Oliver Battershall

Pink Floyd: The Wall (1982) 4.5/5
As someone who’d only previously heard Another Brick in the Wall off this album, I had a de facto expectation of the whole message of the film to be a simple, juvenile yet charming damnation of the powers that be. But this was something much more. Mesmerising, engaging and at times harrowing, it’s a brilliant accompaniment to the album and brings out all of its thematic depth while leaving enough to the audience’s interpretation. The music itself is phenomenal and should be experienced with headphones. The only film I can compare this to is The Who’s Tommy, which I liked though this is far more impressive not just on a technical level but in perfectly creating an engaging and uniquely non-linear story out of an album that doesn’t lend itself as naturally to one coherent storyline.

Onibaba (1964) 4.5/5
The singular setting which feels like its own character, the very small cast and the conflict that results in a moral lesson all made this feel like a centuries-old theatrical tale which I loved. The cinematography was gorgeous in how it captured the shimmering light that illuminated the characters’ faces. It turned the wispy tall grass into a hypnotically eerie presence that stifled the characters and signalled longing, desperation and danger.

Margin Call (2011) 3.5/5
Although I maybe prefer The Big Short to this, I really noticed that this felt less sensationalised and more grounded. The single setting and the lack of dramatic music cues make for a more raw and intimate atmosphere than something of a larger budget. I liked that it didn’t attempt anything too grand. It doesn’t show the sprawling after-effects of the financial crash, just a snapshot of a pivotal moment in time. I wouldn’t say this left much of an impression on me, but it was engaging enough with not too many Wall Street movie clichés.

Blood Simple (1984) 4.5/5
Would I have guessed this was a Coen Brothers film after watching if I hadn’t known? Probably. A lot of the hallmarks are there, such as the perfect casting, the setting and characters that are regular people roped into doing wild things. But would I have guessed this was their debut? Occasional audio dubbing issues aside, probably not! This is maybe their most twisted effort ever, with the humour lurking below the surface in a more subdued way than what we’re used to with them. The tension building is immaculate, it looks fantastic and Frances McDormand, eventual Coen Bros stalwart, gives one of her best ever performances. A mature debut but it still left me with a sneaky smile on my face like all their best films do.