Following on from a previous post, these are the top ten (bonus five) films that I saw in the second half of the year, in alphabetical order.
- Downton Abbey - There's nothing here to scare the horses:the script is dreadful, the plots are ludicrous and the dialogue is execrable. It's absolute tosh. But I loved it. The design, direction, costumes and locations are stunning. And what fun those actors are having!
- Fighting with My Family - Based on the true story of professional WWE wrestler Paige, Stephen Merchant's tribute is charming and delightful. Florence Pugh is excellent as the girl who fights back, and the supporting cast (including Nick Frost and Dwayne Johnson) are well drawn. Like the sport it represents, the film is energetic and relentlessly up-beat.
- Knives Out - It's a delicious and well-crafted modern whodunnit (written and directed by Rian Johnson) in the style of Agatha Christie (all filmed in the one set - a country house), packed with twists and turns and a star-studded cast. Christopher Plummer, Jamie Lee Curtis, Toni Collette et al have a jolly fine time, but Daniel Craig absolutely steals the show with his laconic mannerisms and 'southern gentleman's' accent.
- Make Us Dream - Stevie G is a legend. He was the best player Liverpool FC had when they were arguably at their worst. He was Liverpool F.C. and, though he could have made more money and won more trophies if he had gone elsewhere, he stayed on Merseyside and gave everything to his home town and team. Sam Blair's documentary is heart-wrenching and affirming, exposing the pressure we pile on our sporting heroes to succeed, when we should be encouraging their talent and ability.
- Mr. Jones - The way we tell stories is crucially important. This story is terrifying, but terrifically well presented. It focuses on the bravery (and foolishness) of Gareth Jones, the Welsh journalist who broke the story of the horrific famines in the 1930s Soviet Union, placed within the narrative framework of Animal Farm. Every image; every expression; every word; every silence... it all amounts to a spectacular film.
- Mrs. Lowry and Son - Fantastically-acted and tightly-directed claustrophobic drama about art and relationships. For most of the film we see only Vanessa Redgrave and Timothy Spall playing the titular characters - it could be stagey (it was originally a play, written by Martyn Hesford, who also wrote the screenplay) but the gravitas of these actors allows us to indulge them in their oppressive situations. When director Adrian Noble and cinematographer Josep M. Civit broaden the canvas to show us the life which led to this art, we are treated to a bright but bleak palette.
- The Nightingale - Revenge narratives told well can carry a great weight. When they are further imbued with a sense of identity and questions of nationality, community, humanity and morality, they can be truly mighty. It's a lot for The Nightingale to carry, but under Jennifer Kent's direction (she also wrote the screenplay) it does so fantastically. Aisling Franciosi, Baykali Ganambarr and Sam Claflin all give excellently measured performances, and the Tasmanian bush setting is spectacular.
- Official Secrets - 'We were lied into an illegal war.' An important and timely film about morality and legality and what happens when individuals stand up to governments on behalf of the people. Keira Knightley is excellent as the real-life whistle-blower Katharine Gun, ably supported by a cast including Matt Smith, Ralph Fiennes, Tamsin Greig and Shaun Dooley. My only quibble is that Rhys Ifans is completely over-the-top and appears to be acting in a different film.
- Ride Like a Girl - Charming Aussie drama about Michelle Payne, the first female jockey to win the Melbourne Cup. There is no mention of the endemic corruption and seedy underbelly of the horse-racing industry (the 'no animals were harmed in the making of this film' disclaimer is moved to the opening credits). It's full of all the local favourites (Sam Neill; Magda Szubanski; Mick Molloy) with Stevie Payne playing himself, and the rousing soundtrack and girl-power mentality make this the feel-good film of the year.
- Sorry We Missed You - I've been waiting for this since I, Daniel Blake. It doesn't disappoint in terms of film making (Director Ken Loach and screenwriter Paul Laverty are an incredibly powerful duo), but it is devastating in its indictment on the heartless working conditions of modern society. It is brutally honest and angry, condemning the politicians who have allowed this zero-hours contract mentality, while it is heartfelt in its support of family relationships with a glimmer of hope.
