The Hateful Eight Review - 'a bloody ode to cinematic classics gone by'

With each of his films, Quentin Tarantino gives us so much to obsess over - perhaps more than we deserve. His catalogue has long been defined by its signature blend of comedy, ultra-violence and passionately unapologetic characters, and this latest offering may just be his meanest and cleverest yet. Shot in glorious 70mm Ultra Panavision using unique anamorphic camera lenses, Tarantino has crafted not only a superb film, but also an exhilarating film-going experience that pays homage to the grand film exhibition style popularised in the 1950s and 1960s.

The Hateful Eight opens in breathtakingly stylish fashion. Chunky cartoonish text rolls out over images of vast, desolate landscapes, which Tarantino's lens devours to the tune of Ennio Morricone's brilliantly ominous score. A special mention must be made here also to Robert Richardson, whose cinematography expertly frames the frozen mountains of Southwest Colorado. Tarantino's reputation for extreme violence delivered as deadpan humour means that it's easy to forget that behind all the noise is a film-maker who possesses an innate ability to orchestrate beautiful cinematic sequences.

We spend the first 'chapter' of The Hateful Eight trapped inside a stagecoach with four of Tarantino's hateful title characters. John Ruth a.k.a. 'The Hangman' (Kurt Russell) is travelling to the city of Red Rock with his battered and unrepentant prisoner Daisy Domergue (Jennifer Jason Leigh). His mission: to deliver the accused murderess to be hung for her crimes in exchange for the $10,000 reward on her head. Although calls for her delivery specify no other requirement than 'dead or alive', Ruth chooses to escort her over miles of unsafe terrain to ensure personally that she is hung. After all, somebody has to keep the hangman in business.

Along the way, Ruth allows Marcus Warren (Samuel L. Jackson) and Chris Mannix (Walton Goggins) to board the stagecoach after finding them wandering separately through the wintry elements. Both claim to have lost their horses to the crippling blizzard that surrounds them - a claim that is met with suspicion from Ruth and blasé indifference from a bloodied and fidgeting Domergue. Warren a.k.a. 'The Bounty Hunter' expresses clear disdain towards Mannix, of whom he distrusts when he reveals that his purpose for travelling to Red Rock is to be anointed Sheriff of the town. Ruth shares in Warren's distrust, and the tension between the four is cranked up coolly as hands shuffle nervously towards holsters.

Eventually, the stagecoach reaches Minnie's Habadashery: a wooden tavern nestled amongst the snowy tops of the mountains. Inside, Bob a.k.a 'The Mexican' (Demián Bichir) explains that Minnie has entrusted him with the tavern before embarking on a trip to her mother's house - unusual considering the plaque hanging over the bar that reads 'NO DOGS, NO MEXICANS'. Three other customers, each with equally dubious back-stories emerge one by one to explain how they came to be in Minnie's Habadashery in the middle of a blizzard. Unsatisfied, Ruth confiscates their weapons, and the stage is set for the chaotic following scenes of deception, backstabbing, and of course, violence.

With a running time of 187 minutes, The Hateful Eight is certainly no easy watch - especially considering that the majority of the film's events take place in the confined settings of Minnie's Habadashery. This format means that the film plays out almost like a theatre production. Characters' allegiances and motivations are unclear throughout the film, and their prolonged confinement allows Tarantino to gradually amp up the tension with a combination of heated disagreements, seriously loaded dialogue, and a classic whodunnit that is as unexplainable as it is exciting. The 70mm Ultra Panavision wide picture allows the drama to unfold in every corner of the screen. Each shot invites the audience to search for clues in the background, scanning the faces of suspects and tracking their lurking movements.

Jennifer Jason Leigh's portrayal of Daisy Domergue is absolutely fantastic - she flits between sulky, sinister and ferocious with fluidity and flair, and delivers perhaps the greatest performance of the film (although Walton Goggins' Mannix is a close contender). For her role, Leigh has earned herself a nomination for Best Supporting Actress at the 88th Academy Awards.  Although she faces stiff competition from Kate Winslet (Steve Jobs) and Alicia Vikander (The Danish Girl), her utterly convincing turn in Tarantino's Hateful Eight marks her as a serious contender. Nonetheless, her role has attracted criticism. For much of the film, Tarantino limits her dialogue and treats her as a sort-of punching bag for the increasingly agitated John Ruth. Cries of misogyny have tainted the recent premier of the film, and calls for a boycott have infiltrated newspaper headlines. I would argue that this call is largely unwarranted and sensationalist.

