The 5 Best Johnny Depp Performances, Ranked

Geoffrey Rush has hailed him as “one of the great character actors of our time, trapped in a leading man’s body” and whether you love him or hate him, there’s no denying that Johnny Depp has cashed in some of the most unique and memorable performances of the last 30 or so years. From Edward Scissorhands, Ed Wood, and Donnie Brasco right through to Captain Jack Sparrow, Willy Wonka and Sweeny Todd  — there’s no shortage of the irreverent and iconic. These are Johnny Depp’s five best performances, ranked.

5. Donnie Brasco in Donnie Brasco (1997)
Johnny Depp as Donnie Brasco

Directed by Mike Newell and based on a true story (‘Donnie Brasco: My Undercover Life in the Mafia’), Donnie Brasco represents the first real instance where Depp plays a straight shooting, no nonsense character on the big screen.

Depp’s character, Joe Pistone, infiltrates the New York mafia under the guise of Donnie Brasco where he befriends Lefty Ruggiero (Al Pacino) and works undercover to expose mafia leader Sonny Black (Michael Madsen).

It is through the Depp/Pacino on-screen dynamic that this film separates itself from simply being another cliched 90s gangster, mafia type ordeal. Pacino plays a much more heartfelt character while channelling all the qualities (loud voice, edgy movements, alluring eyes) that have underpinned his performances prior.

Depp compliments Pacino’s supporting role by matching him in those qualities while also proving that he has more reach as an actor should he be offered the right role to display it. He plays the anxiousness of this character so effectively and you can sense the difficulty of his characters position as an informant through this anxiousness.

4. Ed Wood in Ed Wood (1994)
Johnny Depp as Ed Wood

The first of two Tim Burton collaborations on this list, Ed Wood is perhaps best known for Martin Landau’s Oscar winning support performance, but Johnny Depp’s portrayal as the titular cult classic filmmaker was just as profound.

Like the real Edward Wood, Depp has certain eccentricities that can come across as quite peculiar, and they have allowed him to play strange characters, like Wood, on-screen in ways that other actors would not have. Depp’s casting as Wood can be considered a “perfect fit” by Richard Dyer’s work on Star Theory, as his star image fits perfectly with all the traits of the character, and he leans into the strangeness of Tim Burton’s own unique vision to bring the character to life.

In this way, Depp’s performance as Ed Wood is the first real instance where the actor finds a balance between the humorous characteristics he would later inject into his performances to a greater extent, as well as the more heightened moments of ecstaticity.

3. John Dillinger in Public Enemies (2009)
Johnny Depp as John Dillinger

Depp’s performance as the notorious American gangster/outlaw John Dillinger is perhaps the most contentious on this list. That might be due to the film in question, with Public Enemies being one of Michael Mann’s less layered works compared to say Heat (1995) or Collateral (2004), but it works because Mann is able to get the best out of his performers.

John Dillinger was evidently quite a misunderstood man by Mann’s depiction as he was more interested in taking from the state rather than from regular folk and found a certain connection to the people, and they to him. Depp can be seen as quite a misunderstood figure as well if not for his really uncanny demeanour, then definitely for the way he approaches his work and collaborations.

His performance as Dillinger is quite a strong one in that sense and it also represents a return to performances and films more akin to Donnie Brasco and a later mafia-esque film in Black Mass (2015).

2. Edward Scissorhands in Edward Scissorhands (1990)
Johnny Depp as Edward Scissorhands

Edward Scissorhands is easily one of Depp’s best performances due to how well the actor brings Tim Burton’s interest in outsiders and outcasts to light. Burton has never been shy on exploring characters who separate themselves from the public eye (like in his Batman films) or characters immersed in strange, gothic settings (like in 1988’s Beetlejuice).

A large reason why films like Edward Scissorhands and Sweeny Todd: The Demon Barber of Fleet Street (2007) work is because the synergy between Depp and Burton allows them to get to the heart of why these characters are the way they are.

There’s no doubt that Burton has nurtured Depp’s performances in ways other directors haven’t, but it’s in that very strangeness where Depp is at his best and can convince you that there could well be someone like Edward Scissorhands (figuratively speaking) out there. This performance is one of his best due to how well he uses his facial expressions, physicality and gestures, as the character rarely (if ever) actually speaks.

1. Captain Jack Sparrow in Pirates of the Caribbean (2003-2017)
Johnny Depp as Captain Jack Sparrow

It wouldn’t be a ‘best performances by Johnny Depp list’ without the iconic Captain Jack Sparrow. Aside from the fact that Gore Verbinski’s original Pirates trilogy is one of the most audacious and well worked in cinema history, it simply wouldn’t be as memorable without Depp’s very individualised performance as Captain Jack Sparrow.

Depp not only imbued Sparrow with his own signature idiosyncrasies and oddness, but he also drove a majority of the creative choices around the character. From the Pepé Le Pew and Keith Richards inspired look/feel, to the very specifics of how he walked and talked — this character went against the grain of expectation that Disney had initially wanted.

Depp subverted the image of how pirates historically acted and carried themselves by playing the role in a very caricature like manner. He injected Sparrow with a certain flamboyance courtesy of his gestures, and gave him a drunken demeanour even when Sparrow was at his most sober. Depp went as far as to suggest that the character should walk normally when he is on the ship, while being off-kilter and erratic when on land.

All of these choices alongside the bravado with which Depp delivered them through his performative toolkit are what gave the Pirates franchise such clear bearings. There is no Pirates of the Caribbean without Jack Sparrow and there is no Jack Sparrow without Johnny Depp.

Notable omissions: Sweeny Todd in Sweeny Todd: The Demon Barber of Fleet Street (2007), William Blake in Dead Man (1995), and Ichabod Crane in Sleepy Hollow (1999).

94th Academy Awards: Predictions

There are just a few mere hours until this year’s Oscars ceremony, and the team at Rating Frames are feeling more excited than ever, eagerly awaiting the live telecast and yearning to see who will be victorious.

As with most cinephiles, the three resident writers at this site have been making their prognostications as to what, or who, will win in each category, and will be putting them to the test come Monday morning, when the ceremony is scheduled to begin Melbourne time.

Below are the films that Arnel, Darcy and Tom are predicting will walk away with a coveted statuette at the 94th Academy Awards, and their personal vote, in each category.

Best Picture

What will win // What deserves to win

Arnel: The Power of the Dog // Licorice Pizza

Darcy: CODA // Drive My Car

Tom: The Power of the Dog // Drive My Car

Best Director

Arnel: Jane Campion (The Power of the Dog) // Paul Thomas Anderson (Licorice Pizza)

Darcy: Jane Campion (The Power of the Dog) // Paul Thomas Anderson (Licorice Pizza)

Tom: Jane Campion (The Power of the Dog) // Ryusuke Hamaguchi (Drive My Car)

Best Actor

Arnel: Benedict Cumberbatch (The Power of the Dog) // Benedict Cumberbatch (The Power of the Dog)

Darcy: Will Smith (King Richard) // Benedict Cumberbatch (The Power of the Dog)

Tom: Benedict Cumberbatch (The Power of the Dog) // Benedict Cumberbatch (The Power of the Dog)

Best Actress

Arnel: Kristen Stewart (Spencer) // Kristen Stewart (Spencer)

Darcy: Jessica Chastain (The Eyes of Tammy Faye) // Penélope Cruz (Parallel Mothers)

Tom: Jessica Chastain (The Eyes of Tammy Faye) // Kristen Stewart (Spencer)

Best Supporting Actor

Arnel: Jesse Plemons (The Power of the Dog) // Jesse Plemons (The Power of the Dog)

Darcy: Troy Kotsur (CODA) // Kodi Smit-Mcphee (The Power of the Dog)

Tom: Troy Kotsur (CODA) // Jesse Plemons (The Power of the Dog)

Best Supporting Actress

Arnel: Kristen Dunst (The Power of the Dog) // Jessie Buckley (The Lost Daughter)

Darcy: Ariana DeBose (West Side Story) // Jessie Buckley (The Lost Daughter)

Tom: Ariana DeBose (West Side Story) // Kirsten Dunst (The Power of the Dog)

Alana Haim and Cooper Hoffman in Licorice Pizza
Best Original Screenplay

Arnel: Paul Thomas Anderson (Licorice Pizza) // Paul Thomas Anderson (Licorice Pizza)

Darcy: Paul Thomas Anderson (Licorice Pizza) // Paul Thomas Anderson (Licorice Pizza)

Tom: Kenneth Branagh (Belfast) // Eskil Vogt & Joachim Trier (The Worst Person in the World)

Best Adapted Screenplay

Arnel: Jane Campion (The Power of the Dog) // Jon Spaihts, Dennis Villeneuve & Eric Roth (Dune)

Darcy: Jane Campion (The Power of the Dog) // Ryusuke Hamaguchi & Takamasa Oe (Drive Me Car)

Tom: Sian Heder (CODA) // Ryusuke Hamaguchi & Takamasa Oe (Drive Me Car)

Best Animated Feature

Arnel: Encanto // The Mitchells vs The Machines

Darcy: Encanto // The Mitchells vs The Machines

Tom: Encanto // The Mitchells vs The Machines

Best International Feature

Arnel: Drive My Car // The Worst Person in the World

Darcy: Drive My Car // Drive My Car

Tom: Drive My Car // Drive My Car

Best Documentary Feature

Arnel: Summer of Soul // Summer of Soul

Darcy: Summer of Soul // Flee

Tom: Summer of Soul // Summer of Soul

Stevie Wonder performing at the Harlem Cultural Festival, as seen in Summer of Soul
Best Documentary Short Subject

Arnel: The Queen of Basketball

Darcy: The Queen of Basketball

Tom: The Queen of Basketball

Best Live-Action Short

Arnel: On My Mind

Darcy: The Long Goodbye

Tom: The Long Goodbye

Best Animated Short

Arnel: Bestia

Darcy: Robin Robin

Tom: Bestia

Best Original Score

Arnel: Hans Zimmer (Dune) // Hans Zimmer (Dune)

Darcy: Hans Zimmer (Dune) // Jonny Greenwood (The Power of the Dog)

Tom: Hans Zimmer (Dune) // Hans Zimmer (Dune)

Best Original Song

Arnel: No Time to Die // No Time to Die

Darcy: No Time to Die // No Time to Die

Tom: No Time to Die // Encanto

Timothee Chalamet in Dune
Best Sound

Arnel: Dune // Dune

Darcy: Dune // Dune

Tom: Dune // Dune

Best Production Design

Arnel: Dune // Dune

Darcy: Dune // Dune

Tom: Dune // Dune

Best Cinematography

Arnel: Greig Fraser (Dune) // Greig Fraser (Dune)

Darcy: Greig Fraser (Dune) // Greig Fraser (Dune)

Tom: Greig Fraser (Dune) // Greig Fraser (Dune)

Best Makeup and Hairstyling

Arnel: Cruella // House of Gucci

Darcy: The Eyes of Tammy Faye // The Eyes of Tammy Faye

Tom: The Eyes of Tammy Faye // Cruella

Best Costume Design

Arnel: Jenny Beavan (Cruella) // Jenny Beavan (Cruella)

Darcy: Jenny Beavan (Cruella) // Jenny Beavan (Cruella)

Tom: Jenny Beavan (Cruella) // Jenny Beavan (Cruella)

Best Film Editing

Arnel: Joe Walker (Dune) // Joe Walker (Dune)

Darcy: Joe Walker (Dune)// Peter Sciberras (The Power of the Dog)

Tom: Joe Walker (Dune)// Joe Walker (Dune)

Best Visual Effects

Arnel: Dune // Dune

Darcy: Dune // Dune

Tom: Dune // Spider-Man: No Way Home

The Art of the Murakami Adaptation

In an age dominated by IP acquisitions in cinema, the art of the adaptation has seemingly narrowed and expanded in equal measure. Whether it’s adapting a recent YA novel series or the countless comic book blockbusters adapted from stories told in print from a half-century ago, cinema has leaned heavily on interpreting pre-existing literary works with established audiences to tell its stories. 

