So, a few years on from it’s orginal release, is it a little seen masterpeice? Or is was there a reason most people never saw it?

“From here to the front of the train”

Based on the French graphic novel Le Transperceneige, the film is set several years after humanity’s failed attempt to combat climate change. The world has frozen over, and the last remnants of humanity live on a train that travels around the world once a year. The train is also a class ladder, with rich people at the front, and the poor at the back. Curtis (Chris Evans) tired of the conditions he and his friends are forced to live in, plots a revolution to take over the train by getting to the front.

While the premise itself is fairly simple, things quickly become more complicated and surreal, as they progress through the train. Cultures clash, with every carriage presenting its own unique challenge or having its own function. The change between carriages makes every new scene exciting, especially as they get weirder towards the front. It leads to some real suspense every time the group enters a carriage. It’s almost more distressing when the surroundings seem normal, as you wait for something to happen.

Bong’s weird sense of humour is on full display here. It’s a very bleak film. Both in themes and how it’s shot, so the surreal humour is welcomed. If anything it serves to show the differences between the classes. The back sections are dark and claustrophobic, while the front sections are spacious and full of warm colours.

“I am a hat. You are a shoe”

Despite being the director’s first English language film, the cast is very impressive. Chris Evans manages to play a very different hero from Captain America, while Jamie Bell is charming as his right-hand man Edgar. The late John Hurt brings gravitas to a mentor long past his prime. Octavia Spencer is almost unrecognisable as a mother who joins the revolution. Tilda Swinton is excellent as always, while Ed Harris plays Wilford, the trains mysterious engineer.

Kang Ho-Song, who has worked on most of Bong’s films also features, alongside Ko Asung. Once again playing Father and Daughter after working on The Host, but once again very different characters. While the latter speaks English, having grown up on the train, her father doesn’t and must use a translator. This does lead to issues where he is unable to communicate effectively with others, and during a crucial part in the story, some important information has to be told through other means. It’s an interesting wrinkle and one that makes you rethink his character.

In fact, most of the characters undergo a re-examination during the film. While on the surface things seem fairly simple, during the course of the film, motives or methods may change your opinions of a character. While this does have a slight downside of some feeling less developed at the beginning, it makes subsequent viewings very different. To say more would be a spoiler and it’s something you’re better off experiencing for yourself.

Rating: (4 / 5)

While not the director’s best work, it’s by no means his worst. Showcasing what he can do with a bigger budget and what the cast can do with different roles. It’s a film that, like a runaway train, barely slows down once it starts. Full of literal class warfare, Bong-Joon Ho manages to elevate what could have been a generic action flick into an interesting film that plays against expectations and offers food for thought. Speaking of food, there is an excellent fan theory that it’s a sequel to Willy Wonka.

Also Read: “Parasite” Director Bong-Joon Ho Once Described The Oscars As Very Local

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5. The King’s Speech (8.0)

The winner of the 2011 Best Picture award concerns Britain’s King George VI (Colin Firth) working with speech therapist Lionel Logue (Geoffrey Rush) to overcome his stammer and allow him to deliver his messages to the people of the UK and those in high positions with his own voice.

Despite some critics calling it Oscar bait, The King’s Speech charmed audiences. Not only scoring an 8 on IMDb but also becoming the highest-grossing British independent film of 2011. Initially, it was also involved in controversy because the BBFC gave the film a 15 certificate due to strong language. Despite the swearing serving the point of helping King George through his stammer. Ultimately thanks to the distributor’s appeal, the BBFC re-rated the film as a 12a. It also won Best Director for Tom Hooper, Best Actor for Colin Firth, and Best Original Screenplay for David Seidler.

4. Spotlight (8.1)

2016’s best picture recipient deals with another story based on true events. This time looking at several reporters working for the Boston Globe. Who uncover a series of child abuse crimes within the catholic church.

Spotlight was the first Best Picture winner since The Greatest Show on Earth to only win one other award at the ceremony. The other being Best Original Screenplay for Josh Singer and Tom McCarthy. It also was viewed as a surprise win, with many believing The Revenant would take the award home. Spotlight may have been a surprise winner but its high audience rating and great reviews from many critics show that it’s still something special.

3. 12 Years a Slave (8.1)

Steve McQueen’s dark drama is about the horrors experienced and witnessed by Solomon Northup (Chiwetel Ejiofor), a free man of colour living in New York who is captured, sold into slavery and must spend 12 years trying to survive.

