The Nest (2021)
Director: Sean Durkin
Screenwriter: Sean Durkin
Starring: Jude Law, Carrie Coon, Charlie Shotwell, Oona Roche

The Nest takes audiences on a twisted, dark journey as a once madly in love couple and their happy children are put to the ultimate test as greed and status become an overpowering presence within their family. 

A dark and gloomy old mansion in the Surrey countryside is the perfect setting for a 1940s Hitchcock thriller, but in this dark and broody drama the thrills come from the performances and less so from the plot. Together Jude Law (The Talented Mr. Ripley; Captain Marvel) and Carrie Coon (Gone Girl; The Post) carry The Nest with their emotional and powerful portrayals of Rory and Alison O’Hara, a wealthy and seemingly happy couple who, thanks to Rory’s impulsive behaviour, decide to uproot their family’s life and move to the British countryside from their home in the United States. 

Carrie Coon steals the screen in this career-defining performance as Rory’s struggling wife Alison, a free spirit who puts up with her husband’s spontaneous decisions whilst trying to maintain her own happiness. As every corner of her life starts to crumble around her – her son Benjamin (Charlie Shotwell) is being bullied at the private school Rory insists he attends, whilst her daughter Samantha (Oona Roche) is quickly heading down a road to rebellion – she gradually loses control.

At the height of the film, on a luxurious night out with Rory’s colleagues, Alison finally cracks and Coon’s isolated performance of a woman at the end of her tether becomes nothing short of mesmerising. The screen is graced with long close ups, Coon expressing the emotional strain Alison is under as she begins to feel like she is drastically running out of options. 

Opposite Coon is Jude Law, whose performances as Rory is both honest and intriguing, leaving us to question his intentions whilst discovering that his only motivation in life is financial success. Rory will do whatever it takes to keep up appearances, even if it comes at the expense of his family’s trust. From lying to his colleagues about a fictitious second home in New York City to charming a working class taxi driver into giving him a free ride, Law keeps up the act from the opening scene right through to the sudden ending with a gumption and quality that we have scarcely seen from him in recent years.

The ambiguity of the piece allows The Nest to be stylish and captivating whilst avoiding the pitfall of coming across as pretentious. Sean Durkin (Martha Marcy May Marlene, 2011) directs in such a way that encourages us to form our own opinions whilst leaving us on the edge of our seats. The Nest teases with the conventions of a thriller whilst focusing on the dynamics between the characters in the form of a hard-hitting drama. This 2021 film is fantastic, gripping and above all else absolutely stunning to look at. Pulled together by breathtaking performances and real life dilemmas that make it both relatable and fantastical, The Nest deserves to be witnessed on the big screen.

21/24

Free Guy (2021)
Director: Shawn Levy
Screenwriter: Matt Lieberman, Zak Penn
Starring: Ryan Reynolds, Joe Keery, Jodie Comer, Taika Waititi

Ryan Reynolds (Deadpool) stars in the delayed Disney-distributed video game-based comedy Free Guy as the titular Guy, a non-player character (NPC) within the fictional video game Free City who, after living the same day over and over, develops his own personality and goes on a mission to free himself and his fellow NPCs from the confines of the game, all with a little help from a player’s avatar.

Free Guy is a modern take on an old-school adventure film with its unlikely hero finding himself in a fight for something he believes in whilst being surrounded by comedic friends and falling for a girl who is out of his reach.

Reynolds’ performance as Guy is exactly what viewers will be expecting from him: his bright and smiley face fills the screen, and his goofy, comedic exterior pulls the whole film together. Here, his comedy value falls a bit flat in the film’s momentum-losing second act, but with the support of his surrounding cast and a quippy, dialogue-heavy and intelligent script, he manages to carry the film through moment after moment that will have you belly laughing through to the credits.

Alongside Reynolds’ central narrative, Free Guy also features a sub-plot starring ‘Stranger Things’ actor Joe Keery as Keys. It is an interesting and original side story that maintains momentum and doesn’t detract from the focus of the movie. Keys and Millie (Jodie Comer, ‘Killing Eve’) are both fresh-faced and relatable for younger audiences, whilst still giving memorable and noteworthy performances. Jojo Rabbit director Taika Waititi’s portrayal of Antwon is different to anything we’ve seen him do to date, and his growing diversity as an actor does not go unnoticed. 

