Screenjabber blogs

Dangerous days: can Ridley Scott replicate Blade Runner?

Tim Pelan — Mon, 06 Feb 2012 20:11:18 +0000

By Tim Pelan

Alcon Entertainment has had the rights to Blade Runner and any associated prequels, sequels, etc for some time now, but it didn’t seem as if anything would come of this until a surprise announcement in the LA Times on August 18 of last year.

The story stated that Ridley Scott has been won over by Alcon producer Andrew Kosove’s enthusiasm for a new direction, and has agreed to helm (and presumably co-produce) a new film set within that universe.

A collective groan rippled across the internet, but, now the dust has settled, what does a new Blade Rrunner hold in store? Contrary to Andrew Kosove's earlier statement that, “This is a total re-invention, and, in my mind, that means doing everything fresh, including casting,” Harrison Ford has entered into early talks to star in a new film set within the Blade Runner universe, according to twitchfilm.com.

The Blade Runner sequel/revamp is expected to be Scott's next project after Prometheus. Kosove would like to have the film released by 2013/2014.

Blade Runner was in development for years, and underwent many script rewrites, even on set. What will the audience be for a follow up to essentially an arthouse exploration of what it means to be human? There have been several first draft attempts already, thoughtful and more action packed, but none with the resonance of the original piece.

Then there is the matter of how time has made some background elements of the world seem quaintly defunct. The giant neon signs for Atari and Pan Am in one sense firmly date the piece. Will we now see signs for Virgin Airlines or Facebook?

One possibility for a fresh approach might be to adapt another novel by source author Philip K Dick. Flow My Tears, The Policeman Said could possibly be made to fit the Blade Runner world. The story concerns a genetically enhanced popular entertainer who loses his identity overnight through the drug-altering actions of a police chief’s wife. The dystopian cityscape is there, and the question of identity could be addressed by these genetic humans, or “sixes” (Nexus 6s?) – illegally created Replicant “celebrities” to amuse and distract the masses. Alcon would have to secure the rights to the novel, currently held by Halcyon, responsible for the Terminator franchise.

There is the possiblity of setting the story off-world, with a replicant rebellion, although similar territory has been covered in the 1998 Paul WS Anderson film Soldier. Written by David Peoples, who co-wrote Bladerunner, it starred Kurt Russell as a soldier trained from infancy, abandoned by his masters on a desolate world. Peoples considered it a “sidequel” to Blade Runner. Others prefer not to consider it at all.

The news of a Blade Runner return is a blow to filmmaker Duncan Jones (Moon, Source Code) who is hoping to do a future city set SF film of his own, possibly in Berlin, inspired partly by its mix of futurist and classical architecture. His concept art owes a lot to Syd Mead’s designs for Blade Runner. It would be a shame to see this exciting project sidelined.

Let’s just cross our fingers Ridley’s return to Blade Runner will live up to Roy Batty’s words, as “Something you people wouldn’t believe.” In a good way.

Raiding the Lost Ark filmumentary released

Tim Pelan — Sat, 04 Feb 2012 17:37:32 +0000

By Tim Pelan

The time has come for the world to finally see the culmination of months of hard work by uber-fan Jamie Benning to compile as much Raiders Of The Lost Ark lore as possible – including brand new, never before heard interview material – into his latest filmumentary, Raiding The lost Ark.

We have it embedded below for you to watch and enjoy.

For those of you unfamiliar with the filmumentary concept, Jamie has wrapped vintage behind-the-scenes footage, text and audio commentary (new and old), storyboards and concept art, around the action of the film itself, so the doc material comments directly on specific moments in the film.

You may think you know some of the trivia revealed along the way, but you've never seen it presented so cleverly before. Unless you've already seen Jamie's previous work, Star Wars Begins, Building Empire and Returning To Jedi, that is!