But the art of adaptation is not solely a monetary endeavour in modern moviemaking. There are opportunities to explore older works to uncover deeper truths in an artist to achieve newly interesting films. Two such examples are the recent critical darlings Burning (2018), and Drive My Car (2021), both based on the Murakami short stories Barn Burning and Drive My Car respectively.

Both films share many similarities; interpreting sub-50 page Murakami stories into films epic in length (148m for Burning, 179m for Drive My Car), exploring the interpersonal relationships that were only suggested within the source text, and exploring a place and time unique to their works. Lee Chang-dong shifted the story of Barn Burning from Japan to South Korea, whilst Ryûsuke Hamaguchi and co-writer Takamasa Oe shifted the story of Drive My Car from Tokyo to Hiroshima.

Exploring works of adaptation in cinema is a rewarding experience in understanding both works and creators better, and is worth comparing these two excellent films in tandem with Murakami’s short stories.

Drive My Car 

Hidetoshi Nishijima (left) and Tôko Miura in Drive My Car

“Murakami’s writing is wonderful at expressing inner emotions, and I think that’s why people want to adapt them. But it’s really difficult to re-create those inner feelings in film.” – Ryûsuke Hamaguchi

Fresh off multiple Oscar nominations including best adapted screenplay, Ryûsuke Hamaguchi’s masterpiece expands on every moment from Murakami’s short story while introducing his own fresh moments that truly thrive within the three-hour romantic drama epic.

So much is added to the story within the 40-minute prologue Hamaguchi and Oe create in the film. In literary fiction, the absence of a character is much easier to express to an audience. But in film, it is much harder for an audience to garner a relationship to a character that is only referenced. Imagine Up (2009) without its opening montage. The absence of Ellie through the rest of the film is profoundly felt by both Carl and the audience because of the impact the character had on us at the beginning of the story. Hamaguchi makes a crucial decision to further explore the intimate relationship between Yûsuke (Hidetoshi Nishijima) and Oto (Reika Kirishima) during the prologue, deepening our relationship with the couple. Oto’s absence casts a deep shadow that hangs over the entire film in a profound and moving way.

Where the adaptation feels closest to Murakami is surprisingly in an original scene, where Yûsuke goes to dinner with Gong Yoon-su (Jin Dae-yeon), Lee Yoon-a (Park Yu-rim), and the driver Misaki (Tôko Miura). It is here that Yûsuke feels comfortable enough to compliment Misaki’s driving, stating, “I hardly feel gravity. Sometimes I forget I’m in a car.” This explanation of a seemingly mundane skill perfectly executed is described so beautifully, the surrounding world feels overwhelmed with character. This is a style that Murakami has perfected in his writing and this sequence is Hamaguchi’s nod to the story’s original writer.

In the short story, Murakami uses Misaki’s driving and its mundane grace to explore Yûsuke’s unexplored feelings and memories of his wife, writing, “for some reason, he recalled her (Oto) more frequently now that Misaki was doing the driving.” Hamaguchi follows this evolution of Yûsuke opening up about his feelings while Misaki is driving in a similar graceful manner, something he also explored in his other wonderful 2021 release, Wheel of Fortune and Fantasy.

Sonia Yuan (left) and Park Yu-rim in Drive My Car

Murakami’s one gripe with the film was the change from the car being a yellow convertible Saab to a red sun-roofed Saab, a change he ultimately accepted. The red of the Saab cuts through the stark whites and navy blues of the environments Hamaguchi places it in. In a film built on the foundations of its long dialogue sequences, the simple visual style of the film is constantly engaging. By adding a roof to the now-iconic car, Hamaguchi creates a secluded space that creates a vacuum for the characters to enter. Whilst not as visually appealing as a convertible, the red Saab is a more striking cinematic object, gliding through the concrete labyrinth of Tokyo and Hiroshima.

A fascinating alteration to the original text is the character of Takatsuki, the young actor who has an affair with Oto in the film. In Murakami’s short story, the actor is in his early 40s and doesn’t share the same troubled past as a former star like his film counterpart. Through this change, the infidelity of Oto feels less connected to Yûsuke in terms of being a romantic stand-in, and more of an individual character decision, opening up the character to being more realised than in the short story. This change also deepens the conversations Yûsuke has with Takatsuki throughout the story – an element that takes up large portions of Murakami’s original text – as it creates a more interesting power dynamic between the pair as they search for a connection through Oto’s absence.

Hidetoshi Nishijima (left) and Tôko Miura in Drive My Car

Murakami’s short story focuses heavily on the theme of performance and acting, often citing, “we’re all acting aren’t we?”. Hamaguchi both explores these ideas deeper through the Uncle Vanya play while also obscuring Yûsuke’s ideas on acting by focusing the story more on his directing profession than his acting career, no doubt an area the director is more personally invested in.

One of the lasting images of the film is actually a profound moment in the short story too, of Yûsuke allowing Misaki to smoke in the car, which she accepts but also has too much respect for Yûsuke, but more importantly the car, as she smokes out the window.

Hamaguchi and Oe received an Academy Award nomination for Adapted Screenplay (an award most likely to be given to the outstanding Power of the Dog) and is everything the award should recognise. The film is a masterclass in extrapolating and personalising another writer’s story into the film medium, one that doesn’t overshadow the original, but mines new elements out of it to craft something truly special.


Burning 

Yoo Ah-in (left), Jeon Jong-seo (centre), and Steven Yeun (right) in Burning

Murakami’s writing in the short story is most compelling in between sentences. Burning works wonderfully as a work of adaptation as it is constructed to explore and expand on these silences on the page, without ever feeling pressured to over-explain.

The time spent between Hae-mi in Africa and returning is expressed with a single space on Murakami’s page, whereas in the film, Lee uses this time to explore our protagonist in this period of extended isolation. 

“Are you going to come back to Japan?” I asked her, jokingly.

“Of course I am,” she replied.

Three months later she was back, …

Barn Burning pg.2

This sequence runs for 10 minutes, showing him masturbating in Hae-mi’s room multiple times as well as going to his father’s assault trial. By adding these new layers to the character, the film adaptation seeks to expand both the Jung-su character as well as emphasise the absence Hae-mi leaves in his life.

A key scene taken straight from the short story is Hae-mi and Jung-su’s first night drinking together at a bar, where Hae-mi pantomimes eating an orange. This reads intriguingly in the Murakami story, introducing this charming and compelling character that both our protagonist and audience are unsure of. In Burning, we can see the scene performed, which greatly adds to the character’s performance of the pantomime and seeing Jung-su’s completely engrossed face as it is occurring.

A crucial thematic element to Lee’s film is the story of the African Bushmen’s two hungry people; Little Hunger, those who are physically hungry, and Great Hunger, those who are hungry for life’s meaning. It is clear even with Murakami’s short story that the female character of Hae-mi is looking for a purpose in the world that is soon to envelop her, ideas that are expanded and stretched further in Lee’s adaptation. 

Lee foreshadows Ben’s speech on burning barns in a restaurant scene between the three characters. Ben says he wants to “tell his story” to Jung-su, as he is a writer. Both the short story and the film characterise Ben as being interested in our protagonist as he is a writer. By foreshadowing this story instead of it appearing spontaneously like in the original text, Lee introduces a feeling of suspense and unease surrounding the mysterious Ben, for both Jong-su and the audience.

Jeon Jong-seo in Burning

The film’s most iconic scene is the dance sequence set to Miles Davis’ Generique, a powerfully solemn and introspective piece written for the Louis Malle film Ascenseur pour l’échafaud (1958). Burning and Drive My Car both follow a lot of Murakami’s western influences into their adaptations, an aspect which no doubt endeared itself to a wider audience.

Murakami does not specify which Davis song is heard in the short story, allowing Lee to add a layer of artistic decision-making to his adaptation. Using Generique, Lee is layering the groundwork for a dreamlike sequence not unlike something you’d see in a Malick or Lynch film, particularly the red room in Twin Peaks (1990-91); a dream-state environment where key characters’ subconscious expresses itself openly. 

What makes Lee’s adaptation so entertaining is his willingness to explore the subtext of Ben’s unnerving nature through genre tropes of a psychological thriller. By expanding these notes of Ben’s character from Murakami’s original story, Lee is able to lure both the protagonist and the audience into the story before it culminates in the farm sequence where Ben describes his barn burning hobby, the launching point of the short story’s narrative.

An important and oftentimes overlooked element of the literary adaptation is to have well defined visual and sonic components. If there is no visual or audible interest in the adaptation, then the filmmaker is not using the advantages of the medium to full effect. Burning has a distinct visual and audible style which Lee uses throughout his adaptation to emphasise the mood of the film. Whether it be the thriller-tinged score by Mowg, or the sapphire soaked sky during Jong-su’s daily runs in the second half of the film, Lee is creating a world that is unique to Murakami’s original text, exploring new depths to the short story while still maintaining a connected through-line.

Steven Yeun in Burning



What makes both of Murakami’s short stories so compelling and rich for adaptation is his ability to create compelling characters in remarkably succinct ways. There is a deftness in its layered character work to be mined within 20-40 pages like in Barn Burning and Drive My Car that leaves Lee and Hamaguchi a groundwork to adapt to the screen, while also crafting characters an audience would want to explore more deeply in film. 

