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Ah, classic Hollywood – no, not one of those gems of yesteryear, rather, I’m talking about their love of remakes. . . specifically, A Star Is Born – this being the fourth time it has been remade (following the 1937 original starring Janet Gaynor and Fredric March, you have the 1954 version with Judy Garland and James Mason, then the 1976 rock musical version featuring Barbra Streisand and Kris Kristofferson, and lastly, at least until this year, was the 2013 Bollywood effort led by Shraddha Kapoor and Aditya Roy Kapur). All sarcastic joking aside, despite this 2018 story having been reworked more times than the excuses students have tried to come up with when showing up to school without their homework, it is one of the main Academy Award hopefuls this awards season. Co-written and directed by Bradley Cooper (his first directorial effort, his co-scribes are Eric Roth – Forrest Gump, and Will Fetters), Cooper himself plays the role of Jackson Maine, a country rocker with an affinity for pill-popping, and, if you notch that up a few more levels, you’ll find his addiction to alcohol.

Let’s face it. . . so much of a film is its characters – the way they are written, their likeability (or lack thereof), and, just as vitally, who is cast in those roles. If we can’t root for the heroes, hiss at the villains, be wary of those in the grey milieu, or find ourselves somewhere in that flawed antihero, then we cannot truly be emotionally invested in the narrative – no matter how majestic the whizzes and bangs are. So, like a large portion of my generation, I fell under the spell of the richly woven personas found in the Harry Potter novels. . . and later, the films. Soon, literature meshed with the visual world, and when people referenced someone like Severus Snape or Sirius Black, it was nearly impossible not to think of the late great Alan Rickman and the stellar Gary Oldman, respectively – the entire franchise a masterclass in casting.

Could First Man finally be the film that brings Ryan Gosling that elusive Oscar? With two nods (for La La Land and Half Nelson), and countless other memorable roles that could have earned him more chances (think Lars and the Real Girl, Blue Valentine, Drive, and The Ides of March), Gosling has re-teamed, in short order I might add, with his La La Land writer/director, Damien Chazelle, for another perfect vehicle (one might call it a rocket) to showcase his acting chops – a fascinating Neil Armstrong biopic. Chazelle’s first directorial effort not to revolve around music (also, the screenplay does not come from him, rather Josh Singer), instead, he shoots for the moon. Gosling plays Armstrong, a man who has his own personal troubles. Married to Janet (Claire Foy), they have two children. . . one of which has cancer.

“Double, double toil and trouble; Fire burn and caldron bubble. . .” – witches, constant fodder for horror films, but one feature that takes a more sophisticated look at the boiled, pointed black hat wearing creatures, is first time writer/director Robert Eggers’ 2015 motion picture The VVitch: A New-England Folktale – remind me never to book a vacation to rural New England. Set in seventeenth century America, a puritanical Calvinist family has been banished from the plantation they once called home (due to religious differences). . . heading out into the wild unknown (a beautiful voyeuristic shot depicts the children leaving the bustle of the growing town), they look for some solace on their new plot of land, an open piece of property surrounded by a dark, brooding forest. More of a mood piece than a horror film. . . Eggers painstakingly recreates what life would be like in the lonesome location – the senses coming alive; you can feel the roughness of the carriage ride, see the sullen seclusion and ominously dark home life, smell the animals in the nearby barn, endure the weight of their clothing, suffer the same starvation they struggle with as their crops are destroyed by rot.

Oh, how time flies. . . twenty two years ago, Ethan Hunt (Tom Cruise) was outsmarting many a villain, one of which was Max (Vanessa Redgrave) – a woman who was a British arms dealer. . . now, in 2018's Mission: Impossible – Fallout, it is implied that the American spy is dealing with that original foe’s daughter, the White Widow (Vanessa Kirby). It is a signal of a franchise that, for the most part, has done things right. . . each movie (other than the woeful second effort), finding a quality mix of action, adventure, spycraft and intrigue (all while developing an entertaining story that combines outrageous, authentically shot stunts that somehow outdo the previous film’s seemingly unbeatable sequences), while also highlighting the longevity of a successful franchise and career (Tom Cruise now only a year younger than Jon Voight was in the original movie).

I’ve said it once, and I’ll say it again. . . Tom Cruise is the reincarnation of several silent film stars. Think Buster Keaton – the man willing to jump, fall, slide and put his life on the line for his beloved fans (the front of a house almost crushing him – miraculously finding his way through the upstairs window thanks to a perfectly placed nail on the ground). . . or Harold Lloyd, dangling from a breaking clock eight stories high. . . also Douglas Fairbanks Sr., who we see falling down a ship’s sail with only his dagger jammed into the fabric to control the drop. . . as well as the countless gags performed by the magical Charlie Chaplin. With Mission: Impossible – Fallout being released today (the sixth film in the jaw dropping franchise, I thought it would be a prudent idea to revisit the 2015 fifth feature, Mission: Impossible – Rogue Nation). Opening with a death-defying stunt which has Ethan Hunt (Tom Cruise) dangling from the exterior of a plane taking off, it is a perfect example of what I am taking about above. Completely real, you are actually seeing the actor take off (it took eight tries to get everything perfect), and, each time they reached an incredible five thousand feet. He had to wear special contact lenses, as a speck of dust in the eye would have blinded him, whilst also helping him keep his eyes open.