The work behind the camera, led by Cheaper by the Dozen and Night At the Museum director Shawn Levy – who has recently had a stint in charge of direction on Netflix hit ‘Stranger Things’ – more than holds its own, ensuring that explorations of themes regarding isolation and loneliness (which are of course relevant to many people watching this film following months of social distancing) are presented well if not necessarily with all the originality that some of this film’s direct competitors may have offered. In balancing tones, Free Guy effectively brings touching moments alongside out-and-out comedy, and is therefore a film very much in the mould of Levy’s earlier directorial efforts.

Much like other films that base themselves on the internal workings of a video game, such as Ready Player One (2018) and the more recent Space Jam: A New Legacy (2021), Free Guy features a number of Easter eggs for keen-eyed viewers to tuck into. The film, originally put together under the banner of 21st Century Fox (ahead of Disney’s purchase of the studio in 2019), takes full advantage of its links to Disney, offering the inclusions of many of the brand’s successful intellectual properties and references to even more. 

Despite its silly nature and the film being confined within a rather predictable plot, Free Guy is going to be a blockbuster comedy that fans return to time and time again when in need of some light-hearted relief. Ryan Reynolds holds the whole thing together with his charming if predictable Reynolds-isms, which remain as beloved as ever years into his run as Deadpool, and alongside surprise cameos and moments of clever comedic timing, he ensure that Free Guy will be a fun summer hit for young and old alike.

15/24

Stillwater (2021)
Director: Tom McCarthy
Screenwriter: Tom McCarthy, Marcus Hinchey, Thomas Bidegain
Starring: Matt Damon, Camille Cottin, Lilou Siauvaud, Abigail Breslin

2021 Focus Features release Stillwater tells the story of a young American girl who was falsely charged for a crime she did not commit whilst living and studying in Marseille, France. Matt Damon (Good Will Hunting) leads the cast in this crime drama as struggling father Bill Baker who takes it upon himself to prove his daughter’s innocence. Twists and turns drive this emotionally powered story, with director and co-screenwriter Tom McCarthy using the true-to-life narrative to explore the wider culture of a city ravaged by gang crime through the eyes of an American who is completely out of his depth. It’s a film that holds your attention from the opening moments to the closing scene.

Alison Baker (Abigail Breslin – Little Miss Sunshine) is serving a 9 year sentence for the murder of her girlfriend Lina, a crime she claims to be innocent of. When visited by her father in a Marseille prison, Alison hands her father a letter to give to her lawyer. Within the letter is information that leads to another man’s involvement in the murder, but the lawyer refuses to help, leading Bill to take on the challenge of following this lead himself.

Bill stumbles along the way as the language barrier and cultural differences prevent him from taking on this task single-handedly. Whilst staying in a cheap hotel, Bill meets local actress Virginie (Camille Cottin) and her daughter Maya (Lilou Siauvaud). With the help of Virginie, Bill manages to find the man involved in the murder, but due to his involvement in a dangerous gang, he slips out of Bill’s grasp, leaving him at a dead end. As time passes, Bill and Virginie develop a deeply caring relationship for one another, but his need to prove Alison’s innocence gets in his way of living a happy life with Virginie and Maya, and this determination causes him to make detrimental mistakes. 

The development of Damon’s character is pivotal to the film. A recovering alcoholic, an ex-con and a widower, Bill has a lot of demons to face whilst taking on the seemingly impossible task of freeing his innocent daughter. Damon’s challenging performance is a credit to the actor and the support he receives from those behind the camera: it’s powerful, meaningful and unlike anything we have seen from him to date.

Equally as powerful are the underlying themes and ideologies of the film that showcase the divide in the class system in France, with racism known to be rife in Marseille in particular due to the number of refugees living in the city. Camille Cottin’s character, Virginie, is by day an actress who is trying to make a name for herself in the theatre, but when she is not performing she is a campaigner for social rights. Whilst following one of Bill’s leads, and acting as his translator, Virginie is introduced to a bar owner who was a witness on the night of the crime. His racist remarks towards the young men who were in his bar that night causes Virginie to speak out to Bill, refusing to help any further.