All of Jamie's filmumentary material is or will soon be completely available to view at Filmumentaries.com. Here is Jamie's press release:

After the success of Star Wars Begins, filmmaker Jamie Benning embarked upon a new adventure, this time turning his attention to the first film in the Indiana Jones Trilogy (yes, trilogy!). Raiding the Lost Ark: A Filmumentary is the culmination of eight months of reading, trawling, interviewing and editing. This time Jamie has sourced some of the interviews himself, with contributors such as Wolf Kahler (Colonel Dietrich), Brian Muir (legendary sculptor), Mark Mangini (part of the Oscar winning sound team) and most surprisingly Sean Young (talking about her audition for the part of Marion Ravenwood). Raiding is available for your viewing pleasure on Vimeo from February 4.

Raiding The Lost Ark: A Filmumentary By Jamie Benning from jambe davdar on Vimeo

There are far too many highlights to list here, but just a few standout moments are:

• 16 min: a new Sean Young interview, over her screen test with Tom Selleck (Selleck was unable to take the part of indy because Magnum P.I was picked up by the TV network)

• 33 min: a deleted scene, where Indy and Marion kiss in the Raven bar, including animated art from the comic adaptation.

• 36 min: new interview with Mark Mangini discussing the cutting of the sound design during the bar fight with the Nazi agents.

• 1.41: the truck chase, previously released by Jamie as a taster and covered before in my interview with him has been completely revamped, with additional material.

• 1.55: Wolf Kahler (Colonel Dietrich) in new interview material dotted around his appearances. Here he reflects on working on the rusty freighter Bantu Wind, and flying to La Rochelle for the submarine pen scene. Also around this point is Mark Mangini discussing how actual footage of Indy clinging on to the periscope, via live action and model, was eventually dropped. This is illustrated with stills, story conference excerpt, and animated comic art.

• 2.13 Animatic comparison of Toht's head melting at the Ark opening ceremony.

Remember, this is a fan tribute and is not made for personal gain, so please, no illegal selling of copies. You can follow Jamie on Twitter: @JamieSWB.

Digesting a future for British film

Stuart OConnor — Thu, 02 Feb 2012 17:45:02 +0000

By Stuart Barr

A couple of weeks have now passed since David Cameron's remarks on the British film industry were met with a collective raised eyebrow by both the industry and the blogosphere alike. Short version, he recommended making more commercially successful films. I gave a reaction to Cameron's pronouncements in an earlier blogpost, in which I expended a lot of words that basically amounted to replying "no shit Sherlock".

It's easy to mock the prime minister for his naive belief that identifying a potential hit film is in anyway easy. Of course, The King's Speech was trotted out ad-nauseam as an exemplar both of what sort of success the UK Film Industry should be chasing, and as a counter example of a film that in its development stages was very far from a sure-fire hit. It is tempting to ask if Cameron would have agreed a year ago that a guaranteed critical and commercial smash would be a black and white silent film, presented in academy ratio? But really, that is like shooting fish in a barrel, Cameron was doing what politicians do, making pronouncements on things they don't know a great deal about in advance of the report that would give them the facts.

Lord Smith's committee's report has now been available for several weeks. It's a substantial document – 111 pages long – and it does go some way to allaying fears that the UK film industry is heading to becoming a sub-department of the UK tourist board, producing little but handsome heritage dramas of the type Harvey Weinstein likes so much. Instead, the report presents a series of recommendations that cut across the whole of the UK industry from production to distribution, exhibition and education and training. There is in truth little that is controversial, and much that is positive and welcome in the report. I thought I'd pull out some of the key points as I see them and discuss some of the challenges facing the industry as I see them.

I was also poked into getting these thoughts down by a blog by friend and filmmaker Jon Spira (Jon made the superb Anyone Can Play Guitar documentary, available now). I feel Jon was rather down on the report, arguing that the UK film industry does not need more money spent on reports on the UK film industry. I disagree, if Cameron's comments show anything, it is that he is no more qualified to come to his own conclusions on this industry than on the NHS. This is how government works, it has to invite representatives of any industry give input into forming coherent policy. Of course the report is just that, a series of recommendations that the government could ignore.