Much has been made of these two successful adaptations being long compared to the source text, displaying how much depth can be uncovered from Murakami’s short pieces. Both Lee and Hamaguchi seem keenly interested in the genre elements of his stories (detective noirs in Burning, domestic melodramas and theatre as subtext stories in Drive My Car), while also wanting to deeply explore these rich characters over the course of their adaptations. 

A common criticism of Murakami is his lack of female characters, something we see in both of these short stories. Perhaps the greatest inclusion Lee and Hamaguchi make to these stories are the two female characters that haunt both Burning and Drive My Car. By making both Hae-mi and Oto not just real characters, but truly charming people that an audience can get engrossed in, the directors are able to lay the groundwork for the narrative momentum of the stories. Just as Jung-su and Yûsuke are obsessed and entranced by these characters, so too are the audience, making their eventual absences create a cavity within the film that will not be filled.

Both films ask interesting questions on the art of adaptation. By exploring a short piece of writing by a revered writer, both Lee and Hamaguchi are able to create layered, dense dramas that extend far beyond their original text. Would these films have worked nearly as well without Murakami’s imprint on key moments? Or is it the duet of writer and interpreter, an overriding theme of Hamaguchi’s film, that gives these stories such powerful meaning?

Most Anticipated Films of 2022

The presence of Omicron notwithstanding, the next twelve months are primed to be the era when cinemas return to their former glory, with plenty of new releases to anticipate. The team at Rating Frames are just as excited for the year ahead, and to prove such, our three resident critics have selected the films they are most keen on viewing over the coming months.

The Batman

DC’s nocturnal crusader is getting another reboot, this time with indie darling Robert Pattinson under the hero’s mask and the proficient Matt Reeves calling the shots behind the camera. From the numerous stills and trailers that have been doing the rounds, it appears that Reeves’ interpretation borrows heavily from Christopher Nolan’s Dark Knight trilogy (2005-2012), and Tim Burton’s Batman (1989) and Batman Returns (1992) but with just enough unique elements to set it apart. -Tom.

Australian release March 3rd nationwide.

The Northman

Easily my most anticipated film of 2022, Robert Eggars returns with a Viking epic with an extraordinary cast that boasts Alexander Skarsgard, Willem Dafoe, Ethan Hawke, Anya Taylor-Joy, Nicole Kidman, Claes Bang, and Björk. It feels like a miracle that a studio has given Eggars a $60m budget to bring a stacked cast to Iceland to recreate an adult drama centred on a 10th Century viking legend, something I hope we all don’t take for granted. -Darcy.

Australian release April 21st in select theatres.

The Unbearable Weight of Massive Talent

I’ve always been excited for any and all Nicolas Cage films that have been released over the years. Whether that be the mesmerising Mandy (2018) and Pig (2021) or even the more underwhelming Primal (2019) and Rage (2014), my excitement and enjoyment of these films has always been the same when I see the name Nicolas Cage associated with them. When news that Cage would play a fictionalised version of himself first surfaced earlier last year, I was instantly excited. It’s now early 2022 and my excitement has yet to dwindle; in fact, it’s just growing as each day passes. The Unbearable Weight of Massive Talent is quite possibly my most anticipated film of the year, if not for the man at its helm, then definitely for that title alone. If you’re a Cage fan like me, this will be a film you can’t miss. -Arnel.

Australian release April 21st in select theatres.

Turning Red

Pixar’s 25th feature-length picture is a safe bet for being one of 2022’s best, owing to the animation firm’s past successes and the input of Academy Award-winner Domee Shi, who helmed the outstanding short film Bao (2018). Expect a humorous, tear-jerking tale about adolescence, family and acceptance, paired with a superb voice-cast and detailed visuals. -Tom.

Streaming March 11th worldwide on Disney+.

Petite Maman

Originally planned for MIFF ’21, Celine Sciamma’s follow-up to her masterpiece Portrait of a Lady on Fire (2019) finally reaches Australian audiences. Petite Maman (2021) follows Nelly (Joséphine Sanz), a child who has recently lost her grandmother and is helping clean out her mother’s childhood home. Sciamma earned herself a patron for life with her previous feature so you will no doubt see me at the first possible screening of this film. -Darcy.

Australian release May 5th in select theatres.

Jurassic World: Dominion

The latest Jurassic series of films have been…underwhelming to say the least. It’s both surprising and unsurprising given that any follow up to a Steven Spielberg film (let alone two Spielberg films) is bound to be a mammoth feat, but technology in cinema is at the point where a T-Rex on-screen looks like something found and shot in a David Attenborough documentary. That said, I grew up wanting to be a paleontologist and my love for Spielberg’s two Jurassic Park films (and even the less iconic third film in that trilogy) has carried over into the latest Jurassic World films, and that sentiment is at a high this time around. The reason for that is we’re getting the legendary trio of Sam Neill, Laura Dern, and Jeff Goldblum all reprising their roles and sharing the screen together. If that doesn’t get your nostalgia going this year, I don’t know what will. -Arnel.

Australian release June 9th nationwide.

Top Gun: Maverick

Hoping to cash in on the recent trend of belated blockbuster sequels, Maverick will be arriving in theatres 36 years after its divisive originator – some love the kitschy Eighties attributes of Top Gun (1986), while others believe it borders on parody. The practical stunt-work and immersive visuals are being touted as the selling-point, and will undoubtedly look striking on a big-screen, even if the plot proves to be a dud element. Between this and the seventh Mission: Impossible instalment, audiences should get no shortage of Tom Cruise-infused thrills. -Tom.

Australian release May 26th nationwide.

Nope

Daniel Kaluuya and Jordan Peele reunite for a new horror film in 2022, featuring Steven Yeun and Keke Palmer. We have no additional information about the film, and Peele’s more recent projects like The Candyman (2021) and The Twilight Zone (2019) haven’t been very successful, but Get Out (2017) was such a miracle of a film debut that every subsequent film of his remains a must-see. -Darcy.

Australian release TBC; U.S. release July 22nd.

Spider-Man: Across the Spider-Verse (Part One)

The first sequel to the Oscar winning animation Spider-Man: Into the Spider-Verse (2018), Across the Spider-Verse (Part One) has climbed up the ranks of my most anticipated films list for multiple reasons. The first being that one of the films screenwriters, Chris Miller, shared news recently that due to the film having multiple dimensions, each dimension will have its own unique artstyle in a bid to provide even more ingenuity to an ingenious first entry. The second reason is that more stars will be joining in the Spidey fun with Hailee Steinfeld and Oscar Isaac both involved as well as a new trio of directors with Joaquim Dos Santos, Kemp Powers and Justin Thompson taking the reigns. What’s certain is that Across the Spider-Verse will no doubt push the animation medium to new heights and will be a must-see for fans of the original and of Spider-Man. -Arnel.

Australian release TBC; U.S. release October 7th.

The Bob’s Burgers Movie

With a fervent, unabashed fanbase to satiate, the expectations placed on Loren Bouchard’s animated feature are greater than just about any other releasing in 2022, not least because it shares the same art-style, voice-cast and writing team as the situation-comedy on which it’s based. Those not familiar with the shenanigans of Bob and co. haven’t been forgotten, with Bouchard promising that the picture has been made with newcomers in mind, too. Either way, consider this author hyped! -Tom.

Australian release TBC; U.S. release May 27th.

The Son

After the success of Florian Zeller’s The Father (2020), all eyes are on the playwright’s follow-up, an adaptation of his equally revered play The Son. Expect an equally compelling family drama here, with a knockout cast including Hugh Jackman, Vanessa Kirby, Laura Dern, and the returning legend Anthony Hopkins. -Darcy.

Australian release TBD; expected to arrive late 2022.

Avatar 2

It feels like it’s been an eternity since Avatar (2009) was released — the record-breaking blockbuster and highest-grossing movie of all time (in case you live under a rock). To be exact, it’s been almost 13 years since the blue folk of Pandora graced our screens and reignited people’s interest in the 3D format, with multiple films going on to to be shown in 3D in the years thereafter (the Transformers films, the Avengers films etc.). We’re now in 2022 and we’re finally getting the first of James Cameron’s many sequels to Avatar, with Avatar 2 hitting screens at the end of this year (if all goes to plan). For some reason, my curiosity for this film is at a high, if not for the fact that we haven’t had a James Cameron film for 13 years, then definitely for the fact that Cameron is a master at making tentpole blockbusters and getting audiences into cinemas. With a large ensemble comprised of Zoe Saldana, Sam Worthington, Kate Winslet, Sigourney Weaver and more, expectations will no doubt be high for this long awaited sequel and I’m riding the wave of hype all the way through to December. -Arnel.

Australian release December 16th nationwide.

Best of 2021: Arnel’s Picks

With another year having drawn to a close, Rating Frames is looking back at the best new releases of the last twelve months.

It was a difficult year for the medium, owing to numerous delays and cancellations – these retrospectives would be quite different had MIFF been able to run its full schedule – but there were still some excellent films released that we all wanted to celebrate.

In the last of our end-of-year articles, Arnel Duracak will be revealing his ten favourite pictures of 2021.

In arguably one of cinema’s most challenging years ever, 2021 surprisingly stood the test of time to become one of the best years for films and film lovers in the 21st century.

There were films by Paul Thomas Anderson, Steven Spielberg, Wes Anderson, Denis Villeneuve, Todd Haynes, Edgar Wright, Jane Campion, David Lowery, Lana Wachowski, Steven Soderbergh, M. Night Shyamalan, Shaka King, Zack Snyder, Sean Baker, Mike Mills, James Gunn, Lin Manuel Miranda, Adam McKay, and Ridley Scott (two from him) all coming last year, and that’s just the tip of the iceberg.

My point is, as impacted as cinema was in 2021, there was a silver lining in terms of the films we got from the large pool of iconic filmmakers available. My list is a sum of my experiences with some of those filmmakers and their films, and here’s to a promising 2022.

10. The Last Duel

Having one new Ridley Scott film these days feels like a rarity that needs to be savoured, but two? Now that’s like seeing a UFO. But The Last Duel isn’t just rare because it’s a film from a legendary filmmaker in his later years, it’s also a film that doesn’t come around too often. In fact, this film is Ridley Scott at his directing best, all the while bringing in the grit and tension that make his films so enjoyable.

Through a chapter like structure, this film is about the closest thing we have to Scott’s iconic Gladiator (2000) as it keeps you engaged right throughout courtesy of some clever editing and writing, and it sees Jodie Comer deliver her best performance yet (even outshining her male counterparts Adam Driver, Matt Damon, and Ben Affleck to a lesser extent given his minimal on-screen time).

