CalRhys

This film was just incredible, this is arguably the finest cinema experience I've had, I felt fully invested in the story, on the edge of my seat as these two soldiers dodge bullets and artillery as they strafe across No Man's Land and through burnt-out towns. This is what IMAX was made for.

Regarding the story, it's rather simplistic, two soldiers are ushered to the frontlines to deliver a message that will prevent the slaughter of 1,600 British soldiers, it sounds rather basic, but its the character development of George MacKay and Dean-Charles Chapman, who both deliver stunning performances, that sells the story. The banter and heartfelt backstories that cover the interludes of battle add realism to these characters, they make them relatable and therefore make us care for their outcome.

On a technical level, this is where the film shines. I'm quite biased as Roger Deakins is my favourite cinematographer, Thomas Newman is my favourite composer and Sam Mendes is one of my favourite directors, so watching these 3 come together (for a fourth time) instantly garnered my attention, and I'll be damned if I can't say that this is Deakins' magnum opus, the way the camera moves fluidly to create the illusion of a one-shot take is just incredible, it places us as an audience in the trenches with the soldiers, in the thick of the hell they have to endure. Newman has crafted better scores (with my favourite being 'Road to Perdition - coincidentally also a Mendes film) but this one is undeniably brilliant, the scores during the sequences set in nighttime Écoust-Saint-Mein and the final push across No Man's Land are phenomenal. And whilst I would love to see Newman FINALLY win his Oscar, it'll likely be another heartbreaking snub.

Finally, Mendes has for a long time retained his position as one of my favourite auteurs, with 'American Beauty', 'Road to Perdition' and 'Skyfall' being some of my favourite films, but this is something truly different, this is his homage to his grandfather, and therefore feels more personal, it feels more grounded and is truly a cinematic masterpiece, and I couldn't ask for a finer film to end the decade with.

Tonight I got the chance to view the perennial sci-fi horror classic in all its glory on the big screen, celebrating 40 years since its inception, and my god does it stand the test of time.

Derek Vanlint cinematography is masterful to say the least, perfectly embodying the elements of horror through utilising claustrophobic camerawork and a bleak blue and grey colour palette, however, it's his use of lighting that truly captures the chilling overtones. Shafts of light seep in through vent grates, puncturing the smoky atmosphere in abundance, strobe lighting creates a sense of agitation as the creature hunts the crew members one by one, whilst flurries of neon blue and red shimmers ground it to its science fiction roots.

The sound, or lack of, further builds unease, with Jerry Goldsmith's humming drone of a score crafting an eerie tension that only erupts when utterly necessary, standing as one of the first films to EFFECTIVELY utilise jump scares. The use of clanging chains and scraping metal highlighting the anxiety being established alongside impressive and colossal sets. The production design is utterly stunning, from the confined corridors of the Nostromo to the vast expanse of the alien world.

This film will forever remain an exemplary addition to the sci-fi genre. Gorgeous and terrifying cinematography, a haunting score, immense set design and some brilliant performance from the main cast, that aided in creating one of the greatest female action heroines of all time, upping her game further in Cameron's follow-up action flick. 'Alien' is truly masterful.