In Tarantino's films, men, women, children and animals are equally susceptible to acts of violence, either as recipients, or as witnesses. It is the indiscriminate nature of this violence that allows Tarantino to run wild in his film-making, carefully constructing chaotic stories that are as madly entertaining as they are gruesome. The argument that Tarantino inflicts disproportionately harsh treatment on Domergue is moot when considering the fate of Bob 'The Mexican' - whose head is literally obliterated by simultaneous bullets to either side of the nose. I would also argue that Samuel L. Jackson's 'Bounty Hunter' losing his testicles more than meets the depravity of Domergue's injuries sustained throughout the film.

One criticism that I am more inclined to agree with, however, is Tarantino's 'flippant' use of the n-word. While omitting this word from The Hateful Eight completely would be nonsensical, there are multiple scenes where the use of the word appears to be for purely humorous effect - eclipsing its function as an indicator of era-specific dialect. Nonetheless, Tarantino's Hateful Eight towers above its failings thanks to its magnificent storytelling, its stunning imagery, and its hilarious and whip-smart dialogue.

If you live in the UK, and are hoping to see this film in theatres, I urge you to visit the ODEON in Leicester Square. This is the only venue in the UK that is showing Tarantino's 'Roadshow' version of The Hateful Eight - complete with overture, intermission and even a program. The extended cut makes for a truly unique cinematic experience that more than justifies the hype.

- 4/5 STARS -

(Sam)

Mistress America Review - 'a quietly uproarious comedy'

Very few directors are capable of crafting films that are as hilarious, devastating and personal as Noah Baumbach's latest. Mistress America marks his third collaboration with long-term girlfriend Greta Gerwig as star, and the second time that the two have co-written together. Where Frances Ha highlighted the duo as a potentially formidable force in independent film, this latest offering cements the couple as the unshakable king and queen of screwball comedy.

Gerwig plays Brooke, a 30-year-old woman living in New York City who 'freelances as an interior designer' amongst many, many other things. Aerobics instructor, maths tutor and now budding restauranteur, her capabilities seem endless. Surprising it is then that she is not our protagonist. Instead, the sulky but fiercely intelligent Tracy (Lola Kirke) is our heroine. Tracy, who moved to New York City to study literature does as is typical of many 18-year-old students. Early on, we find her asleep during a lecture with only a handful of other students. Brave? Certainly; although it hardly inspires confidence in her academic prowess. We learn soon onwards that this laziness is mirrored in her refusal to socialise with her peers, whom she deems to be uninteresting and juvenile. Sounds like she could benefit from a positive influence, no?

The characters' paths cross when Tracy's divorced mother accepts a marriage proposal from Brooke's widowed and unstable father, prompting the soon-to-be sisters to hastily arrange a meeting. 'Do you know where Times Square is?' Brooke asks. Seconds later, she descends clumsily down Broadway's famous red stairs towards a beaming Tracy. Instantly, we are mesmerised. What follows can be described only as a whirlwind. Tracy is ferried through New York as if she seeing the city for the very first time, visiting bars, raucous parties and famous landscapes for only minutes at a time. The exuberance of Gerwig's character forces Tracy, and us, to feel the city. Brooke is New York City, alive in every sense of the word and brimming with possibilities.

Companionship is not the only thing that Tracy gains through her friendship with Brooke. What she gains, more so in fact, is an arguably exploitative form of inspiration. In an attempt to enter a prestigious literature group at her university, Tracy retreats to her notepad after each encounter to document her thoughts. Her writing focuses not on Brooke's electricity, but instead on the flaws that she unknowingly reveals. Her dream of opening a restaurant in which people also 'cut hair' is sweet, but telling in its naivety. Her seemingly boundless talents appear to fade with each scene, her character representing the lucidity of the American Dream.

The title of Tracy's piece: 'Mistress America', follows this process. Ironically the title itself is stolen from Brooke, who self-professedly claims to have had a number of 'great' ideas stolen by friends. Her friends (enemies) whom we meet first in bars, and later in their own homes retort that she possesses 'no follow through', her ideas failing to materialise in every stage of her life. Here, Baumbach brilliantly realises the fears of so many 30-year-old men and women who worry that there life should be worth more. Brooke spreads herself thinly over as many projects as possible so as to distract herself, and others, from her deep-rooted insecurity.