12 Years a Slave was not only well-received by critics and general audiences but it also marked the first time that a film made by a black director won Best Picture. And it also earned statues for John Ridley’s screenplay and Lupita Nyong’o’s supporting performance. Showing that while 12 Years a Slave was a hard watch, it was also impactful and important.

2. Green Book (8.2)

Undoubtedly the most controversial Best Picture winner of the past decade. The story follows Tony Lip (Viggo Mortensen) who makes friends with Dr. Donald Shirley (Mahershala Ali) as he ferries him around the southern United States in the 1960s, ensuring he is safely able to play music at venues.

Green Book received several negative responses upon its release for its dated use of the white saviour narrative to tell the story of African American persecution. But it became even more controversial when it won the Best Picture Oscar, even though films from prominent black filmmakers like Spike Lee (BlacKkKlansman) and Ryan Coogler (Black Panther) were also nominated. Although Green Book clearly won over many, as evidenced by its award wins (also winning Best Original Screenplay for Nick Vallelonga, Brian Hayes Currie, and Peter Farrelly and Best Supporting Performance for Mahershala Ali), and IMDb rating, its win remains an embarrassing moment for the modern film industry.

1. Parasite (8.6)

This South Korean masterpiece focuses on the relationship between two families, the rich Parks, and the poor Kims. Asking many pointed questions about class and inequality in an odd, funny, dark, and enthralling way.

Parasite, the highest-rated Best Picture winner of the decade is also one of the highest-rated Best Picture Winners of all time on IMDb and was a trailblazer in so many ways. It was the first foreign-language film to win Best Picture, on top of winning Best International Film, Best Original Screenplay for Bong Joon-ho and co-writer Han Jin-won and Best Director for Bong Joon-ho. Along with this, it became the highest-grossing foreign-language film of all time in the UK. And despite the many controversies with the Academy Awards these past 10 years, seemingly all agree that Parasite deserved to win.

This ends our brief look back at the highest-rated Best Picture winners of the past 10 years. What is your favourite Best Picture winner from the past decade? Let’s hope that the next 10 years bring more Best Picture winners that audiences will love.

Also Read: Parasite Director Bong Joon-Ho Once Described The Oscars As Very Local

The post The Top 5 Best Picture Winners at the Oscars in the Past Decade – According to IMDb appeared first on Big Picture Film Club.

1. Netflix Original Sci-Fi – Okja

A corporation sends 26 creatures, which were developed as a food source, across the world as a PR stunt. However, when they take one of the creatures (Okja) away, Mija (Seo-Hyun Ahn), sets out to get her back. What makes Okja special is its direction, which mixes many different elements (Science fiction, horror, comedy) together without feeling tonally confused, and Seo-Hyun Ahn’s performance which easily invests us in her struggle to get Okja back.

2. Hard Sci-Fi – The Martian

Mark Watney (Matt Damon) becomes stranded on Mars after his expedition team evacuates. Mark has one goal, survive. Thankfully, the world’s space agencies begin mounting a mission to rescue him. The Martian is great sci-fi. The entire cast makes their characters and the technical dialogue feel very natural. The special effects really sell the experience. And, it does a great job making the science feel accurate.

3. Sci-Fi Comedy – The Truman Show

Truman Burbank (Jim Carrey) slowly realises that his life is a TV show. He’s being filmed from every angle 24 hours a day. And lives inside the world’s biggest set. The Truman Show is a fantastic dark comedy that uses its sci-fi trappings to make great statements on humanity’s voyeuristic nature. In fact, with the continual expansion of surveillance technology, the Truman Show is more relevant now than ever.

4. Sci-Fi Action – Dredd

While on a training exercise Judge Dredd (Karl Urban) and rookie judge Anderson (Olivia Thirlby) get locked inside a futuristic skyscraper full of bloodthirsty gang members. With no retreat, the only option is to fight to the top to get out. Dredd’s futuristic setting explores many pressing issues such as the justice system and overpopulation, but it also facilitates some of the best action of the past decade.

5. Sci-Fi Horror – A Cure for Wellness

Lockhart (Dane DeHaan) goes to a remote wellness centre to retrieve his CEO. However, he soon becomes injured, meaning he can’t leave, and he begins to believe the facility is hiding something sinister. But what is happening and can Lockhart escape? A Cure for Wellness feels like a classic Universal horror film. Where the gothic atmosphere is thick and engaging. And the minor sci-fi ingredients greatly amplify the horror.