The Last Duel is also memorable due to its practical filmmaking (incorporating practical combat rather than taking the easy route through CGI), well worked story, and captivating performances. Unfortunately, Scott’s other film of 2021, The House of Gucci, doesn’t hit the same high as this one but both are worth watching if not for want, then for the icon that is Ridley Scott.

Currently streaming on Disney+.

9. Nobody

I can only imagine that screenwriter Derek Kolstad’s logline to get this screenplay green-lit was “John Wick but with Bob Odenkirk dialled up to 11”. Nobody is the John Wick (2014) of 2021 and this was one of the first films I saw in a packed cinema at the start of 2021. It was an exhilarating experience and one that got me excited to get back into the cinema.

With a relatively simple premise that sends Odenkirk on a revenge killing spree after his daughter’s Hello Kitty bracelet is nabbed during a failed house robbery, Ilya Naishuller’s Nobody is a joy ride from start to finish. While the film doesn’t capture the awe and suddenness that came with seeing a rampant Keanu Reeves in John Wick back in 2014, Nobody is still a rowdy 90 minutes at the cinema.

The closing sequence is one of my most memorable from last year with a shotgun wielding Christopher Llyod going berserk alongside Odenkirk — Doc and Saul Goodman really paint the town red here.

Currently streaming on Prime and Binge.

8. The Mitchells vs. The Machines

When adding films to my top of the year list, I kept asking myself “why does this film deserve a spot on my list?”; in the case of The Mitchells vs. The Machines the answer was pretty simple: there wasn’t an animation like it in 2021.

Michael Rianda does a stellar job with telling a story about family and the drama of family life, while also managing to tap into ever present fears around technology as it becomes more advanced. This animated road movie is essentially We’re The Millers (2013) meets I, Robot (2004) but it’s actually funny and it actually handles its subject matter quite well.

The animation style here has been spoken about a bit, and while it does take a bit of time to adjust to the striking style like with Spider-Man: Into the Spider-Verse (2018), the animators prove that animation doesn’t need to be a cookie cutter process.

Currently streaming on Netflix and available on DVD.

7. Minari

The second of my two 2020 films seen in 2021 courtesy of Australia’s awful theatrical schedule, Minari is a compelling piece of storytelling by Lee Isaac Chung that focuses on themes of family, loss, the American dream (or whatever that means today), and the immigrant experience.

With a cast that gives it their all (comprised of Steven Yeun, Han Ye-ri, and Youn Yuh-jung whose performance won her an Oscar), a well written script, and excellent direction, Minari has a bit of everything for everyone.

Coming from an immigrant background with refugee parents, this film really hit home in terms of the difficulties families experience when moving to a new country and the struggles of growing up relatively poor. If you haven’t seen Minari yet, what are you waiting for!

Currently available on home-video and on-demand services.

6. The Father

The Father is a heartfelt and considerate film that provides a unique outlook on the struggles of dealing with dementia from the perspective of a character dealing with the condition.

Director Florian Zeller directs his play of the same name and he’s evidently had the look of this film down pat for a while — focusing on enclosed spaces with lots of mid-shots, close-ups and extreme close-ups and using space to his advantage.

With Anthony Hopkins winning his second Best Actor Oscar and making history as the oldest actor to win a Best Actor Oscar at the ripe age of 83, this film is all about the performance. It’s an interesting idea to look at the condition from the perspective of the patient, and Zeller does so by brilliantly playing with time through smart editing and staging (take note Nolan).

While this film is technically listed as a 2020 release (as is another on this list), Australia unfortunately has an awful theatrical window so I’ve had to adjust accordingly and this film deserves a place on my list. 

Currently streaming on Prime Video and Foxtel Now.

5. Dune

Having read Frank Herbert’s novel of the same name shortly before its release, Denis Villeneuve’s Dune is blockbuster filmmaking at its very best that honours Herbert’s writing through visual splendour that only the cinema can offer.

The film has everything you want from a blockbuster: scale, mesmerising world-building, a lived in feel, a large ensemble, wondrous set pieces, a resounding score, and (for the most part) grounded storytelling.

Villenueve has once again proven his worth by tackling a piece of fiction and an iconic title often deemed unfilmable due to its scope and depth, and he’s left his imprint on it in the process. He incorporates his fondness for slow cinema with plenty of moments of recollection and contemplation to be had, and he sets the stage for a sequel that will no doubt have a lot more riding on it given the success of this picture (especially considering his 2017 feature, Blade Runner 2049 was a box office flop).

The film is not flawless given that characters aren’t all that interesting and the performances are quite mute (there’s not one that stands out from the other), but it’s a fitting first adaptation of half of Herbert’s novel and lays the foundation for a (hopefully) more spectacular part two.

Currently screening in theatres nationwide and will soon be on Blu-Ray.

4. C’mon C’mon

A film that was unbeknown to me for the majority of last year, C’mon C’mon is one of those cozy and warm films that you would just want to hug if it was a tangible object.

Mike Mills writes and directs this tender story of connection and self-discovery, with two resounding performances from the incomparable Joaquin Phoenix and newcomer Woody Norman. Phoenix plays Johnny, the uncle of Norman’s character Jesse, and the two of them spend the film together after Jesse’s mother leaves town for a week or so to tend to her mentally ill husband. What ensues is a sweet and earnest film that revolves around a shared journey of self growth as the two characters confide in one another and open each others eyes to the world around them.

The film is shot in black and white which works to its advantage as, even among the very colourlessness of the world, the two characters stand out like a sore thumb; in other words, by being in each others company and experiencing the world through unfiltered conversations (particularly from Jesse), these two become the most colourful parts of the world. Mills meticulously builds his story through the characters’ shared experience to the point where their bond and relationship leads Johnny to view the world in a different light and have a much needed awakening or wake up call.

Children and their world view is at the forefront of the film as Johnny interviews various child subjects due to his radio profession, but Jesse is his gateway to something more real, and Mills makes sure that reality is felt beyond the diegetic world. 

Releasing in select Australian cinemas on the 17th of February 2022.

3. In The Heights

In what felt like the year of the musical with West Side Story, Tick Tick Boom, Dear Evan Hansen, and Annette, it was In The Heights that reigned supreme in 2021. I’m usually not a big fan of the musical genre — with The Umbrellas of Cherbourg (1964) being an exception — but In The Heights rekindled my faith in the genre and in its future in cinema.

Jon M. Chu directs the hell out of this adaptation of Lin Manuel Miranda’s first successful broadway musical,  which is filled with brilliant choreography and item numbers, a dedicated cast, an infectious energy that sucks you in the longer the film plays out, and a considerate, thought provoking perspective on gentrification and the Latino community at its core.

I must say, I’m yet to see West Side Story, but In The Heights was really the film to get me excited for everything else that would grace our screens in 2021, and it came at the right time during the despondent events that continue to plague the world. 

Currently available for rent on Prime and for purchase on DVD.

2. Pig

Michael Sarnoski’s Pig moved me in ways that no other film in 2021 had. With a simple yet gripping story and an emotionally charged Nicolas Cage cashing in his best performance in years, this film hit all the right emotional chords for me — leading me to rewatch it a few days after my initial viewing.

Pig doesn’t go down the conventional route of a revenge thriller even though it might appear that that’s the direction Sarnoski is heading; instead, the film is about reflection, mourning and a wider commentary on how we forgo what we love in favour of a life of conformity in a capitalist system where we ultimately lose sight of who and what we are.

There are so many layers in Pig for a runtime of around 90 minutes, and had Licorice Pizza not been released, this would have been at the tippity top of my list. 

Currently available on home-video and on-demand services.

1. Licorice Pizza

That brings me to Paul Thomas Anderson’s latest, or the quintessential film of 2021. It takes everything we know and love about PTA — his undying connection to the San Fernando Valley, the 70s period, characters that are larger than life, the themes that underpin his work, the formal devices from his cinematic toolkit — and meshes it all into one. The result is a heartwarming tale of self-discovery and companionship, and one that traverses the fine line of adolescence and adulthood while managing to bridge the two worlds together.

Acting newcomers Cooper Hoffman (Phillip Seymour Hoffman’s son) and Alana Haim (from the pop rock band Haim), deliver captivating and confident performances of youth angst and free spiritedness. Their chemistry is magical and infectious and it’s hard not to see bits of yourself in their performances (such is the magic of PTA’s screenplays).

Licorice Pizza was always going to be a shoehorn for one of my favourite films of 2021 due to the man at its helm, but it deserves all the praise it has received and it deserves to be seen on the biggest screen you can find.

Currently screening in select theatres nationwide.

Honourable Mentions: Encanto, Annette, Judas and the Black Messiah, The Matrix Resurrections

Best of 2021: Darcy’s Picks

With another year having drawn to a close, Rating Frames is looking back at the best new releases of the last twelve months.

It was a difficult year for the medium, owing to numerous delays and cancellations – these retrospectives would be quite different had MIFF been able to run its full schedule – but there were still some excellent films released that we all wanted to celebrate.

In the second of our end-of-year articles, Darcy Read will be revealing his ten favourite pictures of 2021.

The majority of the year was dominated by great television (It’s a Sin, The Underground Railroad) as cinemas were closed and films were delaying their releases as filmmakers faced massive challenges in production due to the pandemic. But absence makes the heart grow fonder as the last three months of the year had me going back to the theatre as often as possible.

In a year spent mostly watching films at home, it’s perhaps surprising to see the majority of my list be films seen in theatres, although that definitely influenced my enjoyment of each film seen on the big screen.

10. The Father

The earliest entrant on my list, with many lists placing it on the 2020 calendar instead, but a very small amount of the audience for Florian Zeller’s The Father actually saw the film that early, so here it is on my list. I am usually not fond of filmed plays, but Zeller’s work is undeniable and the care and consideration taken to adapt his own play into the medium of cinema is remarkable. 

Currently streaming on Prime Video and Foxtel Now.

9. Red Rocket

Sean Baker’s new feature Red Rocket is a unique prospect in modern American moviemaking. It is a difficult and enthralling challenge to the audience that even in its final moments, you aren’t sure what side of the fence you land. Mikey is a true antihero; a loathsome, motor-mouthed, hustling suitcase pimp returning home to Texas City after 20 years working as an adult film star in LA. The film will have you questioning your feelings and emotions throughout, with Baker expertly weaponising his humanist approach towards an individual that may or may not deserve retribution. You will never hear NSYNC’s ‘Bye Bye Bye’ the same way again.

Currently screening in theatres nationwide.

8. Wheel of Fortune and Fantasy

The year of Ryûsuke Hamaguchi will no doubt culminate in an Oscar for his critically beloved Drive My Car (2021), a film that no doubt would’ve been on my list if it was released in time (the film is not slated to release in Australia until February), but I hope the success of that film does not cloud the achievement of Hamaguchi’s other release of the year, Wheel of Fortune and Fantasy.