The second-half of the film sees Brooke pursue her 'arch-nemesis' Mamie-Claire (Heather Lind) whom she accuses of stealing her idea for a T-Shirt range. The entire scene is hilarious. Unlikely oddball characters are introduced at lightning pace - love interests, ex-boyfriends, jealous girlfriends, angst-ridden neighbours and Karen, who just wants to go home. During the encounter, Tracy's dissection of Brooke's character is brought to light when her writing is uncovered. The conspiracy ignites a fierce confrontation that grows in front of a very willing audience who each weigh in with a startling disregard for privacy. Brooke quips 'You are much more of an asshole than you initially appear'. Jealous girlfriend wholeheartedly agrees.  

As the nature of Brooke and Tracy's relationship is revealed, we are left to wonder who we should be feeling for. Tracy's words are far from unfounded, and Brooke's outraged reaction suggests that she knows them to be true.  Tracy defends that she thought Brooke was too 'totally amazing' to hurt, to which we are reminded by Brooke that she too is human, and not Mistress America. Tracy's 'asshole' behaviour here is reminiscent of the many accusations made against Brooke by her friends, suggesting that the too women share more similarities than was initially expected. Perhaps the brilliant Brooke isn't so brilliant, and perhaps Tracy is not as sweet as she first seems.

Baumbach, Gerwig, Kirke and the entire cast are equally tremendous throughout this underrated flick. The fluid structure in which 'not much happens' may be frustrating for some viewers, but others should truly relish the opportunity to meet characters that resonate with every part of us.

- 4/5 STARS -

(Sam)

Our 15 Favourite Feel-good Films:

15) High Fidelity (2000)

First on our list is the undeniably brilliant, High Fidelity. We all have a friend like Rob; the unlucky-in-love underachiever who can’t seem to catch a break when it comes to the opposite sex. Throughout the film, he recounts the 5 worst break-ups of his life. Fresh from his break-up with Laura, his latest girlfriend, we find he happily revels at her inability to make the cut. Later, we find him miserably listing the 5 reasons that he misses her most. John Cusack plays a character here that we all know, and that we have all been at some point in our lives, meaning the heart-warming conclusion is even sweeter.

“Charlie, you fucking bitch. Let’s work it out.” – Rob

14. Fantastic Mr. Fox (2009)

There are so many things to make you happy in Wes Anderson films. The colours, the soundtrack, the symmetry (see here); they all make for a perfect blend of whimsical and uplifting. Fantastic Mr. Fox features of all of these plus some awesome one-liners and a tons of charm from it's main characters. A fast paced adventure with a feel-good message about being yourself and never giving up.

"We're all different. Especially him. But there's something kind of fantastic about that, isn't there?" - Mrs. Fox

13) National Lampoon’s Animal House (1978)

I’ll start off by stating the obvious: Animal House is an absolute classic. Nearly every scene in this film is so iconic in its own right that’s it absolutely impossible to condense it into a few sentences. It is THE college movie, with all of the vulgar, outrageous and downright disgusting behaviour you can imagine. But what makes it stand out from other films is how unforced and unrelentingly funny it is. It perfectly balances insanity and accuracy, and all with a legendary soundtrack to boot. There’s pot-smoking teachers (Donald Sutherland), brawls, and the toga party to end all parties. Basically it may not be one to watch with your parents if you’re off to university any time soon. But to those of you who are, you better cross your fingers for a mate like John Belushi’s Bluto, perhaps one of the funniest film characters of all time.

“Fat, drunk, and stupid is no way to go through life, son.” – Dean Vernon Wormer 

12. Song of the Sea (2014)

Song of the sea is beautiful in pretty much every way. It's an Irish animated fantasy film about two young siblings trying to find their way home, obstructed at every turn by an array of magical creatures. Despite sounding like a kids fairytale, this film really does have an appeal to all generations with an engaging story as well as the gorgeous hand-drawn animation. I feel like it had a whole lot of heart poured into it by everyone involved in the making, and it really paid off. Oh, and the heavy Irish accents are a constant source of pleasure.

"You're her big brother. You must always look after her" - Conor

11) Scott Pilgrim vs. the World (2010) 

Yes, it may be another film where Michael Cera plays a chronically awkward teen trying to win the affection of a girl. No, it is nothing like those other films. In Scott Pilgrim vs. the World, we learn almost immediately that Scott (Cera) must battle and defeat an army of 7 evil ex-boyfriends (or girlfiends) to win the heart of the mysterious Ramona Flowers. Everything from this point onwards is so fast-paced and utterly bizarre that the entire films rushes past you in a blur of unrelentingly entertaining chaos. The film incorporates the 8-bit design of the graphic novels from which it is based with tantalising visual flair, leaving the end result feeling like an acid trip through the arcade of your dreams.

