1917 (2019)

A relatively simple initial premise gives way to one of the best films of the last year.

Set entirely in one day in 1917, this film tells the story of two young corporals in the British Army, entrusted with what seems a simple enough task: deliver a message to another battalion.

Lance Corporal Blake (Dean-Charles Chapman) is summoned - along with his friend Lance Corporal Schofield (George MacKay) - to the quarters of General Erinmore (Colin Firth), and instructed to deliver a letter to a Colonel MacKenzie (Benedict Cumberbatch), with instructions to cancel a planned assault.

MacKenzie plans to send 1600 of his troops in a massive assault against the German forces in France at dawn the following day. But what he doesn’t know - but Erinmore does - is that it is a trap, and he will be sending all 1600 young men to certain death.

Blake is chosen due to the fact that his brother Lieutenant Joseph Blake (Richard Madden) is in the very same unit that will be storming the battlefield. Schofield is chosen due to the fact that Blake was instructed to take another soldier with him, and he was picked.

Blake (Dean-Charles Chapman) and Schofield (George MacKay).

Unfortunately, the very first thing they need to do is cross No Man’s Land, and enter what most believe to be German-occupied territory. Erinmore is convinced that the Germans aren’t there anymore, that they have retreated back several miles, so is sure the two soldiers will be quite safe. However, they aren’t so sure, but they must obey the command from their commanding officer.

As I have already mentioned, the entire film takes place in one day. In fact, the entire film takes place in one continuous camera shot (or at least it appears this way; of course, there are plenty of very clever invisible edits) that follows the action from beginning to end.

The screenplay, written by director Sam Mendes & Krysty Wilson-Cairns, is well-written, to say the least. The two main characters, in particular, are both very clearly defined, and filled with conflicts, both internal and external. The film also has plenty of twists and turns along the way, keeping you on the edge of your seat virtually from beginning to end.

Blake (Dean-Charles Chapman), with Schofield (George MacKay) behind.

Thomas Newman’s score is impressive, using music almost exclusively in a psychological function, highlighting not only the thoughts and fears of the two young soldiers, but also the various moments of intensity of the plot from a more objective position.

It probably comes as no surprise that the cinematography is very good. Roger Deakins has done a magnificent job of capturing the action, and the use of the apparent single-shot works very well in this film (even better than this technique worked in Birdman). Deakins has a fantastic grasp of the use of light and dark, shadow and contrast, and uses them to full effect here. There are several points of the film that take place in near-darkness, and the use of light in various forms is very well done.

I must say something about Dennis Gassner’s production design here. The sets and locations are absolutely beautiful - beautiful in their design, that is; of course, they are incredibly bleak and stark in their appearance for the most part. From miles and miles of trenches to muddy fields to sprawling countryside, every single filming location has been expertly crafted and executed to transport the audience to another place and time.

Colonel MacKenzie (Benedict Cumberbatch).

The performances of the cast are - in a word - flawless. The two lead characters are definitely the standouts here, not least because they are alone on screen for the majority of the film. The supporting cast are all good too, but it is most definitely these two young performers who outshine all the rest.

Director Sam Mendes has made an absolutely amazing film here, one that is certain to pick up several nominations at this year’s Academy Awards. I wouldn’t be surprised if it even scored a nomination for Best Picture, nor would I be surprised if it won.

If you get the chance to see this on the big screen, take it; the visuals are stunning, and the film is a completely immersive experience that just begs to be seen on the big screen. However, if you miss out, don’t worry; I am sure the film will satisfy small-screen audiences, too.

10 out of 10.

Rocketman (2019)

The true-life story of one of the twentieth century's greatest musical geniuses, Elton John, told as a brilliant musical, this film provides incredible insight into the man behind the music.

The film opens with Elton John (Taron Egerton) checking himself into a rehab facility in the 1990s, seeking help for his many addictions: alcohol, cocaine, marijuana, sex, bulimia and anger management issues, to name just a few.

Within the context of a group therapy session, he tells the whole story of his life to the group - and consequently to us the audience - beginning right at the beginning.

