in with Lev (Adam Driver) and Benji (Michael Zegen). Viewers are then taken on a journey alongside Frances as she throws herself into following her dreams and navigates her way through friendships, hardships and the struggles to live a successful life. Greta Gerwig is electric in the title role. Her performance is natural, and she's an incredibly likeable lead - her portrayal of Frances helps viewers to see the character as someone they relate to. Gerwig leads a supporting cast consisting of Mickey Sumner, Adam Driver and Michael Zegen - all of whom give brilliant performances alongside Gerwig. Sam Levy's cinematography is fresh, easy on the eye and makes 'Frances Ha' a visually pleasing viewing experience. Despite the film's loose, improvised feel, viewers will be surprised to know that the cast followed a tight script written by Gerwig and Baumbach. The fascination with perfection and ideality is evident through the film. Frances has aspirations to be a successful dancer in NYC but also makes comments referring to being "Too tall" or "I'm not a real person yet". Throughout the film, Baumbach brings in various themes, all of which relate in one way or another to Frances' experience living in the city. Whether it be money problems or work struggles, Frances Halladay comes face to face with it all. Relationships also play an important role throughout the film, both familial and friend-wise, and they all link back to the idea of how you interact with the people around you. 'Frances Ha' also tugs at how sometimes you have to do the things you don't want to do to get the life you want. If you're looking for another project that allows Noah Baumbach to showcase his ability to direct, then you should watch his directorial debut, 'Kicking and Screaming'. Or, his 2001 effort 'Ghost World' that follows two unusually devious friends as they seek direction in their lives. However, if your looking for another coming of age story, then the 2017 dramedy 'Ladybird' is for you - a heart-warming story about life and relationships that also happens to feature Gerwig in the director's chair. Overall, 'Frances Ha' is a light, enjoyable film that shines a light on problems that nearly everyone has had to deal with at one point in their lives. Noah Baumbach brings viewers a feel-good story that features sensational performances, voguish, modern cinematography and a brilliant script that allows each cast member to showcase their talent.

Ryan Gosling stars as a mysterious stuntman/getaway driver in Nicolas Winding Refn's 2011 thriller adapted from James Sallis' novel of the same name. Gosling leads a cast that includes Bryan Cranston, Carey Mulligan and Oscar Isaac as he leads these characters down a path of violence and destruction. A young, nameless Hollywood stuntman (Ryan Gosling) who moonlights as a getaway driver begins to get close with his neighbour, Irene (Carey Mulligan), and her son Benicio (Kaden Leos). But when Irene's husband is released from prison, 'Driver' is dragged into a world of violence, crime and heists and must now do everything in his power to protect Irene and Benicio when it all goes wrong. Replacing Hugh Jackman, Ryan Gosling takes the character of 'Driver' from page to screen, projecting him with a cold, icy exterior. Gosling does a great job bringing the character to life, showing both sides of his complex persona. On one hand, you have a cold, callous Driver, and on the other, you have the warmer, kinder man. Bryan Cranston stars alongside Gosling as Driver's mentor/boss. His chatty personality contrasts completely with Gosling's, with Driver only speaking 116 lines over the 100 minutes. Albert Brooks and Ron Perlman star as the film's antagonists, the mobsters that drag Gosling down into the horrific world of crime and violence whilst on a path of destruction and death. Carey Mulligan plays Irene, a character whose only real purpose is to give Driver something to fight for and motivate him. As well as dealing with tense action, 'Drive' also manages to deal with themes that revolve around human nature, including romance, desire and heroism. The costume design links to the film's themes. Throughout the film, Gosling's character can be seen wearing the same white silk jacket that features a yellow scorpion on the back. Now not only does the colour of the jacket contrast with Driver's entire person, but the scorpion is a clear reference to the fable of The Scorpion and The Frog. Essentially, this argues that even though you may help someone, they may still turn around to sting you. Even if you completely disregard the fable, the idea of a scorpion still links to themes of evil, death, and destruction. All of which follows Driver throughout the film. Nicolas Winding Refn deciding to take 'Drive' down the indie route as opposed to the original idea of a big-budget blockbuster, was arguably the better route to take for the film. The smooth shot scenes and pretty cinematography would most likely crash with the explosive, intense genre. However, ask viewers what surprised them about the film, the most common answer would probably be that within the last 20-30 minutes of the film, it almost turns into a well-shot slasher film. Violent, gory deaths seem to be Refn's main focus in the film's climax. But all these murders play into the dominant theme of human nature because at one point, these men were colleagues or acquaintances, but now they're all brutally killing each other. All in all, 'Drive' is a gorgeously shot film that showcases brilliant performances and heavy themes. Nicolas Winding Refn gives viewers a great piece of cinema that resonates with films like 'Thief', 'A Bittersweet Life' and 'The Place Beyond The Pines'. The latter of which also features Gosling playing the role of a stuntman.