“When I’m around you, I kind of feel like I’m on drugs. Not that I do drugs. Unless you do drugs, in which case I do them all the time. All of them.” – Scott

10) Superbad (2007)

Chances are you’ve seen this one, but that’s absolutely not an excuse to not watch it again right now. When Superbad was released, it became one of the most quotable comedies of all time, and for good reason. Seth (Jonah Hill), Evan (Michael Cera) and Fogell (real name Mclovin) are the ultimate trio. The three of them are so equally nerdy; so equally inept at socialising, and so ridiculously likeable that this film never fails to bring a smile to your face. The three underdogs endure some of the most painstakingly embarrassing moments in cinema history so that we don’t have to, and for that reason, they are heroes.

“You know when you hear girls say ‘Ah man, I was so shit-faced last night, I shouldn’t have fucked that guy?’ We could be that mistake!’ - Seth

9. Ponyo (2008)

We couldn't have a feel-good list without some Studio Ghibli. Like all of Miyazaki's films, Ponyo is an example of a kids film that's packed with so much detail and beauty that it's appeal stretches way beyond it's target audience. The tale of a fish-girl who leaves her overprotective father underwater to befriend a human boy, Ponyo takes a well-known fairytale (The Little Mermaid) and turns it into something original - full of innocence, positive morals and magic.

"What do you know about humans? They spoil the sea. They treat your home like their empty, black souls." - Fujimoto

8. Amélie (2001)

Amélie has a simple story, but one that'll easily win you over; a Parisian waitress decides to dedicate herself to improving the lives of others, whilst at the same time ignoring her own. It's a French film with a playful narrative and quirky style that leaves you with the desire to get out and do something nice for someone. Some people might find it too sugary, but we think it's a perfect bit of escapism. 

"Life's funny. To a kid, time always drags. Suddenly you're fifty. All that's left of your childhood... fits in a rusty little box." - Bretodeau

7. School of Rock (2003)

School of Rock was definitely a defining film of our childhoods, and we're sure others born in the 90's would agree. Watching it now with a combined age of nearly 40, we still wish we were in that class. A failing musician lies his way into forming a band of fourth grade schoolkids in order to win the Battle of the Bands and pay off his rent; it's a ridiculous story with ridiculous characters, and it just works. The songs are catchy, the lines are memorable and Jack Black is in his prime as the hilariously over the top lead Dewey Finn/Mr. S.

"I have been touched by your kids... and I'm pretty sure that I've touched them." - Dewey Finn

6) Juno (2007)

When Juno was released in 2007, it was included by countless critics in their end-of-year lists. This is largely due to the fantastic performance from Ellen Page as Juno MacGuff, a boundlessly likeable 16-year-old girl who gets pregnant following an ‘experiment’ with a typically awkward Michael Cera (this time playing Juno’s friend, Paulie). The film deals with the subject of teenage pregnancy with stark honesty, following Juno closely through the 9 tumultuous months of her term. While the many hardships were to be expected, her quick wit and hilarious one-liners come as a welcome surprise, with Page’s presence and timing carrying the film beautifully. This film really is very smart, and very funny.

“Vanessa: Your parents are probably wondering where you are.

Juno: Nah… I mean, I’m already pregnant, so what other kinds of shenanigans could I get into?”

5) Ferris Bueller’s Day Off (1986) 

There’s very little to be said about this film that hasn’t already been said. But if you haven’t seen it, do it right now. Chances are, a number of your favourite movies have borrowed a thing of two from it. Ferris Bueller’s Day Off is a uniquely innocent and warm-hearted comedy, something that we rarely see. We follow three best friends, Ferris (Matthew Broderick), Cameron (Alan Ruck) and Sloane (Mia Sara), as they enjoy the ultimate day off around New York. We see them exploring art museums, leading parades and destroying Ferraris, all whilst dodging both their clueless parents and infuriated teachers. The result is a whirlwind film that is truly impossible not to love.

"Life moves pretty fast. If you don't stop and look around once in a while, you could miss it." - Ferris Bueller

4. Moonrise Kingdom (2012)

Another Wes Anderson film for the list. We seem to be featuring a lot of films with children as their central characters, and perhaps that's a recurring component of a feel-good film; simple, innocent characters who are untainted by the world around them. Moonrise Kingdom is a great example of this - 12 year old's Sam and Suzy run away to live in the forest together, and their families do everything they can to keep them apart. It's a beautifully paced film with an unashamedly indie style, which can't help but leave you feeling warm and fuzzy afterwards. 