Anyway, Jon's thoughts are interesting and I would recommend checking them out – but only AFTER you have read my screed, okay?

The report is subtitled "it begins with the audience"; they could have added the word "dummy" there. Obviously without an audience there is no British film industry. However, that audience is fragmented, accesses film through a variety of media (not merely in cinemas), and is not restricted to the British Isles. This is acknowledged with a strong focus on new film on demand services, a reassuring suggestion that funding bodies be open to a plurality of tastes in allocating monies, and that the industry should have a strategy for the export and promotion of UK film internationally.

The point about encouraging a plurality of taste among funding bodies is very important. For example, I have heard from a UK-based filmmaker that an application for funding was turned down on the sole basis that the project was a ghost story and thus too commercial. After Cameron and Julian Fellowes (a filmmaker, Tory peer and member of Lord Smith's committee) made comments suggesting too much funding in he past had gone to arthouse fare, there were fears that this meant a policy of funnelling funding solely to broad commercial productions. This fear appears unfounded.

The report also recommends funding be available to encourage the production of more domestic family and children's films. This is something to be encouraged, but please also films outside of the Disney template. I'd love to see a children's film as daring and socially important as Ken Loach's Kes in the 21st century. There is also an acknowledgment that animated films have particular challenges in funding and development, and that this should be accommodated. Given the success companies such as Aardman have had, this seems quite right and proper.

I question the recommendations for a British film brand given prominence in the report. The recent BAFTA nominations for best British film of both War Horse (a multi-million-dollar US studio film from Steven Spielberg), and The Guard (a very definitely Irish comedy thriller) point to the difficulty in reaching a satisfactory definition of what is a British film in the modern world of international co-productions.

A better focus would be on increasing the access of audiences to independent and domestic productions at their local multiplex. When more than half the screens are given over to the latest Hollywood blockbuster, and those screens are half full, something is amiss. I still feel that the question of a quota system guaranteeing some screens be given over to smaller productions from independent distributors is something that should at least be tabled for discussion. I couldn't find any mention of this.

There are recommendations in the report to allow more profit to go back to producers for the express purpose of reinvesting in production. A no brainer, but I would like to know more about what safeguards can be put in place to make sure that profits are not taken out of the industry and invested in yachts. There is also mention of incentives for directors and writers to see some profits come back to them to incentivise them in their career development. This is only fair, there are too many stories of creatives seeing no benefit despite having made a successful film. Art is great, but you still need to be able to put food on the table, otherwise its a career in advertising beckons.

It is extremely gratifying to see the report recommend that Lottery money should be allocated to local film societies and film clubs, but at the same time the government cut all funding the the British Federation of Film Societies just last year. Given that a significant proportion of the UK's population has no access to even a multiplex chain, these are often the only way to access films as they should be seen (projected onto a screen with an audience) for many.

There are significant recommendations aimed at the growth of digital avenues for film distribution and consumption. These are timely in the light of the UK launch of Netflix, and news that Sky plans a VoD service to compete with it and LoveFilm. However, this is definitely a case of playing catchup. The UK industry needs to grapple with this now or risk becoming the kind of dinosaur that the music industry became in the naughties.

At the moment, LoveFilm and Netflix represent an excellent deal for the consumer, but they are much less of a good deal for filmmakers. Revenues from VoD services for filmmakers are small, and there is no requirement for these services to invest in and support the UK industry despite the fruits of filmmakers labours generating their profits. The report recommends a digital research and development fund that can look at this area and how VoD can increase audience engagement and create new revenue models. I say that they need to get all over this as soon as possible.

LoveFilm and Netflix should engage with filmmakers in a more transparent and accountable way, and the BFI should be looking at how it's extensive catalogue of titles can be made accessible online. If you live in or near London, or are visiting, for a glimpse of what could be pay a visit the the Mediatheque in the BFI South Bank, and imagine it that was available online.