As a young boy, Reginald Dwight (Matthew Illesley) shows an incredible aptitude for playing the piano, despite never having studied music or taken lessons on the instrument. His mother (Bryce Dallas Howard) organises piano lessons for him, and he grows in leaps and bounds in his ability.

At the age of eleven, Reggie (now played by Kit Connor) is encouraged to apply for a scholarship to the Royal Academy of Music. He is accepted into the academy, and by the time he is grown up, he is playing at local venues - mainly in bars - and wowing audiences.

Young Reginald Dwight (Matthew Illesley) conducting an imaginary orchestra.

It isn't long before he attracts the attention of a record company, and executive Dick James (Stephen Graham) gives him a record contract, including a tour that begins in the United States, and ends up going worldwide.

By this time, he goes by the name Elton John - mainly to distance himself from his largely absent father, who never showed him any love at all - and collaborates on all his songs. You see, while he is an amazing pianist and singer, he cannot write lyrics. He is paired with writer Bernie Taupin (Jamie Bell), a partnership that fans of Elton John will be aware still exists to this day, despite the fact they have never written a song in the same room together.

There is a lot more to the story than what I am telling here, including a mostly secret affair with his manager, John Reid (Richard Madden) and a marriage of convenience to his recording engineer Renate (Celinde Schoenmaker), and of course many many performances and concerts, interspersed with sinking further and further into depression, isolation and addiction.

The screenplay, by Lee Hall, is absolutely wonderful, telling the story of Elton John's rise to fame and his monumental fall from grace, all told through the lens of his many musical hits. Almost all of his greatest hits are used throughout the film, the lyrics taking on all new meanings as they are aligned to particular points in his life (of course, this part of the story is purely fiction, as Bernie Taupin wrote all his lyrics completely separate from Elton John, so the songs are if anything personal to Taupin rather than John).

Elton John (Taron Egerton) in the recording studio, recording his first album.

The film functions as a musical, with characters breaking into song at numerous points. And it isn't just Egerton (as Elton John) who sings the songs either; almost every character has a chance to sing a line at some point. There are several anachronistic moments throughout, as characters sing songs that were technically not written at the time they are supposed to be singing them, but if you can suspend your disbelief for a couple of hours and just enjoy the spectacle, it isn't really anything you need to be worried about. The film (or musical) even has the requisite 'I Want' song (at only 17 minutes in) and, as fans might expect, the song is 'I Want Love' (see, the words 'I Want' are right there!).

Matthew Margeson's score is interspersed with the songs in a way that makes the whole film feel like one continuous piece of music. His composition is so clever in this respect, so much as to almost become unnoticeable.

I'm sure it will come as no surprise to you that one of the greatest parts of this film - aside from the wonderful music - is Julian Day's costume design. All of Egerton's outfits are beautifully reminiscent of Elton John's unique style and dress sense, in a way that just makes his portrayal all the more real and authentic.

Adam Murray's choreography also makes everything seem even more real, with the concert performances all looking just like the real events, and the occasional large-scale production numbers providing the icing on the cake and lifting the story out of reality at just the right moments.

John Reid (Richard Madden) and Elton John (Taron Egerton).

The performances of the cast are absolutely sublime, in particular Taron Egerton's portrayal of Elton John. Egerton is virtually unrecognisable as himself, especially if you've seen any of his previous work; he truly is Elton here. And if you're wondering, yes, he does really play the piano in the film (quite well, I might add) and it really is his voice singing all the songs, and replicating Elton John's voice and mannerisms exquisitely.

This film is guaranteed to make you laugh, make you cry, and leave you in awe of Elton John's talent as a composer and performer. Pay close attention to the scene where he auditions for the Royal Academy of Music to see what I mean; he plays Mozart's Turkish March on the piano, having only ever heard it the once, and never seen the score.

Director Dexter Fletcher has made an absolutely beautiful film, with plenty of emotional highs and lows. This is one of the few films I have seen on the big screen that I would happily pay the admission price to see again. If you are a fan of Elton John - or even someone who has liked just one of his songs - I strongly suggest you see this film; it is truly magnificent, and sure to win all sorts of awards and accolades.

10 out of 10.