"We just want to be together. What's wrong with that?" - Suzy

3. Almost Famous (2000)

Almost Famous has a hugely wide appeal - it's a coming of age tale of epic proportions, with great music, glamour, a whole host of genuine characters and a strong emotional impact. It's the story of a teen wannabe-journalist who (somewhat unwittingly) tags along with a famous 70's rock band, experiencing the highs and lows of the celebrity lifestyle. While watching you'll feel like you've been transported to another era for the near 3 hours, but will be happy to have been on a journey as exciting as the one witnessed on screen.

"Rock stars have kidnapped my son!" - Elaine Miller

2) Frances HA (2012) 

After much debate, we decided that this underrated gem only narrowly misses out on being our favourite feel-good movie of all time. Greta Gerwig, plays Frances, an ambitious but clueless 20-something living in New York with an enormous heart, and an equally enormous lack of direction. Shot completely in black-and-white, the film finds its warmth in her goofy and exuberant character. We follow her as she flits between jobs, friendships, and even countries, taking with her only a handful of possessions and an spontaneous and infectious persona. If you are looking for a conventional film with a structured plot, look elsewhere. If however, you are looking to be introduced to one of the funniest characters in recent years, look no further. Frances HA is a contagious burst of fun that fully immerses you in the life of the best friend you wish you always had.

“Sometimes it's good to do what you're supposed to do when you're supposed to do it.” - Frances

1) Little Miss Sunshine (2006) 

And here it is, the most feel-good film in the world. Little Miss Sunshine is a film that other films want to be. It is tremendously funny, honest, and at times, almost inhumanly human. To say much more would be to underplay how truly amazing this film is, and how amazing it will make you feel. So if you are yet to see this masterpiece, drop whatever you’re doing and put it on right now. You won’t regret it.

“A real loser is someone who’s so afraid of not winning he doesn’t even try.” - Grandpa

The Martian (2015) - Joint Review

Sam

A quick google of director Ridley Scott’s recent filmography will tell you that since 2007’s American Gangster, virtually all of his films have been released to overwhelmingly ‘negative-to-mixed reviews’ from critics. This is of course at the admission of the ‘certified fresh’ but polarizing Prometheus: the uninvited, unwanted and ugly cousin of Alien. A change, however, seems to be in the air (or lack of) in Scott’s latest space-tale, The Martian.

Our story begins in the vast, unknowable landscape of space, like one-too-many recent blockbusters. On Mars, Melissa Lewis (Jessica Chastain) leads a crack-team of scientists through a series of intricate space tasks, such as picking up rocks, dusting rocks, and putting rocks in jars. This turns out to be quite literally, the calm before the storm. A mere 2-3 minutes later and our team are preparing to evacuate following warning from Earth of an imminent super-storm. Amidst the commotion, Mark Whatney (Matt Damon) is struck by flying debris and disappears from sight. Unable to locate him, his team reluctantly begin their journey home without him. And there we have it. Matt Damon, alone in space; again. 

Fear not, as from here onwards, any similarities to Christopher Nolan’s Interstellar all but vanish. Mark is able to make contact with Earth, and we learn that it will take over 500 days for NASA to man a rescue mission and retrieve him. Faced with the predicament of surviving over 500 days on Mars in a capsule designed to last 31, Mark vlogs his unwitting mission to ‘cultivate’ Mars. What this involves is mainly growing an endless supply of potatoes in an even-more-endless pile of his colleagues abandoned decomposing shit. A cheery tone surprisingly takes hold as Mark whistles through the first two hundred days or so, cracking jokes, eating faeces and generally being the most likeable alien on Mars.

From here onwards, a tiresome theme develops in which countless mechanical issues get in the way of Mark’s salvation. Throughout these scenes however, Damon is extraordinarily likeable, and at times, surprisingly funny. His dialogue is dominated by rambling monologues detailing his situation, whilst biting pop culture references explode like landmines, succeeding in drawing big laughs from audiences. There’s even impromptu disco dance numbers. Yeah. His performance however should not be reduced to that of a class-clown in a space suit. Breakthroughs and setbacks indiscriminately send Mark into moments of raw vulnerability, where we see him crumbling under the weight of his situation.