Drake Doremus' 2015 drama is a futuristic tale that tells the story of two lovers in a forbidden relationship, set in a future where emotions have been outlawed. Nicholas Hoult and Kristen Stewart's chemistry forms a profound romance that leaves you rooting for them by the final scene. Set in a time where all forms of emotion are strictly forbidden, a society named 'The Collective' is all that remains. Silas (Nicholas Hoult) begins to experience symptoms of SOS (Switched On Syndrome) - a disease within this society where emotions start to emerge. Silas notices these symptoms in his colleague Nia (Kristen Stewart), and when he confronts her, the two begin a profound romance, risking their lives for love. If you were to take the film at face value, you would see it's essentially a modern version of George Lucas' 1973 drama 'THX 1138'. Both films take place in a futuristic society where emotion no longer exists, and both centre around a prohibited romance. 'Equals' also feels as if Doremus had taken some inspiration from Romeo and Juliet, especially in the film's more emotional moments. Doremus provides Nathan Parker with an emotion-fuelled story that feels fresh and contemporary, and Parker pens the screenplay that Hoult and Stewart bring to life. The copious amount of white in both the costumes and the set design creates a pleasing contrast to the blues and oranges used by John Gulserian. Bukit Merah, Singapore and Osaka, Japan are among the many locations that slot into the 'Equals' futuristic aesthetic with ease. The close-ups used in the film not only help viewers to connect to each character, but they show the overwhelming emotions these characters are experiencing. 'Equals' allows the director to complete his 'trilogy of love' - 'Like Crazy' was about the past, 'Breathe In' was about being in the present and 'Equals' is about the future. Human connection is the heart of the film, whether it's Silas interacting with other SOS sufferers, or the intense affair between Nia and Silas, the idea that the bonds we have may not exist in the future, is something that makes 'Equals' such an interesting film. Despite being a film about romance, Doremus builds tension in the climactic scenes that have you on the edge of your seat. The anxiety over Silas and Nia getting caught keeps you thoroughly engaged in the film. The backstory behind The Collective's creation almost feels slightly speculative - a cataclysmic war that results in society having to begin anew. 'Equals' exaggerates the danger of emotion. The negatives effects of being able to feel, are projected onto a society in which these feelings simply don't exist. This asks the question is a society without these feelings better or worse for humans? Do we need these emotional bonds, or can we exist without them? Drake Doremus brings viewers the story of 'Equals' at a time where we are probably the most opinionated and divided as a society. Both leads deliver fantastic performances, leading a film that asks bold questions against an aesthetically pleasing backdrop.