There are many intricate moments throughout the script that point towards these issues and aim to educate the audience, particularly within scenes when Bill is using his American superiority to get what he wants only to be knocked back when he realises it has no value in Marseille. This is all a testament to the writers who imbue each moment of the story with deeper meaning than the simple narrative at its heart.

Oscar-winning writer-director Tom McCarthy sits at the helm for Stillwater, showcasing his ability to direct dark and powerful dramas circling around the real lives of victims. His 2015 Best Picture winner Spotlight set a foundation for the type of stories he excels at telling, with its detailed look into the controversy of Boston paedophiles told from the perspective of journalists. McCarthy is less accurate with the true story behind Stillwater, changing information for cinematic value rather than staying true to the source material of the Amanda Knox case of 2007, but much of the suspense and the detail within each of the character arcs that McCarthy showcased in Spotlight are present here, as is the empowering message about revealing the truth. 

Despite the slightly misleading marketing campaign that made Stillwater look more like Matt Damon starring in Taken 4, this Tom McCarthy offering comprises of emotional storytelling whilst remaining engaging through a smart balance of drama and humour, offering a closing scene that will leave you shocked to the core. Stillwater truly is beautiful filmmaking from Tom McCarthy and his team, with stand out performances from Matt Damon, Camille Cottin and Lilous Siauvaud likely to stick with you long after the closing credits roll.

21/24

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In the Heights (2021)
Director: Jon M. Chu
Screenwriters: Quiara Alegría Hudes, Lin-Manuel Miranda
Starring: Anthony Ramos, Melissa Berrera, Leslie Grace, Corey Hawkins, Olga Merediz, Jimmy Smits

Based on the hit Broadway musical from acclaimed writer Lin-Manuel Miranda, In the Heights tells the story of a New York based Latin American community, Washington Heights, in the build-up to a blackout that changes their lives in ways they could never have predicted. Offering bright colours, stunning visuals and a stellar soundtrack, In the Heights is a force to be reckoned with and will likely be one of the biggest films of the summer. 

Anthony Ramos (A Star is Born) leads the cast as Usnavi, a New Yorker originally from the Dominican Republic and with dreams of one day returning to reopen his late father’s beach bar. Ramos delivers the role with gumption and heart in a way that feels fresh and innovative. After the roaring success of Miranda’s musical sensation, “Hamilton” (2019), which also starred Ramos as John Laurens/Phillip Schyler, the two working together for In the Heights confirms that their artistic partnership is a match made in heaven. Ramos’ performance is profoundly watchable, thanks both to his triple threat talent and the assistance of his supporting cast.

Usnavi is surrounded by friends and family, but no one is more important to him than his beloved Abuela Claudia (Olga Merediz). Claudia is Usnavi’s non-related grandmother who raised him after he lost both his parents. Thanks to his upbringing in Claudia’s kind care, Usnavi also reflects the caring older brother figure to Sonny (Gregory Diaz IV), his scrappy young cousin who dreams of becoming a college graduate one day.

Nina (Leslie Grace) makes her grand return back to Washington Heights after her first semester at college on the west coast to try and find the courage to admit to her father, local businessman Kevin Rosario (Jimmy Smits), that due to racial issues she wants to drop out. As she walks down the streets she grew up on, she bumps into her ex-boyfriend and close friend Benny (Corey Hawkins) who works for Kevin. The two rekindle their teenage love for each other in a blossoming love story which compliments the rest of the film. This truly is an ensemble piece.

Usnavi’s dream, and the one that drives the intent of the entire story, is to move Claudia and Sonny back to the Dominican Republic with him and live a life of bliss in the sunshine. But as the summer gets hotter and hotter in New York and the city plunges into darkness due to a blackout, things don’t quite go to plan for Usnavi and his family. 