6. Sci-Fi Drama – Proxima

Sarah (Eva Green) is training to become an astronaut but she must try to balance her training with her family life, particularly preparing her daughter Stella (Zélie Boulant) for when she leaves. Proxima is an amazing look at the physical and emotional hardships astronauts go through to prepare for space travel, but it’s also an affecting family drama and an inspiring tribute to female astronauts. It’s also buoyed by Green and Boulant’s excellent performances.

7. Alien Sci-Fi – Close Encounters of the Third Kind

After Roy Neary (Richard Dreyfuss) has a mysterious encounter with an unidentified flying object he and the government begin investigating and trying to contact alien life. Close Encounters is a fantastic exploration of how obsession with the unexplainable can negatively affect people and can also be used to cross boundaries.

8. Steampunk Sci-Fi – Castle in the Sky

Sheeta (Keiko Yokozawa) holds the key to finding Laputa, the castle in the sky, and along with Pazu (Mayumi Tanaka), she must try to outrun the pirates and a government agent trying to find Laputa for greed and conquest. A touchstone of modern steampunk fiction, Castle in the Sky is a thrilling adventure with a fun story and wonderful characters who populate an inventive fantasy world that melds modern and primitive technology together beautifully.

9. Children’s Sci-Fi – Spider-Man: Into The Spider-Verse

When Peter Parker dies Miles Morales (Shameik Moore) must become his world’s Spider-man and defeat the Kingpin with the help of the spider-people of several realities. Into the Spider-Verse is perfect kids science fiction because it’s full of great action, gorgeous visuals, and creative use of sci-fi concepts like alternate realities. But it’s also grounded by a fantastic lead, a great supporting cast, and a positive message about carving your own path.

10. Surreal Sci-Fi – Sorry to Bother You

Cassius (LaKeith Stanfield) begins losing touch with his roots after being promoted at his telemarketing company until he discovers a new project the company is working on. Sorry to Bother You is a vehicle for social commentary. This movie critiques capitalism, race, media and uses sci-fi elements to create a riveting dystopian portrait of contemporary life.

Those are just 10 great sci-fi movies available on Netflix. If you have any favourites we missed, let us know.

Also Read: The Future Is Now: How Sci-Fi Imagined the Future

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Since Parasite became the first foreign-language film to win Best Picture (at the Oscars), many have asked if this marks the beginning of more prominence for international films in English-speaking territories?

Well, today we’re going to look at the performance of international films in the UK. Looking at the number of non-English language films that get released in the UK, their box office takings, the factors that affect this and how Parasite’s recent triumph could impact the industry in the future.

2018 Foreign Language Release Numbers

Recent BFI statistics show that 331 films released in 2018 were entirely in a foreign language. This marked a decrease from the 349 entirely foreign language releases in 2017. But international releases still accounted for 43% of UK releases overall. And the number of different languages represented in UK cinemas increased. From 38 languages other than English in 2017 to 44 in 2018.

The Box Office Numbers

Foreign-language releases in 2018 made £30 million at the box office. The joint highest taking (2016 taking the same amount) since 2010.

Many high grossing international films have a dedicated audience in the UK. E.g. The UK has a big Bollywood audience with the highest-grossing foreign-language film of 2018 was Padmaava. A Hindi film which, according to the BFI, grossed £2.2 million (across 137 cinemas). The UK also has a big Polish community (it is the most common non-native language in England and Wales). So films like Clergy made £1.3 million (shown at 237 cinemas), and Cold War made £1.1 million (shown in 79 cinemas).

However, many of the other best-performing films had a great amount of exposure from film festivals and awards ceremonies. Which helped gain more interest from broader English speaking audiences. For example, Shoplifters won the Palme d’Or and earned £0.7 million across 43 cinemas. Making it the second-highest-grossing foreign-language film not in Polish or Hindi. And A Fantastic Woman won Best Foreign-Language Film at the 2018 Oscars helping it to earn £0.4 million across 38 cinemas.

The Success of Parasite

Parasite received several accolades prior to its UK release. These included the Palme d’Or, the BAFTA for best screenplay and best foreign-language film and many more. But since its Oscar win Parasite has become the third highest-grossing non-English language film at the UK box office. Earning a total of £5.1 million. Only beaten out by Crouching Tiger, Hidden Dragon (£9.4 million) and Passion of the Christ (£11.1 million). And it increased its cinema presence, from 137 screens to 428. Showing that the prestige of the award helped to further advertise the film to English speaking audiences. And convinced more theatres to show it.

This historic victory also coincides with a recent growing demand for international content. According to Curzon CEO Philip Knatchbull, the rise of non-English content on TV and streaming services like Netflix has helped to change attitudes towards foreign language products. Showing that there are audiences craving foreign language content and that there is a possibility for a new generation of English speakers to emerge who become accustomed to and more appreciative of world cinema.