This extraordinary short film triptych floats elegantly through ideas of love, chance, and opportunity in three 40-minute short films that have stuck with me longer than most other films this year. You will bring yourself to each story and each viewer will no doubt have a different personal favourite with mine being the second story “Door Wide Open”, a compelling story that may have been my favourite film of the year if it was stretched into a feature.

Will hopefully be available online soon.

7. Pig

What originally sounded like a Nic Cage led John Wick (2014) film set in Portland, eventuated into a deeply human tale of art, creativity, and love set in the intoxicating world of Oregon fine dining. Michael Sarnoski’s feature debut Pig has the feel of a grizzled vet reflecting on a long career, making it all the more impressive and rewarding to watch. A name to keep an eye on for years to come.

Currently available on home-video and on-demand services.

6. The Velvet Underground

The film I have thought about more than any other this year. Director Todd Haynes’ The Velvet Underground has crafted an immersive world of 60s New York counterculture on the immortal band that had little to no live performances captured on film, whilst never feeling this absence. Haynes is one of the best working American directors and has crafted one of his most complete works celebrating his favourite band and arts movement. If only it could be seen on the big screen and have the opening credits and ‘Venus in Furs’ wash over a packed theatre.

Currently streaming on Apple TV+

5. Dune

There is an overwhelming visual splendour that can’t be overstated with a film like Dune. In an era of blockbuster cinema dominated by Marvel Studios, the visual flair that Villeneuve developed with the extraordinary Blade Runner 2049 (2017), and has deployed with precision here, is both refreshing and awe-inspiring. Dune is only half of Herbert’s story so rating it as a whole is difficult, but the film works so well on its own to more than earn its place on this list.

Currently screening in theatres nationwide.

4. The Power of the Dog

A striking film from a returning legend, The Power of the Dog is a slow build that creeps under your skin and never leaves. The most anxiety-inducing scene of the year can be found in the film between Benedict Cumberbatch, Kirsten Dunst, a piano, and a mocking banjo. Campion weaponises her emotive writing and filmmaking trademarks with a combination of sharp-toothed writing and superb performances that gives the film an off-beat flow that keeps its cards close to the vest and its audiences on the edge of their seat.

Currently streaming on Netflix.

3. The Green Knight

The 2021 released film I’ve rewatched the most, The Green Knight is a well of ideas that is a treat to return to. Each viewing uncovers new elements as well as cementing key moments in this peculiar and deeply rewarding fantasy story that revels in its ambiguity. The director David Lowery’s assuredness throughout the film to be comfortable leaving the audience confused for stretches of Gawain’s quest, knowing the emotionality of the film work as a guide rope through the darkness, is wonderful and all too rare in modern American cinema.

Currently streaming on Amazon Prime.

2. The Worst Person in the World

It’s the quiet moments mixed into the loud ones that make it special. A walk home alone from a party. A conversation with your distant father after he misses your 30th birthday. Taking a friend’s photo as you explore his old apartment building. Joachim Trier’s masterpiece The Worst Person in the World will knock you off your feet early on and send you tumbling down its emotional rapids for its runtime.

His previous film of his “Oslo Trilogy”, Oslo, August 31st (2011) (2006’s Reprise being the first entrant), has a consistent bleakness that slightly calloused the viewing experience, preventing an audience from falling in love with his wonderfully crafted characters. This is not the case with The Worst Person, which mixes humour and pure rushes of love with the ennui that will have you enraptured.

Not enough can be said about Renate Reinsve’s performance as Julie, a truly star-making performance that is by far the year’s best. Where Reinsve shines brightest is when Julie allows herself to be herself, a high we find ourselves chasing with her throughout the film’s 12 chapters. One such moment is the party meeting sequence between Julie and Elvind (Herbert Nordrum); 20 perfectly balanced minutes of the magically intimate waltz of words and emotions that make their inevitable coupling so exhilarating and is among the film’s several transcendent scenes.

For a film with a title like The Worst Person in the World that deploys a post-modern narrator commenting on Julie’s decisions other than merely describing them, Trier has crafted a coming-of-age story that is unbelievably kind and welcoming, which helps the audience feel looked after and willing to give themselves over to the film.

Currently screening at select cinemas.

1. Licorice Pizza

My most anticipated film of the year was always going to feature highly on this list, and Paul Thomas Anderson did not disappoint in this often surprising, frequently hilarious coming-of-age film. Licorice Pizza sees possibly my favourite director loosen his collar and explore ideas of adolescent stagnation whilst never indulging in the nostalgia of his own past. There is no doubt this film will eventually become my most-watched film of the year with an enchanting world that will no doubt grow and evolve as the years go by.

Licorice Pizza is my favourite film of 2021, coming from a filmmaker that feels at his most comfortable while also being able to thrill in equal measure. Anderson is a writer and filmmaker like no other working today. He has created a 70s coming-of-age film with two of the most realised characters of recent American cinema history in Gary and Alana that will live on long in my memory.

Allow this film to wash over you with its gorgeous visuals and recreation of the 70s in The Valley, and find yourself totally engrossed in a story of teenage and early 20s stagnation while searching for your place in the world.

In a year stuck at home with little else to do but take stock of one’s life, it feels only right that the two films that sang to me this year are two that were not these immaculately crafted pieces of artistic achievement but instead worked as mirrors, seeing myself in the eyes of each and every person shown on screen, both their emotional peaks and valleys.

Currently screening at select theatres nationwide.

Honourable Mentions: Zola, Malignant, In the Heights, Azor

Best of 2021: Tom’s Picks

With another year having drawn to a close, Rating Frames is looking back at the best new releases of the last twelve months.

It was a difficult year for the medium, owing to numerous delays and cancellations – these retrospectives would be quite different had MIFF been able to run its full schedule – but there were still some excellent films released that we all wanted to celebrate.

In the first of our end-of-year articles, Tom Parry will be revealing his ten favourite pictures of 2021.

Unlike his fellow critics at Rating Frames, yours truly has spent the last twelve months away from Melbourne, avoiding protracted lockdowns yet also missing frequent visits to his favourite haunts – no theatre in regional Victoria can match the majesty of a communal screening at Nova, nor can any town provide the satisfaction of a post-cinema burger at one of Naarm’s many fried-food eateries.

This author’s temporary relocation has also meant being unable to see many of the titles listed by his two Melburnian counterparts (which shan’t be spoilt… for now) and as such, the following list is of a lesser quality than theirs. But the pictures below are just as worthy of acclaim, and at the very least, offer a more… egalitarian alternative to Arnel and Darcy’s choices.

10. My Name is Gulpilil

The passing of its main subject in November has given even further resonance to this pick, which was always intended to be his final on-screen appearance; yet even without that knowledge, My Name is Gulpilil remains one of 2021’s best, being a poignant, stirring narrative told by David Gulpilil himself – one that is open, honest and never shies away from his demons. It’s nothing short of a fitting, touching finale to a fixture and icon of the Australian screen.

Currently available on home-video and on-demand services.

9. Lupin III: The First

Here’s one that hasn’t been covered on Rating Frames, nor anywhere else by this author until now. Given a limited, brief theatrical release here last January – 13 months after debuting in its native Japan – Lupin III is (ironically) the umpteenth feature-length adaptation of the famed manga series; but it is The First to be drawn and animated via computer-generated imagery, looking fantastic whilst remaining true to the original designs of the manga. Witty, energetic and slightly absurd, it’s an adventure well worth seeking.

Currently available on Blu-Ray and select on-demand services.

8. The Mitchells vs. The Machines

Sony Pictures Animation is possibly the only studio countering the unassailable dominance of Disney and Pixar right now – where the Mouse House and its subsidiary are producing movies more formulaic than the last, Sony is taking the opposite approach and releasing films that are unique to all others, including their own. There’s much to love about The Mitchells vs. The Machines, chiefly an inimitable art-style and zippy animation, both of which need a large screen to be truly appreciated. (We want that theatrical release, Sony!)

Currently streaming on Netflix and available on DVD.

7. The Suicide Squad

It should come as no surprise to know that James Gunn’s The Suicide Squad is irrefutably better than David Ayer’s similarly-titled, hapless adaptation; indeed, the more surprising feat is how entertaining Gunn’s film is in its own right, not only besting DC’s recent output in terms of action, humour and heart, but also a majority of instalments in the MCU. Eccentric in nature and distinctive from the competition, it’s a gratifying alternative to the superhero norm.

Currently available on home-video and on-demand services.

6. Nitram

Director Justin Kurzel is no stranger to telling controversial stories, making him the ideal candidate to helm a feature about one of the most chilling events in Australia’s history. Just like his past work, Nitram sees Kurzel handle the sensitive material with restraint and grace, yet he doesn’t shy away from confrontation, demonstrating the brave, bold style of film-making that has been lacking in our industry of late. Be sure to watch for the turns of Judy David and Caleb Landry Jones as well.

Currently streaming on Stan.

5. Judas and the Black Messiah

A biographical drama that benefitted from a delayed and extended Awards season, as well as a powerful debut from an African-American director. There’s an enormous degree of nuance to Shaka King’s Judas, which never defines its characters as good or bad; instead, they’re a group of complex, fluid individuals who constantly evaluate their allegiances and question their choices. And of course, it’s lead by three of the finest actors of their generation, all of whom put forward captivating performances.

Currently available on home-video and on-demand services.

4. Evangelion: 3.0+1.0 Thrice Upon a Time

The highest-grossing theatrical release of 2021 in Japan, and with good reason. Hideaki Anno bids farewell to his medium-defining franchise by instilling Thrice Upon a Time with all the usual hallmarks – think philosophical screenplay, exquisite animation, haunting imagery, and majestic soundtrack – while easing back on the bleakness and rectifying the drawbacks of its predecessors. The result is a feature-length anime that ranks not only as the best animated picture of the year, but one of the greatest ever made.

Currently streaming on Prime Video.

3. Minari

A darling of Sundance and another latecomer to the 2020 Oscar race, it wasn’t until February of 2021 that the majority of Australians got to experience Lee Isaac Chung’s drama. Those fortunate enough to see Minari were treated to some astonishing performances from a gifted cast; and a pensive narrative, one that will particularly resonate with migrants regardless of where they’ve hailed from, or where they live now.

Currently available on home-video and on-demand services.

2. Summer of Soul

This music documentary and directorial debut of Ahmir “Questlove” Thompson very narrowly misses out on the top spot in this list, its only faults being some questionable choices for interview subjects, and the varying quality of concert footage. Otherwise, Summer of Soul is close to perfect, an insightful and compelling documentary about African-American pride that doubles as a showcase for the greatest musicians of an era gone by, such as Mavis Staples and Mahlia Jackson (pictured above).

