A Personal Insight: five of Hannah Browne's favourite films
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I first saw this film when I was about sixteen; becoming more socially aware and debatably encountering teenage hardships. Still, I never imagined being immersed in a story of skinheads, racism, and loss. The narrative focuses on the naivety of a young boy as he is swept up by a group of skinheads – that is the setting, but not really the whole story. I almost feel bad for saying that I enjoy this movie, with the subject at hand sometimes being hard to watch. In my opinion, Meadow’s portrayal of Britain in the 80s is one of the most honest ever seen on screen, with authenticity being its triumph.2. The Grand Budapest Hotel (2014) One of the most aesthetically pleasing, one of the most unexpectedly sad. Simply, this film grew on me massively after first watching it on a tiny in-chair screen on a 9-hour flight to Mexico (not quite how Wes Anderson imagined his cinematically beautiful work to be viewed, right?). After a second viewing, however, The Grand Budapest Hotel instigated my appreciation with Anderson as a filmmaker, understanding him as a fascinating and admirable auteur. The direction, the cinematography, and the editing are a visual masterwork, fuelled by a sense of adventure and escapism along with melancholy and a desolate conclusion. The film is impeccably paced, telling the story of a legendary concierge and a young employee who becomes his trusted protégé. 3. Baby Driver (2017) One of the best edited, one of the coolest.
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5. The Greatest Showman (2017) One of the most singable, one of the guiltiest. First off, this is the worst movie I’ve ever liked. Still, occasionally films come along that are so entertaining that criticisms matter less. The Greatest Showman is one of those films. As someone who isn’t a typical fan of musicals, the overhyped soundtrack didn’t quite entice me before viewing – but then, when sitting in my cinema seat I was hooked from the first bang of the drum in ‘The Greatest Show’ opening sequence. However, that was countered by the next musical sequence, ‘A Million Dreams’, showcases a softer side of the film, and in my opinion, exhibits the side of musicals I loathe. Later duets like ‘Rewrite the Stars’ accredit the film, with this scene between Zac Efron and Zendaya portraying the sense that the creative team really, truly believe in the sequence. The impressive choreography sells the charm, as well as making me wish I took aerial aerobic lessons.