Along with being colourful and somewhat otherworldly, as a lot of musicals often are, In the Heights successfully educates us on the struggles of immigrants in the US, a subject that is very close to Lin-Manuel Miranda’s heart. In the Heights specifically expresses the daily struggle for Latinos. Vanessa (Berrera), Usnavi’s love interest, has the ambition to become a fashion designer in Manhattan, and whilst working at a hair salon she manages to save enough money to buy her own apartment, but due to not having the right signatures on her papers she is rejected. These moments don’t take away from the brilliance of the musical but help to emphasise the importance of telling stories of this nature. 

Director Jon M. Chu echoes the success of his huge summer hit Crazy Rich Asians (2018) by filling the screen with his creative filmmaking skills and ensuring that for all the serious messaging, the film remains uplifting. In the Heights is jam-packed with powerful performances and fuelled by huge ensemble dance numbers all to the sound of Miranda’s addictive soundtrack; it truly is the uplifting, heartfelt, feel-good film that the world needs.

As we enter into what is likely to be a musical-fuelled summer of cinema, In the Heights has set the bar incredibly high for the likes of Steven Spielberg’s West Side Story, West End hit Everybody’s Talking About Jamie and Broadway favourite Dear Evan Hansen.

In the Heights is likely to be the summer movie of 2021. 

24/24

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What does cinema mean to me? My initial thought is to say “everything”, but even that doesn’t seem to cover it. After my family and friends, cinema is quite simply my entire world. I’m fortunate to work within the casting industry, so my work and social life is entirely built around the film industry. “Passion” is a word that gets thrown around a lot, but the root of the word comes from the feeling of loving something so much it becomes a part of your personality, and I don’t think there’s a more accurate way to describe how I feel about film.

One of the most valuable things we can experience in the busy world we live in is escapism. Taking ourselves into a dark room and being transported into a different world, with different people doing different things is a gift. It’s something so many people take for granted as we are constantly surrounded by storytelling, but there’s nothing quite like being in a cinema. These are places where we won’t be distracted by our phones, timelines, notifications, door bells, emails being pinged to us, but can instead be completely absorbed by the creativity and nostalgia of motion pictures. 

Someone once said to me “cinema is my therapy” and I don’t think I have ever heard more relatable words. Films educate us and provide us with characters and situations we can relate to whilst seeing us through difficult personal situations. Over the last 14 months we have all turned to our TVs, home cinemas and computers to help us escape the tragedy and uncertainty of the world around us. Streaming platforms and DVD collections have become our family, our constant and our most reliable source of support. 

There’s absolutely no question that I wouldn’t be who I am today without the magic of cinema. I first really started to notice this when I moved to London back in 2015 and discovered a whole world of film-lovers. I started studying film and found likeminded people, even my tutors were so much more encouraging than those from my rural countryside hometown. The film community, both online and in person, has always allowed me to feel welcome and accepted. When I was growing up I was always told “Star Wars is for boys, superheroes are for boys, Toy Story is for boys” and then I entered into a world of people of any generation, gender, race, sexuality or religion who disagreed with that prejudice. All of a sudden it was ok for me to love Luke Skywalker as well as Cinderella. No one cared what category I fell into, only what I had to say about the characters and stories we all love.

As we start to see the light at the end of this pandemic-shaped tunnel we look to the week beginning Monday 17th May, the day that has been dubbed by Film Twitter as “Christmas Day”. The anticipation for that day is very similar to what I used to feel as a child as 25th December approached. We will finally be welcomed home, back into our safe place. The smell of popcorn filling the darkened corridors, the sound of film scores flooding the foyer, the feeling when the lights go down and something (hopefully) magical is about to take place on the enormous screen in front of us.

It’s going to be the best Christmas ever. See you there.

Over the Moon (2020)
Director: Glen Keane, John Kahrs
Screenwriter: Audrey Welles
Starring: Cathy Ang, Phillipa Soo, Ruthie Ann Miles, Robert G. Chiu, John Cho, Ken Jeong, Sandra Oh

Nominated for Best Animated Feature at the 2021 Oscars, Netflix brings to life the musical fantasy animation Over the Moon. Telling the story of Fei Fei (Cathy Ang) and her bunny sidekick Bungee who find themselves embarking on a space exploration like no other, Over The Moon is a modern day fairy tale told through bright, colourful, mystical animation at the hand of Walt Disney Studios’ veteran director Glen Keane (Beauty and the Beast; Tarzan; Tangled).