Roland Emmerich delivers an apocalyptic adventure to viewers in this intense, explosive catastrophe. The film makes use of various world-ending prophecies, including the Mayan calendar to rip cities in half and crumble monuments to the ground. '2012' follows various characters across the globe as they race to save whatever's left of humanity. The film opens in India, where Dr Adrian Helmsley is called to the world's deepest copper mine, only to discover the Earth's crust is heating up quicker than expected and must rush back to the United States and present this information to the President (Danny Glover). On the other side of the country, in sunny Los Angeles, is failed author and limousine driver, Jackson Curtis. While camping with his kids, Jackson meets Charlie Frost (Woody Harrelson), a man who preaches that the end is near. What happens next leads Jackson and his family on a globe-trotting adventure to China for a shot at survival. As Jackson makes his way across the globe, Government officials Chiwetel Ejiofor and Oliver Platt try to save what they can, all the while trying to maintain law and order. Despite '2012' being a high-octane action film, Emmerich still manages to display emotion. Final phone calls to loved ones provide a sense of closure to some characters, while for others, it fills them with sorrow and guilt. The 158-minute runtime can't help but drag on, and there's a few unnecessary scenes and lines of dialogue that could've been skipped. The visual effects throughout the film are incredible, even with a few issues here and there. Co-writers Harald Kloser and Thomas Wander provide '2012' with a decent score that compliments the chaotic atmosphere of what's going on on-screen. Chiwetel Ejiofor gives a great performance as Dr Adrian Helmsley, starring opposite Oliver Platt, who gives an acerbic performance as Carl Anheuser. Glover shares a heart-wrenching scene in the White House chapel with Ejiofor, where he says 'I'll be the last President of the United States of America, do you know how that feels?'. John Cusack gives a superb performance as Jackson Curtis, a divorced father of two who just wants to maintain a good rapport with his kids. Oh, and if you recognise the name Jackson Curtis, that's because the character is named after the rapper 50 Cent. Emmerich was a big fan of the rapper and wanted to name his lead character after him. Something that Emmerich did well with '2012' is he gave viewers two different points of view. One from the more public, working-class side and the other from the up-high, government officials. That's something that not many action films do. Despite the film mentioning the Mayan calendar and culture, the Mayans didn't actually say that the world would end in 2012. Unless you include the end of the world, the main theme throughout '2012' would be family. Jackson Curtis tries to save his family and Adrian Helmsley gets to say goodbye to his father. Tony Delgatto (played by the late George Segal) tries to reconcile with his estranged son before being abruptly cut off. The film provokes the idea that your wealth and/or job can determine your survival, and when in extreme situations, people are willing to put a price on life, €1 billion per person to be exact. There were production plans for a TV sequel titled '2013', but it was cancelled due to budgetary reasons. In conclusion, '2012' is a chaotic catastrophe with fiery scenery and heart-warming familial moments. The film features good performances from the entire cast and keeps an equal focus on both the ends of the world, and the people who are desperate to survive.

Henry Joost and Ariel Schulman present viewers with a neon adventure in their 2016 New York-based thriller. The 96-minute escapade is something that isn't to be taken too seriously, even if the film itself does. 'Nerve' stars Emma Roberts as Vee, a quiet high-school senior trapped in the shadow of a family tragedy and popular best friend Syd (Emily Meade). Tired of being stuck in the shadows, Vee decides to sign up to Nerve - a social media-based version of truth or dare with big prizes, but dire consequences. After receiving her first dare, kiss a stranger for five seconds, she locks eyes on Ian (Dave Franco). Once the two share a quick smooch, they are pushed into a night of wild, yet dangerous, dares courtesy of anonymous users. The dares then escalate, leading to Vee (Roberts) risking her life, and after attempting to seek help from police, it's soon revealed the only way to escape the game is death. Roberts gives a great performance for what 'Nerve' is, a film that requires little acting ability - hence Machine Gun Kelly's casting - but it wouldn't have landed Roberts in the 2016/2017 awards race. Opposite Roberts stars Dave Franco who gives a super performance as Ian - a mysterious motorcyclist who teams up with Vee on this crazy adventure. 'Nerve' doesn't offer it's cast a chance to show off their acting abilities but with only a 96-minute run-time there wasn't exactly any space to do so. The supporting cast gives an ok performance, but there's not much for the viewers to really sink their teeth into and enjoy. 'Nerve' approaches many issues we deal with in today's society, ie., the dangers of social media, and the power it has over today's population. However, it probably doesn't make viewers want to delete their social media because it is unrealistic and improbable. Despite the failure to deliver on a promising premise, this doesn't disappoint on the technical side. The pop-centred, upbeat soundtrack compliments the vivid scenery and Michael Simmonds' cinematography is visually pleasing but doesn't compare to his previous works such as 'Halloween' (2018) and 'White Girl'. If the $20 million budget had been increased, then it could've become a classic, but with so many plotholes and inconsistencies. But instead, it falls flat and leaves viewers with multiple questions. 'Nerve' also makes use of the classic - nerves save the day with tech motif, which in all honesty isn't that hard to predict. In Conclusion, this is a unique film with a brilliant concept but instead fails to deliver to viewers. Joost and Schulman should probably stick too directing films in the horror genre as this film isn't one of their best. However, for what it is, 'Nerve' is a decent film with likeable leads and a strong soundtrack.