Crucially important is what the report has to say about UK broadcasters and their support of UK film. This is an important area, two of then UKs leading film companies who support and develop talent and films are BBC Films and Film 4. The report asks for the BBC's commercial wing BBC Worldwide to include film in its international promotional activities and to invest in independent film production. Whether this would mean an increase to BBC Film's budget, or would be independent of that (surely nonsensical) is unclear.

I'd like to have seen a recommendation for The Daily Mail to shut its mouth and stop complaining about BBC Films, a FILM COMPANY, sending staff to Cannes and other major international film industry events.

Perhaps the most important recommendation in the report is that the Government initiate IMMEDIATE discussions with britain's broadcasters to secure a memorandum of understanding about their commitments to UK film support. There are only two direct calls for legislation in the report, one some guff about making it illegal to record films in cinemas, the other that if the aforementioned agreement cannot be gained the government forces it on broadcasters in the forthcoming Communications Bill.

This cannot be seen as anything but direct criticism of Sky and ITV (indeed, both were quick to whine about it). However I'm not letting the BBC totally off the hook, lets have more films back on BBC's 1 and 2, bring back Moviedrome (with Alex Cox) and instead of two property development shows back to back followed by Cash in the Attic, put on an Ealing comedy instead!

There's a lot more in the report, I recommend at least skimming it. After all, the right to work things out for yourself is one of the few we have left (to paraphrase Starship Troopers).

The BDA’s Top 10 Blu-ray discs for Valentine’s Day

Stuart OConnor — Thu, 02 Feb 2012 16:45:02 +0000

With Valentine’s Day fast approaching, what better way is there to celebrate than with a cosy night in with your loved one? With this in mind, the Blu-ray Disc Association has selected its Top 10 Romantic Films for you to enjoy, which are all available now in stunning high definition.

From the latest rom-coms to classic, timeless stories, the list incorporates a range of films that really demonstrate the added impact, excitement and emotion of the high-definition Blu-ray experience.

Romeo and Juliet (20th Century Fox): Enjoy a classic love story this year: Baz Luhrmann’s adaption of Shakespeare’s timeless tale of the two star-crossed lovers is a perfect accompaniment to any Valentine’s Day. Leonardo DiCaprio and Clare Danes’ on screen chemistry is electrifying in this commercially and critically lauded film.

Mamma Mia (Universal): Make a song and dance of your loved ones with the light-hearted classic Mamma Mia. A celebration of family, friends and loves old and new, this film has something for romantics everywhere.

Valentine’s Day (Warner Bros): Is there any better occasion to watch Valentine’s Day than Valentine’s Day itself? Experience a day in the life of love with this huge ensemble cast to get you in the romantic spirit. Starring Jessica Alba, Bradley Cooper, Anne Hathaway, Ashton Kutcher and many more, this Blu-ray has a mixture of love stories better than any box of chocolates.

Star Trek: TNG The Next Level – Encounter in London

Stuart OConnor — Sat, 28 Jan 2012 20:45:31 +0000

By Tom Mimnagh

“Ah yes, it's a lot like Star Trek: The Next Generation. In many ways it's superior but will never be as recognised as the original.”
– Wayne Campbell, Waynes World

During the 1990s, Star Trek: The Next Generation was phenomenally successful – with seasons seasons, a number of awards and several spin off movies. However, in the years since the original season the effects and sets have dated badly, looking cheap and archaic in comparison to today’s standards, but also in comparison to the standards of other later Star Trek spin off series.

So it was a pleasure to find that all seven seasons are to be lovingly restored, remastered, and converted to Blu ray for release this year, but first there is also a "taster" Blu ray being released on Monday January 30.

The Next Level is sure to whet the appetites of fans. It includes the classic pilot Encounter at Farpoint, along with two other classic episodes – Sins of the Father, from season 3, and Inner Light, from season 5.