In a heartfelt epilogue we see Fei Fei’s family fall apart when her mother, Ma Ma (Ruthie Ann Miles), tragically loses her battle with a terminal illness. Beautiful songs and stunning sketch-book style animation are used to re-enact the story of Chang’e (Phillipa Soo), a heartbroken goddess who lives on the moon pining after her fallen love, Hou Yi. The fairytale of Chang’e provides both an emotional and sentimental connection between Fei Fei and her mother, and drives the plot after her death. 

The film takes place during the annual celebrations of The Moon Festival, a day that signifies the end of the Autumn harvest and a time in which families gather for a feast – one that includes famous mooncakes which Fei Fei and her father make for their whole town. The tradition is beautifully told through Keane’s art of storytelling; the emotional weight of the mooncake baking scene invites us to relate to Fei Fei’s love for the holiday and her ambition to keep the tradition alive in the memory of her mother. 

After being mocked by her family for believing in the mythical goddess Chang’e, Fei Fei’s strength and courage is tested as she finds herself on a mission to prove her family wrong. She uses her scientific brain and strong intuition to build a rocket ship to fly to the moon and meet Chang’e. En route to the moon she finds a stowaway in her rocket, Chin (Robert G. Chiu). Chin brings a comic relief to the film that at times runs the risk of being too sad; his infectious positivity keeps the story afloat and teaches Fei Fei that change isn’t always a bad thing.

In a surprising turn of events, the pair realise Chang’e is in fact a pop star, performing for the population of her moon kingdom. In a Eurovision Song Contest-style performance with pyrotechnics, dramatic costume changes and an incredibly catchy song, Fei Fei discovers Chang’e is not all she had hoped. Fei Fei is then sent on a mission to bring Chang’e a long lost gift, in exchange for… a selfie with the goddess. This would of course prove to Fei Fei’s family that Chang’e is real.

The plot suffers from too many twists and turns and not enough direct focus on the task at hand. We are constantly introduced to new characters, all of whom are so brightly coloured you need to be wearing sunglasses to see them properly. The film itself is at its strongest when Fei Fei is at home with her family, dealing with the loss of her mother, the introduction of her father’s new girlfriend and the dynamic between the different generations of her family.

It also dips quite substantially in the middle when we are taken on a journey across the moon where the quality in animation undergoes a significant downturn in quality. On paper, Over the Moon should have the same emotive effect as films being made by Disney or Pixar but lacks the same level of narrative stability and creative inspiration.

The animation style is varied throughout the entirety of Over the Moon, the use of sketch-book style sequences helping to drive the traditional aspect of the The Moon Festival celebrations and the folk tale behind Chang’e, whilst the block shapes, bright colours and smooth surfaces used on the moon provide a much more child-friendly aesthetic. 

Over the Moon features relevant themes of loss and personal ambition, but is distinctly designed for a younger audience via the use of inventive animation styles and songs that the kids will be singing for weeks. It is jam packed with likeable characters and plenty of life lessons along the way, but doesn’t have the same emotional punch as some of its fellow Academy Award nominees, despite how heart-warming it is to see Glen Keane back in the animation game. 

12/24

Greyhound (2020)
Director: Aaron Schneider
Screenwriter: Tom Hanks
Starring: Tom Hanks, Stephen Graham

Tom Hanks takes to his extensive typewriter collection to pen the screenplay of the World War II action/drama Greyhound, released exclusively on Apple TV+. 

Greyhound is Hanks’ first outing in the writing chair since he wrote the screenplay for Larry Crowne alongside Nia Vardalos (My Big Fat Greek Wedding) back in 2011. Other than a few episodes of TV dramas (such as ‘Band of Brothers’) and a 90s comedy flick (That Thing You Do!), Hanks is relatively new to being credited as a writer on film. His successful published anthology of short stories, “Uncommon Type”, appeared on the New York Times best seller list, so we know he can write and he’s clearly very passionate about it – a notion that resonates on screen when watching Greyhound – but did his Oscar nominated World War II naval combat drama pay off?