Currently streaming on Disney+.

1. Spider-Man: No Way Home

As an unabashed fan of the Marvel Cinematic Universe – and to a lesser extent, the Spider-Man films – this was always guaranteed to be a personal highlight of 2021; yet even with the enormous hype surrounding it, Jon Watts’ threequel was still able to exceed expectations. No Way Home serves as a tribute to its forebears, drawing inspiration from their examples whilst also functioning as the perfect denouement to three separate franchises, all while not forgetting to be a fun, moving and thrill-laden blockbuster.

Currently screening in theatres; available on home-video March 23rd.

Honourable Mentions: Last Night in Soho, Dune, West Side Story, Amphibia: True Colours

Ranking the Films of Paul Thomas Anderson

It’s no secret that Paul Thomas Anderson is one of the most celebrated film directors of the past 25 years. After having spent the better part of 2020 researching and writing about Anderson for my Honours thesis, I’ve come to appreciate the intricacies, nuances and overlooked aspects of his oeuvre (like his fascination with damaged male characters and their function in his films). With the director returning to roots in his latest 1970s, San Fernando Valley set Licorice Pizza (2021), it seemed fitting for me to rank Anderson’s work before the film hits Australian cinemas this month (I will update this list after watching the film). This list is very much a subjective one, but it it is a sum of my time spent with his films and the various journal articles, interviews, and reviews that I have read when writing my thesis. Therefore, I hope that any controversial rankings are taken with a grain of salt as, for what it’s worth, Anderson is one of my favourite film directors so I very much adore all of his films in their own way.

8. Hard Eight (1996)

John C. Reilly & Phillip Baker Hall in Hard Eight

While the first film of a director’s oeuvre often sits on the lower end of a ranking list due the belief that directors just become better as they make more films, Hard Eight (1996) is deservedly in the number eight spot.

Originally titled Sydney, Anderson experienced plenty of headaches with then production company Rysher Entertainment, as he battled for creative control and control over the final cut. The film was ultimately re-titled to Hard Eight due to the name better suiting the sort of promotion that Rysher were looking for, but Anderson managed to send his final cut to Sundance which was a longer version than the one Rysher had cut, and the one that Sundance would showcase.

Most directors today would be more than happy to claim Hard Eight as their magnum opus should they have made it, but Anderson isn’t most directors. The simple fact is that Anderson’s later films are both more stylistically pronounced as they begin to reveal who Anderson truly is as an auteur (his stylistic signature, technical competence, and interior meaning by Andrew Sarris’ measure), they dig deeper into his thematic concerns, and they present much more complex characters that are some of the most difficult to grapple with in recent times.

Hard Eight represents a taste of what Anderson would serve up in larger doses in his films thereafter. The best example of this is the themes that penetrate the directors work like the absence of the mother figure, dysfunctional families and even isolation as explored through largely distant and impregnable characters — all of his films following Hard Eight went deeper with those concerns.

Hard Eight also marks the start of what would be frequent collaborations with Phillip Baker Hall (who Anderson was a fan of and cast in the short film that would inspire Hard Eight, Cigarettes & Coffee), John C. Reilly, and the late Phillip Seymour Hoffman.

The film also introduces audiences to the cinematic tools that Anderson continues to use today. For instance, there is a particular tracking shot and long take in a casino that tracks Phillip Baker Hall’s character as he moves through the casino and eventually lands at a gambling table. This is the first instance where Anderson applies the use of formal tools pertinent to indie cinema, in his filmography. This moment is significant as it marks the ever-present relationship between indie and more classical cinema (like narrative storytelling) conventions in Anderson’s work.

7. Inherent Vice (2014)

Joaquin Phoenix in Inherent Vice

Inherent Vice (2014) is one of those films that I needed multiple viewings to wrap my head around which isn’t new when it comes to an Anderson film — they’re made to keep you coming back.

Anderson adapted Thomas Pynchon’s novel of the same name, a figure who has evaded the public eye for so long you’d think he’d write a how-to book on the subject. What Anderson conjured up was a neo-noir unlike any from recent time. The film marks one of the directors most dialogue heavy films and easily his most hilarious script which is peppered with so much twists and turns that you’d be forgiven for not seeing the full picture the first time around.

In response to the lengthy dialogue scenes in Inherent Vice, Anderson said, “Look, cuts are great, and they’re exclusive to movies, but when you have a lot of dialogue with ping-ponging back and forth, staying out of the way is always preferable” (Hemphill, J. 2014).

Staying out of the way is what Anderson ultimately does as he lets the stellar ensemble comprised of Joaquin Phoenix, Katherine Waterston, Owen Wilson, Josh Brolin, Martin Short, Reese Witherspoon, Benicio Del Toro and countless others, run the show.

The film is also Anderson’s second to be set in the 70s as it places a thriving Joaquin Phoenix in the mind of a hippy detective in what can only be described as perfect casting. With his mutton chops, sandals, long hair, notepad and blunt, the character of Doc Sportello (Joaquin Phoenix) is what Christopher Llyod’s Doc from Back to the Future would look like had he gone the route of peace, weed and inquisitiveness.

Placing this film in seventh position is a disservice to just how giving this film is upon multiple viewings. There’s always something new to decipher and there are plenty of moments that beg for your close attention and maybe even the pause button (like the recreation of the last supper but with hippies). My rating for this film gradually climbed to five stars and this placement is purely based on how I rated the films higher up in this list the same way after the first viewing. So, if that isn’t a sign of my feelings for just how near flawless Anderson’s filmography is, I don’t know what is.

6. Phantom Thread (2017)

Daniel Day-Lewis & Vicky Krieps in Phantom Thread

I’ll never forget the first time I saw this in a cinema comprised of a significantly older demographic; one gentleman in his 80s turned and said to me, “you’re here to watch a real movie” and boy was his right.

Phantom Thread (2017) is an interesting film for multiple reasons. For starters, it’s the last film Daniel Day-Lewis would perform in but it is also the first film Anderson would set outside of the US social milieu that has informed and even shaped the the stories and characters he has brought to life.

Anderson takes the thematic concerns that have become a staple of his work (absence of mother figures) and tailors them to a British setting, ultimately providing a nuanced account of a dressmaker, his muse, and the tense and strange push-pull condition of their relationship (with one of my favourite closing sequences in recent times).

The story came about through a moment where Anderson found himself sick and helpless, with his wife Maya Rudolph, tending to him; that was the seed of the story but it had to grow.

The film also marks a shift from what is often a personal endeavour for Anderson as he writes his scripts on his own, to something more involving with Daniel Day-Lewis. With Phantom Thread, “his [Anderson’s] star practically co-wrote their second film together, refining the script and even choosing the protagonist’s hilarious, yet dignified name, Reynolds Woodcock.” (Solem-Pfeifer, 2018). Anderson had worked in a similar way (co-authorship) with “Phil [Seymour Hoffman] on The Master”, however on Phantom Thread, “I had less than I had ever had before when coming to Daniel, which I found to be a really good way of working, actually. We had the seed of the story and the character, but it had to grow.” (quoted in Bell, 2018, Pg. 22)

The result is one of Anderson’s most mature features as he explores this complex and impenetrable relationship of which its conditions are too formidable to access (with the latter having first stemmed from The Master); he takes on the role of cinematographer for the first time in his career (with frequent collaborator Robert Elswit not being involved); and writes one of his most hilarious scripts to date (behind Inherent Vice).

To top all of this off, Vicky Krieps’ performance as Alma matches Day-Lewis’ portrayal as the set-in-his-ways Reynolds Woodcock. Krieps matches Day-Lewis through her own ability to capture Alma’s headstrong nature, and the result is two performers working at the top of their game.

5. The Master (2012)

Phillip Seymour Hoffman & Joaquin Phoenix in The Master

If the central relationship between Reynolds and Alma is one that is difficult to penetrate, The Master (2012) does a stellar job at rendering the viewer completely expendable when it comes to Freddie Quell (Joaquin Phoenix) and Lancaster Dodd’s (Phillip Seymour Hoffman) relationship.

With The Master, Anderson delves deeper into ideas pertaining to human unknowability and surrogacy by using Quell and Dodd to play around with form — ultimately creating a greater disconnectedness between the audience and the narrative.

As George Toles writes, The Master (along with Anderson’s two films before it) represents a “departure from traditional, readable narrative structure” which “seems to be a necessary corollary for Anderson’s deepening fascination with human unknowability” (Toles, 2016, Pg. 4). In this way, The Master is a film that is difficult to grapple with due to just how far it deviates from a traditional narrative structure to the point where Freddie Quell can’t be relied upon to help guide your understanding of the narrative or to build an emotional connection with — he’s as far from a protagonist as you can get.

The Master is therefore more akin to Magnolia (1999) in terms of wandering focus as Anderson anchors us to Freddie who himself isn’t anchored to anything — he’s detached from the world around him.

Anderson uses Freddie to reinforce the subversive form of the film whereby the character himself begins to represent formlessness at a structural level while Lancaster Dodd begins to represent form. When the two characters clash and reconcile at various moments throughout the film, Anderson is taking formlessness and form and throwing them at each other, ultimately experimenting in his own way with the two (like with the informal processing sequence). In a way, Lancaster believes that he can tame the formlessness of Freddie and this is where Anderson’s other, more recognisable theme of surrogacy intersects with the theme of human unknowability — Lancaster assumes a surrogate role.

By the closing sequence of the film, Lancaster relinquishes his attempts to tame and nurture Freddie and chooses instead to release him — to release formlessness back into the world.

What is fascinating is how multiple different story and technical elements are in a constant tension in The Master — both in isolated instances, and altogether. Whether that be formlessness and form (structure), human unknowability and surrogacy (themes), Freddie and Lancaster (character) or each of the elements (structure, theme and character) between each other — Anderson creates an experience that is unlike any he has before or since.

Ultimately, The Master either landed for audiences or it didn’t due to its impregnable nature, the ambiguity it revels in, and its unrelatable anti-hero Freddie Quell. When considered in relation to the four films above it on this list, it could just as easily be in one of those positions, however it retains a solid position as number five.

4. Magnolia (1999)

Tom Cruise & Jason Robards in Magnolia

Magnolia (1999) is easily Anderson’s most ambitious film. The film is comprised of multiple storylines that connect the characters to each other even if they can’t see that they are connected to the other characters in their suffering.

Both Magnolia and Boogie Nights (1997) are the closest Altmanesque films we have from Anderson as they are very much ensemble pictures that offer the actors a degree of freedom that isn’t felt in the same way in Anderson’s other films. Unlike with Altman’s films like Nashville (1975) and Mash (1970), Anderson still retains a level of control that, while offering his ensembles more freedom (very much an Altman staple), allows him be more stringent when it comes to dialogue being delivered as written or characters serving clear narrative and thematic functions.

