Evie's 'Good Film Hunting'

  After a long hiatus, the blog is back!! I know you missed me I’ve been thinking about writing again for a while, but honestly, I was living with some crazy cinephiles, and we were watching films at a speed that was probably not healthy. Work by day, film viewing by night—it was  bliss . That being said, I spent more time yapping in person about whether the film we watched each evening was brilliant or a snooze fest, instead of writing it down! Now that my living situation has changed, it's the perfect time to bring back Evie’s Good Film Hunting, and what better way than to kick things off with a sad one.   The Coen brothers' ‘Inside Llewyn Davis’ follows a struggling folk singer in 1960s New York, portrayed candidly by Oscar Isaac. Despite being ridiculously good-looking and having an obvious gift for writing beautifully crafted folk songs (how did the songwriters not get an Oscar nomination for this??), Llewyn’s career is mediocre at best. This resulted in an authentic and h

Cate, fucking, Blanchett. I recently enjoyed a solo trip to my local cinema to see the new Todd Field psychological drama  Tár  with very high hopes. Reviews had the film very well received, many commenting on Cate Blanchett’s performance as being a career-defining one. Now, if you knew me more personally, you’d know I am, in fact, in love with Mrs Blanchett. I think she is one of the best actresses of this generation and deserves all the acclaim she receives—so, saying this, I was not surprised her performance was being praised, just excited to see it for myself. Tár  is a biopic-esque psychological drama about the classical composer Lydia Tár, who is widely considered one of the greatest living conductors, yet she is one symphony away from her career excellence. The film follows a relatively small cast, with the majority of dialogue coming from Tár, in a brutalist, eerie-looking Berlin that acts as the backdrop for her character's spiral into paranoia and erraticism. Initially, I

Happy New Year! Only about 21 days too late, but this is my first film review of 2023. Not that I haven’t watched any new films so far—I’ve watched quite a few in fact—but this is the first time I’ve felt I have something to write. Starting off the new year with the new drama-comedy ‘Babylon’ from ‘La La Land’s Damien Chazelle. ‘Babylon’ was a turbo-charged, extravagant, three-hour-long mess. Starring icons like Brad Pitt and Margot Robbie in a huge ensemble cast of actors, writers, producers, and musicians, all wrapped up in the booming movie days of the 1920s. The first act of this film included an elephant defecating, overdosing prostitutes, and a ‘Great Gatsby’-esque party combined with an ‘Eyes Wide Shut’-esque orgy, all chaotically and outrageously unfolding before the screen turns black, filling with the big red writing of ‘BABYLON’. Within this elaborate and innovative period in cinema, the story is told through the eyes of young, fame-hungry actress Nellie LaRoy, played by Rob

Christopher Nolan’s  Interstellar . Now, this is a film I’ve been dying to see for donkey’s years, especially after I learnt who Mr Nolan was by watching  Inception , not knowing he was the same director of the  Dark Knight  films, which, as a fan of superheroes growing up, were a favourite. My only excuse for not seeing  Interstellar  was the quality of the viewing experience I wanted; it’s three hours long, set in space, and infamously has a near-perfect auditory experience. So, when I was home at Christmas with my cousin, who is only a fan of actually good films, and they heard I hadn’t seen it, it was the perfect timing to pop it on the quality TV at my parents’ house at 11:30 pm. Interstellar  follows engineer, pilot, and farmer Cooper, played by Matthew McConaughey, in a dystopian future where Earth is practically uninhabitable, with dust everywhere and food resources depleting rapidly. Classic space plot: he, along with a team of astronauts including Anne Hathaway’s Brand, sets

Every Christmas Eve, my family sits down after doing our new Christmas pyjamas tradition and we watch the 1989 slapstick comedy  National Lampoon’s Christmas Vacation . We’ve done this for six, maybe seven years now. So when Christmas Eve 2022 rolled around, down we sat to our family favourite. But this year was slightly different, as I now pretend I have extremely insightful and interesting things to say about films on this silly wee blog. Unlike my other blog entries, this isn’t a first-watch review, but just like my introductory entry, I had to write about my favourite Christmas film. Based on humorous stories written by  The Breakfast Club ’s director and ‘80s legend John Hughes,  National Lampoon’s Christmas Vacation  is part of a franchise following the Griswold family, starring SNL’s Chevy Chase. The films often show the Griswolds trying to pull off the perfect family experience, whether it’s a road trip to a theme park in the first 1983 instalment, or Christmas with the extende

 Now, now, 'Avatar: The Way of Water' was 3 hours and 12 minutes long—don’t worry, this review won’t be that long. It kind of felt like I not only had to go see the much-anticipated 'Avatar' sequel but that I’d also have to write about it. You could argue that, due to its huge budget, the hype, and its box office success, it was the biggest film of 2022. I can’t really say I have a film blog if I don’t write about it. First, let me set the scene for all the opinions I’m about to dump below—when 'Avatar' came out, I was eight. Sooo, no, I didn’t see it back in 2009. I can’t actually remember when I saw it for the first time, but it was definitely in the cinema. My memories of liking it are vague, and I definitely only saw it once. Like most people at the time, it was mostly a visual experience. The first film literally embodied the ‘Pandora Effect’—something I recommend reading up on if you’re not familiar with it. Going into 'Avatar: The Way of Water', I