Set in the North Atlantic in 1942, the Greyhound vessel leads a fleet of supply ships from North America to Great Britain in one of many vital supply missions during the second World War. Hanks portrays Greyhound’s captain, Captain Ernie Krause, who finds himself being the commander of an unexpected attack from the Nazis as they cross “The Black Pit”, an area of the ocean known for being undefended waters during the battle of the Atlantic.

Captain Ernie Krause is established early on as a religious man, despite the turmoil of his surroundings he still finds time to say his blessings before eating, prays before bed and doesn’t tolerate foul language within the crew. This character trait seems somewhat irrelevant to the rest of the plot, however Hanks gives an unsurprisingly believable performance. There’s an attempt to build a vague character arc around Krause with the use of seemingly random flashbacks, including one in which we see him propose to a glamorous woman who refuses him – a plot point that doesn’t get revisited and doesn’t receive the payoff it deserves. 

Stephen Graham (The Irishman) features as Charlie, Krause’s first mate, and fills the screen with his emphasised American accent and naturally aggressive tones. Graham gives a brilliant performance and brings some much needed enthusiasm to the piece. Despite lacking in shared screen time, the pair showcase a certain chemistry that a film like this requires.

The supporting cast keep Hanks at the top of his mantel whilst feeling fairly immaterial. There’s a strange dynamic between the rest of the crew, most of the characters not even being named and therefore receiving the credits of “Messenger #1″, “Messenger #2”, etc. They all seem to hate each other for some unknown reason and there’s a lot of aggravation between them which makes for somewhat uncomfortable watching. 

Due to the claustrophobic nature of the plot, 95% of the story is set in the cockpit of the Greyhound but thanks to clever cinematography and a creative effects department the visuals help to power the action sequences. 

Rightfully earning itself an Oscar nomination for its sound, the sound effects and score stood out as the strongest aspects of the film. Ultimately Greyhound is built on shouting, explosions and water, all of which require a strong audio track to both create the realism of the events and keep our attention. Similarly, the use of voiceover is paramount to the film – there’s a vast amount of communication between the different ships and more so when the Nazis come into the picture.

Will it win the Oscar? Probably not. But it’s a worthy nomination. 

Overall Greyhound has potential to be something powerful, emotional and dynamic but lacks in substance. The plot would have benefitted hugely from an additional 20 minutes on the run time but ultimately it won’t leave anyone asking for more. The severe lack of drama and character development (and far too much boat lingo) made for an at times difficult and somewhat boring experience. Other than the sound design, there’s little here to keep your focus.

10/24

Critically, the Boston born filmmaker is a well respected name too, thus far in his career earning three Oscar nominations for acting – Actor in a Leading Role for Good Will Hunting (1997) and The Martian (2015), and Actor in a Supporting Role for Invictus (2009) – as well as an Oscar nomination for producing (Manchester By the Sea, 2016) and a win for screenwriting (Good Will Hunting, 1997).

In this list, we here at The Film Magazine are focusing on the thirty-plus years of Matt Damon’s acting career, judging each and every performance to compile this ultimate Top 10 list of Matt Damon performances.

Let us know your favourites in the comments and follow us on Twitter to make sure you never miss another list like this one.

10. Gerry (2002)

Matt Damon teams with Casey Affleck (Manchester by the Sea; A Ghost Story) in a story about two friends whose relationship is tested when hunger, thirst and a complete lack of belonging comes between them.

Directed by Good Will Hunting’s Gus Van Sant, Gerry is both compelling and completely bewildering, whilst being an outstanding feat in filmmaking. 

Damon is forced into a different kind of performance in this minimalist, near-silent feature. Playing Gerry must have not only been a completely new experience, but also a hands-on lesson in the art of filmmaking – as a performer, that could only have brought challenges.

With an average shot length of 60 seconds and only 100 shots throughout the entire film, Van Sant’s experimental approach rests the core of the film’s impact on the shoulders of Damon and Affleck, the pair showcasing their magnetic screen presences in each and every frame.

9. The Bourne Identity (2002)

Matt Damon’s first outing as Jason Bourne showcased him in a completely new light.