In this way, Magnolia is very much about a collective that experience a shared misery, but what separates it from Anderson’s other films is that this film prioritises character ahead of narrative. Essentially, audiences view one single diegetic day in the lives of these characters and the film is banking on the audience buying into “the passionate, melodramatic circumstances of characters living out another day in their lives,” (Sperb, 2013, Pg. 137).

This film explores the plights of these characters and, in a very Andersonian fashion, redeems and punishes certain characters by the closing sequence — which plays on the biblical ideas underpinning the film. The closing sequence is one of Anderson’s most poignant and philosophical as the raining frogs almost serve to allow Anderson to reach in beyond the diegetic world and inject it with this element of fantasy that alerts all the characters to a presence that makes all of their problems disappear, if but for a moment — leading some to certain realizations while punishing others for their wrongdoings.

Magnolia is an experience unlike any other with an incredible cast (Tom Cruise, Julianne Moore, John C. Reilly, Phillip Baker Hall, Phillip Seymour Hoffman, and countless others), multiple storylines that are handled so well, and even an item number where the characters are unified through a spontaneous rendition of Aimee Mann’s ‘Wise Up’.

There’s nothing quite like Magnolia, and as with any other Anderson film, depending on the emotions you carry with you into one of his films, Magnolia could just as easily be number one on someone’s Anderson ranking list.

3. Boogie Nights (1997)

Part of the ensemble from Boogie Nights

The film that introduced me to Paul Thomas Anderson, Boogie Nights (1997) is an alluring, inviting, and intoxicating feature that draws you in the longer it plays. It would be superfluous to mention every aspect that made Boogie Nights as incredible as it is, after all this is a ranking list rather than a review, but here are some.

Set in the late 70s and early 80s Reseda, Boogie Nights paints a perplexing picture of the porn industry and almost dignifies it in a way as the ensemble of characters here find solace in their interconnectedness within the industry.

That approach sits in stark contrast to Magnolia’s characters who are connected without ever having met each other (for the most part, while some do cross paths), whereas in Boogie Nights the Jack Horner (Burt Reynolds) household becomes more than just a ticket to an unconventional success story.

Keeping in mind that Anderson was 26 at the time, Boogie Nights is one of those films that a director like Quentin Tarantino wishes he had made but never did. Anderson makes you care for each of these characters while still exploring the business side of the porn industry (the need to adapt as video becomes more attractive and affordable than film) and weaving in concerns pertaining to surrogate families, family issues, and exotic danger.

Boogie Nights has plenty of incredible sequences (the ‘Jessie’s Girl’ sequence with Alfred Molina, Jack Horner’s new years party etc.), a mix of experienced and (then) young talents that all give it their all, and all the while managing to weave in its multiple storylines and provide a holistic viewing experience that continues to outdo itself.

Anderson clearly drew upon the work of Martin Scorsese and Robert Altman while forging his own place in cinema discourse, ultimately putting himself on the radar as one of the most exciting directors to emerge in recent times.

The result is one of the most celebrated films of the 90s and one of those films that lends itself to multiple viewings. Boogie Nights could just as easily be Anderson’s number one film.

2. Punch-Drunk Love (2002)

Emily Watson & Adam Sandler in Punch-Drunk Love

My placement of Punch-Drunk Love (2002) in second position might be viewed as the most controversial ranking on this list.

To put it in Anderson’s own words, Punch-Drunk Love is “an art-house Adam Sandler movie” (quoted in Brooks, 2003) but it is also a film that goes against conventional rom-coms and their structure. Barry Egan (Adam Sandler) pushes everyone away (and with due cause) and even his eventual love interest Lena (Emily Watson) refuses to allow the audience any access into the connection she builds with Barry.

Barry expresses himself in such odd ways yet it’s the only way he knows how. For instance, he tells Lena that he desires to smash her face with a sledgehammer during an intimate scene and he even uses physical violence against those who unintentionally hurt Lena while trying to get to him, both for the sake of protection but also to express himself to her through these acts of violence.

What’s peculiar is that Lena reciprocates these emotions to Barry by, for instance, also playfully expressing that she wants to “scoop out” his “eyes” and “eat them”. Yes, these are all playful albeit odd expressions, but usually in rom-coms, if a character is ridden with defects, the ‘other’ in the relationship is the explanatory character who is there to explain their attraction to a character like Barry, but this is not the case with Lena. George Toles (author of the 2016 scholarly book on Paul Thomas Anderson) reaffirms this by writing that for a “normative” character like Lena, the “attraction or gradual succumbing to the problem figure’s initially well-masked allure” is usually met with an “ample explanatory framework” (2016, Pg. 45).

Punch-Drunk Love is just unlike any romantic comedy out there due to the way its characters interact and due to the use of unconventional (long take, jump cuts, tracking shots, dreamlike blue filters that overlay scenes) formal tools. But more than that, Punch-Drunk Love is filled with striking moments of cathexis and their eventual release (Barry destroying his sisters glass window/door after enduring ridicule, the confessions of love between Lena and Barry, the flipping car). All of these qualities allow Anderson to really assert himself and to forge his own identity that go on to contribute to his auteur status (a term so misused these days, it’s baffling).

With Adam Sandler playing the role of Barry in such a Sandler-like fashion (the boyish charm matched with the sudden outbursts that render him socially inept), he ends up cashing in his best performance. To top this off, Sandler’s knack for playing largely comical and flimsy characters is essentially perfect casting here (or a ‘perfect fit’ by Richard Dyer’s measure) as it sits in line with the unexpectedness Anderson is striving for.

From the methodical patience it creates to the unexpectedness of intense moments that follow — Punch-Drunk Love is unquestionably Anderson’s own. As Anderson told The Sunday Times in 2003, Punch-Drunk Love is “referenceless. When you start out, you latch onto other styles, to help you get across what you’re trying to say. But this one is mine somehow— and I’m proud of that.” (Sperb, 2013, Pg. 152). But more than that, it is a rom-com unlike any other and one that sees Adam Sandler at the top of his game after some hits, misses, but overall enjoyable films prior to this one.

If There Will be Blood (2007) didn’t exist, Punch-Drunk Love would be a shoehorn for Anderson’s most Andersonian film and his best.

1. There Will be Blood (2007)

Daniel Day-Lewis in There Will be Blood

Anderson’s magnum opus, the quintessential 21st century film, a classic before the fact — There Will be Blood (2007) is an achievement that feels as momentous and unreal today as it did 14 years ago.

I’ve mentioned that anything I write about these films is superfluous as there are countless reviews and analyses of Anderson’s films (including my own), but There Will be Blood was an event that really cemented Anderson in the pantheon of cinemas greatest directors.

With an Oscar winning performance by Daniel Day-Lewis as the ruthless prospector-turned-oilman Daniel Plainview (one of the greatest performances of all time), a rousing score by the legendary Johnny Greenwood, exquisite cinematography by Robert Elswit, and a perfect screenplay and direction by Anderson, There Will be Blood is what happens when all of the ingredients mesh into something complete.

Anderson created the ultimate period piece with so many iconic moments (the opening sequence in the oil-well, the legendary explosion of the oil-rig, the bowling alley skull bashing) and such an incredible script (adapted from Upton Sinclair’s ‘Oil!’). The film eschews a traditional, readable narrative structure so as to allow Anderson to entertain his now heightened interest in human unknowability. I mean, what better way to explore that thematic concern than by literally putting forward a greedy, power-hungry character who shuns everyone (even after he begins to trust them like Henry) and goes against the very will of god and plays god in his own life and the oil industry — as exacerbated by the films religious undertones.

What is most profound about Daniel Plainview is how Anderson is able to make him one of the most loathsome anti-heroes of all time, yet one that you can’t help but sympathise with. It’s a testament to just how incredible a performer Day-Lewis is that he is able to practically keep other characters and the audience out of his life, but you still feel like there is justness to his cause.

The supporting cast is also quite good (especially Paul Dano), but Day-Lewis outshines everyone and really captures the idiosyncrasies of Anderson’s characters. In turn, Day-Lewis transmutes everything you know about what an Anderson character looks, feels, and acts like, into something greater. Due to the performance and all of aspects of production, There Will be Blood ends up hitting a different level of ecstasy that is both frightening, and rewarding.

Everyone is at the top of their game in There Will be Blood and each scene plays out like a carefully crafted artwork. Had No Country for Old Men (2007) not been released in the same year (with both films having a relatively similar tone and setting), the 2008 Oscars would have been swept by Anderson’s once in a lifetime masterpiece. Even to this day, I vehemently believe that There Will be Blood deserved so much more than what it got even with the Coen Brothers having decided to make their own masterpiece in the same year. There are films and then there are films, and Anderson’s There Will be Blood is a lot of film to be had.

David Gulpilil: Ten Defining Performances

Content Warning: First Nations readers are advised that the following article contains the name and likeness of a person who has died. Both are respectfully used with the permission of the deceased’s family.

Last week, Australia and the world mourned the loss of an eminent, indelible fixture in the medium of cinema. The artist, David Gulpilil Ridjimiralil Dalaithngu, was born and raised in the Mandhalpuyngu clan, plucked from obscurity to appear in a motion-picture, and later became an informal ambassador for his Indigenous culture through his traditional dance, painting and public speaking.

But of course, David Gulpilil (as he’s most often credited in projects) is best recognised as an actor, having appeared in some of the most iconic Australian movies and delivered one fantastic performance after another. In honour of his memory, Rating Frames has put together a list of the ten roles that best shaped and defined his career, all of which are essential viewing for anybody who considers themselves a fan of Australian cinema.

Walkabout (1971)

In his debut role, filmed when he was just a teenager, Gulpilil plays an Aborigine on “Walkabout”, an adolescent ritual where a boy must traverse the bush alone in order to achieve manhood; on his journey, the teenager happens across a white girl the same age as he (played by Jenny Agutter) and her younger brother (Luc Roeg, the director’s son) both of whom come to rely on him for survival.

Walkabout is often cited, wrongly, as the first picture to star a First Nations actor; and the first to have a Black performer in the role of an Aborigine, rather than in blackface – it’s beaten to each milestone by Jedda (1955) and The Overlanders (1946) respectively. But, it is the first known instance of Indigenous Australian culture being accurately and respectfully represented in a feature-length film, which Gulpilil does almost effortlessly.