What does this mean?

Parasite has proven that something has changed in the zeitgeist. Foreign language films usually struggle at the UK box office. Largely due to a perceived lack of interest from larger audiences. However, Parasite‘s Oscar win proves that foreign-language films are more accessible than ever. And are capable of captivating and performing well with English speaking cinema audiences when given the chance and the marketing.

Hopefully, Parasite‘s success coupled with the emergence of modern audiences more appreciative of foreign content, and the big awards ceremonies providing publicity for non-English language films means that bigger British audiences will soon be watching the wide variety of international films available at the cinema. And that more marketing; showcasing opportunities will be available for these films to reach larger audiences. Which is important.

More box office earnings mean more languages and cultures will be represented at the cinema. And exposure to foreign cinema helps us to discover great stories, new methods of storytelling and it allows us to learn more about and empathize with other cultures, traditions and ways of life. And that’s always a good thing.

Also Read: Parasite Director Once Described The Oscars As “Very Local” – Does He Have a Point?

The post Parasite and Foreign Language Films in the UK appeared first on Big Picture Film Club.

The Undisputed Champion of Film Awards

I think most people in America and the UK see the Oscars as the film awards. Winning Best Picture at the Oscars is probably the closest we have to declaring what was the best film of that year. After all, there are many film awards that are specific to the host country; indeed, in South Korea, they have the Blue Dragon and Grand Bell awards, both specifically for South Korean films. But I don’t think that’s how the Oscars present themselves. For a start, films from all over the world can, and do, win awards; they are not limited to American or English-language films. There is an unspoken rule that every film – or at least every film that had a release in LA – is in contention. Last year’s Best Picture winner, Green Book, not only beat every American film but every Dutch, South Korean, Mexican and every other country’s film as well.

Awards Around The World

It does seem that a lot of countries have film awards that are specific to their country, and the Oscars (and the BAFTAs in the UK) are somewhat an exception in ostensibly being worldwide. But I’d argue that for many countries, it’s not their national awards but their film festival that is the big deal. France’s, and perhaps the world’s, most famous film festival is the Cannes Film Festival, with its biggest award being the Palme d’Or. Just glancing over the winners of this award since 2000, nine of the winners had some French involvement; if we eliminate co-productions, that goes down to two French films. Using the same criteria, The Golden Bear from the Berlin International Film Festival only has two films where Germany was involved in co-production. Without prior knowledge of the geography of Italy, I don’t think someone could work out any bias in the Venice Film Festival to its host country, since 2000 Iranian, South Korean and Venezuelan films have won the Golden Lion, with only one Italian film winning that award in that time.

10 Billion Reasons Why

So why do films from outside America fare so poorly at the Oscars? Well, most Oscar voters are US-based, so perhaps there is a bias there. But also, the American film industry is huge, making over $10 billion in 2017, and it would make sense that the biggest and most successful country would dominate awards. Again, like no other country, American films are watched around the world. In Britain and America, to even consider watching a film, not in English, is considered a signifier of high-brow intellectual tastes, whereas to like American films in other countries is the norm. However, it can’t simply be that America makes more films; if nothing else, India actually produces more. Parasite is only the twelfth film that isn’t in English to be nominated for Best Picture – and the first to actually win – and I think it is impossible to argue that such a list represents the best films ever made.

Another very interesting point in all of this is that for all of Parasite’s success at the Oscars, it received no acting nominations. The same was true of Roma last year, a film not in English that did well at the Oscars, and Slumdog Millionaire, which won eight, including Best Picture, but featured a cast of non-white actors who, when compared to typical Oscar nominees, weren’t at all famous. To me, it seems bizarre that a film that was considered the best of the year would not contain a single-acting performance worthy of an Oscar nomination. Is this bias towards American actors (and admittedly British actors who seem to be at no disadvantage), or is it simply that Kang-ho Song and Sun-kyun Lee do not have the name recognition as Brad Pitt and Renee Zellweger? As a case in point, I could rattle off the stars of Once Upon A Time In Hollywood or The Irishman, but had to look on IMDb to find the names of Parasite’s stars.

I think it’s clear that the Oscars are not really a competition without bias, but despite this, a foreign film can still win big. And, of course, even being nominated for an Oscar will raise the profile of a film that lacks the marketing power of something like Joker. If pushed, I feel that most people would admit the bias towards America and would see that as perfectly natural.

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