Premiering at the 2015 Toronto International Film Festival, Ridley Scotts's 'The Martian' tells the incredible story of one man's survival after being left on Mars. Spanning over 141 minutes, 'The Martian' brings Andy Weir's 2011 novel to the big screen in a well-paced, well-written affair that features a star-studded cast with Matt Damon at its helm. Presumed dead by his team after a vicious storm during a manned mission to Mars, Mark Watney (Matt Damon) finds himself stranded on the red planet, 385 million kilometres away from home. Relying on his resourcefulness, Mark must find a way to keep himself alive and find a way to signal to Earth that he didn't die while NASA and his crew try to reach him. Matt Damon gives a great performance in the lead role. He does a terrific job keeping viewers interested throughout the film, especially considering he's the only person in the majority of the scenes. The supporting cast, including Jessica Chastain, Kristen Wiig, Sebastian Stan, and a whole host of Hollywood's finest, all give solid performances across the film. Not only does Damon do a splendid job keeping viewers entertained, but Drew Goddard's screenplay makes sure viewers don't get bored when Watney starts mentioning things like hexadecimals and many other scientific details. For the most part, the science behind 'The Martian' is surprisingly accurate. Some are cosmetic, but the most important one, the storm that causes the film's events to take place, is something that can't physically happen. Scott's use of various wide and overhead shots does a great job emphasising Mark's isolation and loneliness. The visual effects on display throughout the film are impressive. The VFX department does an incredible job making sure the CGI used looks realistic and doesn't blatantly stand out to viewers. Despite being a futuristic sci-fi film, 'The Martian' incorporates themes that link to ideas of human nature and humanity's future. Man's natural desire to persevere and survive plays a key role in the film - If Mark didn't have this overwhelming hunger to survive he probably wouldn't have made it home; this directly links to themes of hope and possibility. One of the first times Mark addresses the audience, he directly says 'I'm Not Gonna Die Here'. The film asks the question of what future space travel will look like, and if we might actually have humans on mars sooner rather than later. The biggest theme, however, is isolation/separation and what effects prolonged isolation has on someone. The only thing that appears to keep Mark sane through the film seems to be his access to a video log, telling both the log and viewers, what he's thinking and planning. The psychological effect of this shows up when Mark is finally rescued by his team and instantly tears up at the thought of being with other people again. Even the production design carries across this theme; the crew's kit and equipment remind Mark that he's all alone, with nothing and no one. On the whole, 'The Martian' does a brilliant job making the viewers feel like they're with Mark. The production design, camera movements and performances all help the viewer feel as though they're in the scene with Mark. Overall, 'The Martian' is a superb film that showcases a sensational performance from its lead and features striking cinematography. Ridley Scott provides audiences with a movie that fans of off-planet adventures will enjoy for years to come.