Back on Earth the rest of the cast are fantastic in their performances as Mark’s frantic (and often clueless) rescue team. Kristen Wiig is a standout as Annie Montrose, the head of media relations for NASA who struggles to downplay their numerous fuck-ups. Chiwetel Ejiofor also shines as the 12-years-a-slave-escapee-come-chemical engineer who orchestrates much of the communication with the stranded Mark. Even Troy from Community shows up at one point I think? Who knows? Mark’s abandoning team members lead by Jessica Chastain and Rooney Mara do the best with the screen time they are granted, but ultimately fail to make an impact, getting lost in the events that unfold around them, serving only to “go and get our boy back”; eventually.

If recent blockbusters have done anything, it’s instil the fear of space in all of us. Gravity and Interstellar are both so relentlessly intense and amazing in their own rights. But The Martian is different; charming, uncomplicated and reasonably low on dread. If you need any proof, look no further than Mark Whatney’s first line upon contacting NASA from Mars: 

“I’m not dead… obviously”.

- 4/5 STARS -

Tash

Sam's already covered most of the formal stuff so I'll try and keep my review a little bit more brief!

Sci-Fi films aren't normally my favourite genre. I can appreciate a good one - take Gravity - but it doesn't mean I'll necessarily enjoy it. I don't like the feeling of being isolated and trapped, the unrelenting hours of waiting for the next bad thing to happen.

The Martian was different for me, and I think main credit should go to the main character Mark Watney (Matt Damon); he brought a real human element to the film that I find other Sci-Fi's lack. His optimism and humour, while often bordering on dad-joke cringey, helped ground the film and give it an emotional level that normally gets swept away by action/suspense. You'd think that being more attached to a character in space would make me even MORE uneasy than usual, but I actually found myself relaxing in his company and being able to take in all the other great aspects of the film - the scenery, the acting, the science behind it. 
NASA actually collaborated with the science part, making it the most realistic space-exploration fiction I've seen to date... it was a weird experience watching a film set in space and for the first time thinking this could actually happen soon.

The Martian did seem to end up a bit of a one-man show. They introduced a whole bunch of other characters (Mark's team and NASA back home) but I found that regardless of how good the acting was there were just too many of them to take in considering their limited screen time. There were some nice ones, a less nice one, some kind of funny ones... that's about as far as I got. I was very excited to see Donald Glover pop up half way through, but his effortless-genius character never really took off either. Matt Damon pulled Mark off beautifully, with emotion and likeability, and he was the only one I really cared about at the end. 

Ridley Scott's brought a sense of  normality to a genre of films that are all about the abnormal, and I am definitely on board. 

- 3.5/5 STARS -

The Intro

Hello!

Welcome to ScreenHound, a project started by Sam and Tash. We are a pair of uni students living in Brighton (UK) who spend way too much time glued to the TV, and are looking to turn our habit into something a bit more productive.

This is where we'll mostly ramble on about new releases, old favourites, and the shockingly bad. We also love lists, so expect a few of those; whether it be the scariest films of the 21st century, or the 10 best movies to watch whilst hungover.

Here's a little bit about us to get this started: 

Sam

5 favourite films: Pan's Labyrinth, The Babadook, Little Miss Sunshine, Howl's Moving Castle, Frances Ha

5 favourite TV shows: Breaking Bad, Six Feet Under, This is England, The Returned (Les Revenants), Community

5 Favourite actors: Kevin Spacey, Edward Norton, Heath Ledger, Bryan Cranston, Michael Keaton

5 Favourite actresses: Julianne Moore, Jessica Chastain, Brie Larson, Sally Hawkins, Cate Blanchett

Favourite genres: Indie, Horror, Drama

A genre I'll (almost) never watch: RomComs, because they're all shit

Tash

  

5 favourite films: Spirited Away, Pans Labyrinth, Moonrise Kingdom, Lost in Translation, Peter Pan

5 favourite TV shows: Utopia, Parks and Recreation, Desperate Housewives, Breaking Bad, Fullmetal Alchemist

5 Favourite actors: Hugh Jackman, Bill Murray, Tom Hardy, Chris Pratt, Joaquin Phoenix  

5 Favourite actresses: Scarlett Johansson, Aubrey Plaza, Natalie Portman, Audrey Tautou, Anna Kendrick

Favourite genres: Drama, Animations, Adventure and anything with magic

A genre I'll (almost) never watch: I pretty much refuse to watch horror. But Sam will keep that side covered

Sometimes we agree, sometimes we disagree (this introduction has taken over 2 hours)... so expect plenty of mixed reviews. We'd love to hear who you agree with more in the comments to help settle our debates.