Storm Boy (1976)

Gulpilil’s next feature-length role came five years later, a picture based on Colin Thiele’s junior novel of the same name. This crowd-pleasing affair centres on Mike (Greg Rowe), a boy who lives with his reclusive father Tom (Peter Cummins) on the Coorong – the wetlands that separate the Murray River from the Southern Ocean – and his friendship with a pelican he names Mr Percival.

The character that Gulpilil portrays here is Fingerbone Bill, a local Aborigine who befriends young Mike and becomes his mentor. His performance is more energetic and upbeat when compared to that in Walkabout, and yet, the actor demonstrates the same relaxed and natural presence in front of the camera. (Incidentally, Storm Boy would be adapted again in 2019, with Gulpilil quite fittingly playing the father to Fingerbone Bill.)

Mad Dog Morgan (1976)

The same year that Gulpilil appeared in the family-friendly Storm Boy, he also starred – alongside Dennis Hopper (pictured above, right) – in a violent, confronting biopic set during Australia’s colonial era. In said biopic, Gulpilil plays an accomplice and confidant to the titular bushranger, guiding him through unfamiliar terrain and abetting his crimes.

Mad Dog Morgan is an example of the “Meat Pie Western”, a term affectionately given to an Australian production that utilises the tropes of a Hollywood Western. Its success, both at home and internationally, helped spur the New Wave of antipodean cinema and gave rise to numerous imitations in the decades that followed; one such example is The Proposition (2005), which featured Gulpilil in a minor role as an interpreter.

Crocodile Dundee (1986)

Here’s a movie that needs no introduction. It’s the worldwide box-office smash that made Kakadu a top holiday destination for tourists locally and abroad, renewed interest in Australia and its culture, and transformed Paul Hogan from a TV larrikin to an international star. Neville is the character Gulpilil plays here, who meets with friend Mick Dundee (Hogan) and American journalist Sue Charlton (Linda Kozlowski) on his way to a Corroboree – a ceremonial gathering of First Nations peoples.

The briefest of Gulpilil’s roles on this list, and possibly the one he’s recognised most-widely for, Neville is viewed as the embodiment of modern Indigenous culture; caught between modernity and tradition, practising the ways of his ancestors while also adhering to the white man’s norms – it’s most evident in his appearance, with Neville seen wearing traditional face-paint with jeans and a wristwatch.

The Tracker (2002)

The first film to credit Gulpilil as a lead performer, this low-budget drama tells of an Indigenous man tasked, at the behest of the white authorities, with locating a fellow Aborigine accused of murder. Ironically, the actor performed in a very similar role for Phillip Noyce’s Rabbit-Proof Fence (also 2002) albeit as a supporting player with less screen-time – and hence, is never given the opportunity to truly flex his acting chops.

The Tracker marked Gulpilil’s first collaboration with director Rolf de Heer, and netted him an AFI Award for Best Actor. It’s an accolade that’s rightfully deserved, for he does well to convey the conflicted emotions of his character – the apprehension, fear, guilt and anger, sometimes all at once – and does so with an unflinching ease, outshining all of his co-stars in the process.

Ten Canoes (2006)

Following the success of The Tracker, Gulpilil and de Heer reunited for another narrative, and a particularly ground-breaking one at that. It’s a tale of sacrifice, leadership, covetousness and warfare that takes place before European settlement, is spoken in the Yolngu Matha language and features a cast of First Nations actors in traditional dress. As a result, Ten Canoes is the most authentic representation of a nomadic, tribal lifestyle ever put to film.

Unlike his two other partnerships with de Heer, Gulpilil doesn’t make a physical appearance on this occasion, with his son Jamie (pictured above) playing the lead instead. But the elder Gulpilil still has a presence in Ten Canoes, taking on the role of narrator in both the English and Yolngu Matha versions of the picture, complete with his trademark energy and dry wit.

Australia (2008)

Baz Luhrmann’s Northern Territory-set epic was much-hyped at the time of its release, stirring the emotions of many an Australian with its allusions to the Stolen Generations and re-enactment of the World War II bombing of Darwin. Also generating hype was a star-laden cast that included the two biggest Australian thespians of the day, Hugh Jackman and Nicole Kidman, in addition to David Wenham, Bryan Brown, Ben Mendelsohn, Jack Thompson and, of course, Gulpilil.

The latter plays an Indigenous elder known to the white settlers as King George, who’s also the grandfather of Nullah (Brandon Walters), the half-caste child adopted by Lady Sarah Ashley (Kidman). ‘Tis a more restrained and mostly silent performance from the venerable actor, one that doesn’t make full use of his abilities; but his presence in this big-budget, Hollywood-backed blockbuster did, at least, immortalise him as a legend of the Australian screen.

Charlie’s Country (2014)

The years that followed Luhrmann’s Australia were some of the most turbulent for Gulpilil, who spent time in jail for physical assault and as such, failed to find work. His experience in prison, and in poverty, would eventually inform his third collaboration with de Heer, in which he plays a semi-fictionalised version of himself named Charlie. It’s a deeply personal narrative, yet one that resonates widely, for his story is reflected in First Nations communities across Australia.

Charlie’s Country had its premiere at the Cannes Film Festival, with the lead winning an award for his performance as part of the Un Certain Regard program; this feat would later be replicated at that year’s AACTA Awards, with Gulpilil winning Best Actor for a second time. More importantly though, the film revived Gulpilil’s dormant career, ensuring that audiences hadn’t seen the last of his talents.

Goldstone (2016)

A contemporary take on the Meat Pie Western, Goldstone is a sequel to Ivan Sen’s excellent Mystery Road (2013) and sees journalist-turned-actor Aaron Pedersen return to the role of Detective Jay Swan. This story has Swan working undercover, attempting to locate a missing person in a remote mining community; and, just like its precursor, examines issues of prejudice and corruption in regional townships.

Harking back to his roles in Mad Dog Morgan and Storm Boy, here Gulpilil plays a sage elder who guides Jay through the landscape and tells legends of his ancestors. The part is rather unassuming, but nevertheless, Gulpilil lends it a gravitas that only a performer of his calibre can, being a charming and welcome presence as per usual.

My Name is Gulpilil (2021)

“This is my story, of my story,” says a gravel-voiced Gulpilil as he fixes his eyes on the viewer, wearily but warmly. Produced and narrated by its very subject, this tender, intimate documentary recounts the significant events in Gulpilil’s life, observes his routine as a cancer patient and ponders what his legacy will be once he departs this world.

Even before his untimely death, this was always intended to be Gulpilil’s final on-screen role, but is no less impressive, leaving the viewer transfixed throughout. Gulpilil is at his most vulnerable, physically and emotionally, yet still manages to deliver an insightful, compelling tale about himself, a testament to his abilities as a storyteller. For those reasons, this raw portrait has earned a place as one of the greatest performances of David Gulpilil’s fifty-year career.

The Bow is Strung in Marvel’s Hawkeye, Now’s the Time to Shoot

We’re a couple of years down the track in Marvel’s latest Avengers spin-off series, Hawkeye — set in the bustling and Christmassy New York City in the years post-snap. It’s a fitting setting given the opening sequence of episode one takes audiences back to the alien infested, war-torn New York City of 2012’s Avengers in order to establish the character of Kate Bishop (Hailee Steinfeld).

That opening sequence quickly introduces audiences to Kate in her adolescent years as she experiences the fateful events of the Avengers battle with evil, from the ravaged apartment she and her family reside in. In the distance on the roof of another building, the shows eponymous hero, Hawkeye (Jeremy Renner) tusks it out with the aliens before eventually saving and inspiring Kate through a swift shot from his bow — changing the course of her life forever.   

We eventually fast forward to present day (which is a few years ahead of 2021) where Kate is now 22, living in her own apartment, and her mother Eleanor Bishop (Vera Farmiga) has become acquainted with Jack Duquesne (Tony Dalton) following the death of her husband all those years ago. On the flip side we have Clint Barton who is living a more steady life with his family as he seemingly still struggles internally to come to terms with the aftermath of Thanos’ wrath. It isn’t until a gala auction event goes sideways, that the story begins to pick up. A Russian street gang known as the Tracksuit Mafia infiltrate the auction where among many items, a Ronin suit from one of the Avengers is present. Kate nabs the suit and legs it, unaware that her actions will bring her face-to-face with Barton, the Tracksuit Mafia, and further trouble.

These first two episodes are much more measured and simplified than Marvels other shows from earlier this year like Loki and WandaVision. Director Rhys Thomas takes a much more playful approach to the storytelling here, never really subjecting viewers to a myriad of complex information (timekeepers and worlds-within-worlds) and instead opting to focus on the banter and push-pull dynamic between Steinfeld and Renner.

To much surprise, that approach works in the shows favour as Thomas lays all his cards on the table from the outset and builds on Steinfeld’s energy and Renner’s reluctance to help her beyond the amount he requires. It makes for some amusing back-and-forths and on-the-nose one liners.

Hailee Steinfeld in Hawkeye

The plotting feels a bit inadequate in comparison to the actors chemistry as it’s almost built on a ‘as you go’ basis rather than as something worth stimulating an audience members curiosity. Essentially, not much happens that couldn’t be predicted by casual audiences and not much is left to an audience members imagination. For those that have read the comic, perhaps that approach works, but hopefully the episodes that follow will provide a little more intrigue, albeit not to the extent that Loki did (especially with the sublime Florence Pugh scheduled to make an appearance).

It has to be said that Renner is side-lined by Steinfeld who channels her teen charisma from Bumblebee (2018) & The Edge of Seventeen (2016). She injects the show with a Tom Holland-esque charm seen in the Spider-Man films, as she brings a likeable on-screen presence that is hard not to buy into. Renner plays that more reserved, subduedness that he carried with him in the Avengers films and it makes me realise how my desires for him to take the forefront in this show wouldn’t have worked to the shows advantage judging by these two episodes.

Both episodes keep you engaged through Steinfeld’s performance and the consistent humorous tone that has become a staple of Marvel, but rarely hits home. The fact that Thomas leans into that tone from the get-go while building our engagement with this peaceful, yet disrupted New York setting through the leads, means that the occasional comical comment from a Mafia henchmen for instance, doesn’t feel out of place. Too often a Marvel production will fluctuate tonally from episode to episode which can work given that no two directors are the same if multiple directors are directing, but Thomas has set a sound, but somewhat tilted foundation to build on from these two episodes.  

Marvel has always looked to the future with its work and for ways to pass the torch onto its new recruits, and Hawkeye will be no different in that regard. With Steinfeld playing the protagonist in a show about Hawkeye, it’ll be interesting to see whether that sentiment will carry true to its entirety or whether Hawkeye himself begins to play a more active role as the events of the show unravel. Either way, there’s plenty to look forward to in Hawkeye over the coming weeks.

Hawkeye is now streaming on Disney+