At the time, Damon was an actor that we had only seen in emotional dramas such as Good Will Hunting and Saving Private Ryan, or comedies from the likes of Kevin Smith. Bourne gave Damon the chance to push himself, and to transform into a modern action hero, his titular spy being an amnesiac trying to rediscover who he is in a high intensity thriller from director Doug Liman (Swingers).

Although he may have seemed like an unlikely choice for the Bourne series, Damon excelled in the role, performing many of his own stunts, and it was thanks to this film’s success that he shot from well respected independent cinema actor to Hollywood superstar.

Recommended for you: The Bourne Collection Ranked

Make sure to read 10 Best Home Alone Moments before you read this article.

Alone in the most heavily populated city in the United States, Kevin encounters troublesome hotel clerks and the return of some old foes in this much beloved follow-up to one of the greatest Christmas films of all time.

In this Movie List, we at The Film Magazine are examining Chris Columbus’ iconic Christmas sequel for this, the 10 Best Home Alone 2: Lost in New York Moments.

Make sure to follow us on Twitter for updates on more articles like this one.

10. Kevin Calls Uncle Frank a Cheapskate

The film opens with a scene from a Christmas concert at Kevin’s school, the parents of the children all gathered in the audience to watch the show. Kevin’s solo is coming up.

Buzz (Devin Ratray), Kevin’s horrible older brother, plays a prank on him whilst he is singing, causing the whole auditorium to laugh at Kevin’s expense. 

Back at the house, after the event has unfolded, Buzz is apologising to the family for the prank he pulled and the embarrassment he caused his younger brother. Kevin clocks on to the insincerity of Buzz’s apology and stands up to his family, saying he doesn’t want to spend Christmas in Florida anyway. Uncle Frank (Gerry Bamman) tells him not to ruin the trip that Kevin’s father has paid a lot of money for. 

With outstanding delivery from Culkin, Kevin roasts Uncle Frank with one simple line: “I wouldn’t want to spoil your fun Mr. Cheapskate.”

Hilarious.

9. Marv Smiles for the Camera

Marv (Daniel Stern) and Harry (Joe Pesci) have escaped prison and made their way to New York in an attempt to make the Big Apple their new stomping grounds. They find out about a donation drive happening at a big toy store, and when Kevin clocks on to what they’re doing, he follows them there and catches them in the act.

When he sees them robbing the store, Kevin uses his new polaroid camera to snap a shot of them for proof. He shouts, “Hey Guys! Smile!”.

With brilliant comedic timing, and his trademarked goofiness, Marv looks up at the camera and gives it a big grin. 

Written and produced by the king of 80s movies, John Hughes, Home Alone holds a special place in a lot of our hearts and is a must watch around the festive season each and every year.

Thirty years after Macaulay Culkin shot to superstardom as lonely eight year old child Kevin McCallister, we at The Film Magazine are looking back at the original movie’s very best moments for this Top List of the 10 Best Home Alone Moments.

Make sure to follow us on Twitter for updates on more articles like this one.

10. Headcount Mishap

Chaos has hit the McCallister household when, due to a power outage in the middle of the night, none of the alarm clocks in the house go off – cue the line “We overslept!” From Mr and Mrs McCallister. 

As the fourteen family children pile into the airport transport mini vans, a nosey neighbour comes over to see what all the fuss is about. As he is in the back of the mini van, he clambers over all the seats and starts rummaging through the family’s bags. Megan, the oldest McCallister child, is asked to do a “head count” and miscounts the nosey neighbour as Kevin, who is actually curled up in bed unaware of the madness going on around him.

Thinking that everyone is present and accounted for, the family leave for their vacation, resulting in Kevin being (you guessed it) left home alone.

9. Gus Gives Parental Advice

After an attempt to get on a last minute flight home from Paris, Kate McCallister (Catherine O’Hara) finds herself in Scranton, Pennsylvania and her only ride home is to join a Polka tour who have kindly offered to drop her off in Chicago. 

Gus “The Polka King of the Midwest” Polinski, played by the wonderful John Candy, keeps Kate company as they make their long journey back to the Windy City. In the back of their tour van, Gus gives Kate some much needed comfort in justifying her mistake of leaving Kevin behind and confirms to her that she is a good mother. 

Between two parents, Catherine O’Hara and John Candy share a beautiful moment of comfort and kindness.