Alex Garland’s directorial debut is a stylish sci-fi flick that shows just what happens when men try to play God. The ‘28 Days Later’ writer brings Domhall Gleeson, Oscar Isaac and Alicia Vikander together in this high-tech feature that plays like a loose adaptation of ‘The Tempest’. Spanning over 108-minutes, ‘Ex Machina’ marks A24’s first Academy Award for Visual Effects, winning over films like ‘Mad Max: Fury Road’ and ‘Star Wars: The Force Awakens’, the latter happened to feature both Isaac and Gleeson also. ‘Mother!’ star Domhall Gleeson gives a strong performance, starring as ingenuous programmer Caleb Smith. When Caleb is chosen to stay with Nathan Bateman (a narcissistic, reclusive CEO brought to life by a notable performance from Oscar Isaac), he soon discovers the purpose of his stay is to test a ground-breaking new AI known as ‘Ava’. Ava is played by ‘Tomb Raider’ star Alicia Vikander, who’s performance as the synthetic humanoid is both chilling and inquisitive. However, as Ava becomes increasingly conscious and her bond with Caleb grows, her path to freedom is progressively fuelled by deception and manipulation, leading to fatal consequences. ‘Ex Machina’ explores the divide between technology and man, Garland shows viewers that when powerful men try to play God, more often than not, it ends in chaos, as shown in films like ‘I, Robot’ and ‘Avengers: Age of Ultron’. Despite its futuristic aesthetic, the film appears to draw influences from past theatrics like Shakespeare’s ‘The Tempest’ as well as Greek Tragedy theatre, as shown by the various masks placed along the wall in Nathan’s home. Even the film’s title draws from historic theatre, ‘Ex Machina’ being derived from the Latin phrase ‘Deus ex Machina’ which means ‘a god from the machine’. The film also goes down the path of exploring the fact that artificial intelligence can be seen as evolution, in response to Caleb asking about why Nathan created Ava he responds “I don’t see Ava as a decision, just an evolution”. This haunting realisation shows how in the future humans could be seen as obsolete as AI becomes more and more developed and aware The present day setting of ‘Ex Machina’ allows Garland to show viewers just how close we could be to something like Ava existing, and the possible ensuing disaster coming to fruition. Rob Hardy’s sleek cinematography and Mark Digby’s contemporary production design, provides the film with ultra-modern visuals that reflect the technology-focused plot. Considering the film only had a $15 million budget, ‘Ex Machina’s visuals effects are spectacular, and the fact it beat out its competitors, all of which had budgets of over $100 million,, makes it that much more impressive. The film also brings up the issue that whatever you search online is watched, recorded and stored. In ‘Ex Machina’s case, the trillions of searches help Nathan to develop Ava and create her persona. Alex Garland brings viewers a polished sci-fi drama that features strong performances from all three main characters, sleek set design and a superb script courtesy of Garland himself. ‘Ex Machina’ is a triumphant first outing in the director’s chair for Garland, who’s film leaves you on the edge of your seat by the time the credits roll.

One of the most horrific films to come out of the Cannes Film Festival, Julia Ducournau's directorial debut is a bloody horror that puts a shocking twist on the coming-of-age genre. The graphic imagery even led to some viewers requiring medical services after allegedly fainting during screening at the 2016 Toronto International Film Festival. Garance Millier stars as Justine, a lifelong vegetarian who begins her first year at veterinary school. She's then thrown into a week-long hazing ritual where students must take part in degrading traditions and vicious initiations. When one of the traditions sees Justine forced to eat raw rabbit kidneys, she descends into a hidden world of animalistic tendencies and horrifying cravings. Despite 'Raw' being Ducournau's first feature-length film, she does a brilliant job retaining viewer interest throughout the 99 minutes - whether it's Jim Williams' cohesive, style-shifting scores or Ruben Impens' unique cinematography. Impens uses still, wide shots to contrast to the closer, shaky handheld shots used. Red is a dominant colour throughout the film, shown through things like lighting and blood. It gets across some of the film's darker themes, including violence, danger and rage. Williams' score does a great job of reflecting what's happening in the scene; for example, where Justine first tastes human flesh, the score shows how the viewer might be questioning what she'll do and if she'll eat the same. But when Justine finally does it, the score becomes a pipe-organ led cacophony that perfectly reflects the shift in tone. Despite being incredibly graphic, 'Raw' still manages to deal with a myriad of themes. Ideas that link to what it means to be human take the main stage, supported by the idea of animalistic tendencies and sexuality. Animal imagery and symbolism is littered throughout the film; characters compare a raped monkey to a raped woman, Justine and her sister are tied up like animals, and students made to crawl around the school, all feed into a crossover between humans and animals. Viewers could interpret Justine's vegetarian lifestyle as a 'harness' on her cannibalistic desires as Ducournau features a scene with a horse trying to escape its harness. The idea of a harness shows that if you suppress something, sooner or later, it will come out. Ducournau doesn't shy away from her love of body horror either, and the practical effects mixed with CGI create visuals that leave viewers feeling nauseous and anxious. Marillier gives an outstanding performance in the lead role, portraying to viewers the duality of her character and the struggles Justine is dealing with. She does a great job showing Justine's growth over the course of the film, and Ella Rumpf gives a good performance opposite Marillier. Her character is a pleasant contrast from Justine's shy, quiet persona. One of the most horrifying things revealed in the film is that these cannibalistic tendencies run in the family. In the closing scene, Justine's father (Laurent Lucas) unbuttons his shirt to reveal an array of scars caused by Justine's mother. This reveal explains Justine's mother's reaction to Justine finding meat in her mash potatoes in the film's opening scene. Overall, 'Raw' is a superb film that allows Julia Ducournau to show off her talent as a director while bringing viewers a unique, exhilarating experience fuelled by great performances and deadly desires.

Kristen Stewart gives a career-best performance in Pablo Larraín’s 2021 drama. The words “a fable from a true tragedy” included at the start recognise that the film depicts real people in fictitious events and is not a genuine retelling of those 3 fateful days during the 1991 Christmas period. The film is the sophomore feature in Larraín’s biopic trilogy, following on from the critically acclaimed ‘Jackie’ that followed Jackie Kennedy through the aftermath of JFK’s assassination. Kristen Stewart stars in the titular role, taking on the mantle of the beloved Princess Diana, or The People’s Princess, as she was more affectionately known. The ‘Twilight’ star gives a captivating performance that pretty much guarantees her a Best Actress nomination at the 94th Academy Awards. Starring alongside Stewart is a cast that includes Oscar nominated Sally Hawkins and Cannes Best Actor winner Timothy Spall. For the few scenes she’s in, Hawkins gives a great performance as Diana’s royal dresser, who is pulled away when Diana needs her most. Despite being a film about Princess Diana, Spall’s and Hawkins’ characters are not based on people in Diana’s life. Instead, their characters are fictionalised and draw inspiration from the people around the Princess. ‘Portrait of a Lady on Fire’ cinematographer Claire Mathon works with Larraín to provide ‘Spencer’ with mesmerising, up close visuals that convey to the viewers the claustrophobia Diana felt from both the Monarchy and the public. The smooth camera work makes viewers feel as if they’re part of the press, following Diana through the hallways of Sandringham House. The duality of Mathon’s cinematography allows audiences to feel as if they’re watching Diana but also seeing things from the Princess’ perspective. ‘Phantom Thread’ composer Jonny Greenwood creates a score that compliments the soft, smooth visuals. ‘Spencer’ isn’t the only awards contender Greenwood has added his touch to; the Oscar nominee also worked on two songs for Jane Campion’s ‘The Power of the Dog’ - an eerie western whose sinister plot and rustic visuals make it a complete 180 from ‘Spencer’. Despite the film being a work of fiction, the Chilean director manages to depict experiences and events that the Princess did go through, including her battle with eating disorders, and the breakdown of her marriage to Prince Charles among other things. Larraín includes hallucinations of former queen Anne Boleyn to refer to her relation to Diana, but to also ground the film as both fact and fiction. Believe it or not, both women went through surprisingly similar experiences: both clashed with the royal establishment and both women seemingly predicted their own deaths. ‘Spencer’ takes artistic license to the late princess’ life, giving the film a happy ending in which Diana takes Harry and William (played in this film by Freddie Spry and Jack Nielen) to a fast-food drive thru as she slips away from the suffocating Monarchy. Acclaimed director Pablo Larraín mixes enthralling visuals with a knockout performance from Kristne Stewart to bring audiences a unique look at the late princess’ life as she struggles against the confinements of the royal family. ‘Spencer’ is arguably one of 2021’s best films, it’s tense atmosphere and soft visuals draw viewers in, keeping them thoroughly entertained across the 117-minute runtime.