I was lucky enough to get a big-screen sneak peak at the remastered pilot episode, and I have to say it is absolutely phenomenal. The effects are stunning, and the crystal clear picture really helps shake the rust off of the original pilot, and make it as engrossing as the first time of watching. Unlike other beloved science fiction properties, there have not been significant alterations in terms of content, merely updating and improving the quality of the effects that made it such must-see television in the first place.

It’s also the little touches that make this a mandatory purchase for any TNG fan, with the menus designed as replicas of the computer systems on the ship, the credit sequences sharpened up, and the audio improved so that the booming and iconic tones of Sir Patrick Stewart, Jonathan Frakes, Michael Dorn et al are even more striking than in the original broadcast form.

I would have more information, but as you can see from the photo below, security at the screening was fairly tight…

• Star Trek: The Next Generation - The Next level is out on Blu-ray on Monday January 30

Exclusive: George Lucas clamps down on fan-made tribute

Stuart OConnor — Fri, 27 Jan 2012 06:58:43 +0000

By Tim Pelan

In what seems difficult to see as anything other than a case of sour grapes, Lucasfilm has successfully ordered the removal of Jamie Benning's Star Wars filmumentary tribute, Returning To Jedi, from YouTube.

Apparently Lucasfilm was asked to look at the filmumentary recently, and then 20th Century Fox ordered the removal on the grounds of copyright infringement. Jamie has also removed his other extremely popular filmumentaries, Star Wars Begins, Building Empire, and preliminary work on his soon to be released Raiding The Lost Ark, previously covered in my interview with him. He intends to put these on Vimeo instead; Star Wars Begins has already been successfully transferred to vimeo, and Raiding has specifically been edited for higher quality viewing in this format.

The news of the Lucas empire striking back first broke via Jamie's Twitter stream on the evening of Thursday January 26. Jamie isn't the only fan film maker to feel the heavy hand of Lucas. Adrian Sayce, who has "remastered" Star Wars to correct colour grading, special effects errors, and added subtle effects, has been barred from uploading more videos to facebook of his new edit of The Empire Strikes Back.

This clampdown (after more than 3 million hits for Jamie's work) comes after an in-depth piece with George Lucas in the New York Times on January 17, around the battle to release his tribute to brave Tuskegee airmen in WWII drama, Red Tails. In that story, Lucas spoke of his frustration with the fan community – the very people who helped make him the success he is today. Interestingly, many fans instead picked up on other comments where he said he was retiring from making blockbusters, and missed the warning here:

" 'I think there are a lot more important things in the world than feuds with fan boys,' Lucas says with a kind of weary diffidence," it reports. Lucas went further: "On the internet, all those same guys that are complaining I made a change are completely changing the movie. I'm saying: 'Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.' "

With the greatest of respect, Lucas is missing the point. No one makes these fan-edits or filmumentaries for monetary gain. Their makers clearly state they are not for sale, and are done purely to feed the love the massive fan base has for the Star Wars universe, and the tales behind the creation of the films.

Lucas is more corporate machine now than man – I wouldn't say "twisted and evil", but a sourpuss, battered down by criticism. It seems he feels his Blu-ray extras are the only way archive material is to be experienced. Ironic, since the "new" commentaries from several different sources seem inspired by Jamie's own work. Here's hoping Jamie Benning gets Raiding The lost Ark out on Vimeo on schedule – it's due on February 6. Watch this space.

Hammer Films announces Blu-ray restoration of back catalogue

Stuart OConnor — Sun, 22 Jan 2012 13:34:34 +0000

By Tim Pelan

Hammer Films has announced a major restoration programme of more than 30 of its iconic films, in conjunction with StudioCanal, Pinewood, and others. The roll-out of the revamped (pun intended) Blu-ray back catalogue begins with Dracula Prince Of Darkness in March. The press release is below. No love for the On The Buses films though?

In a landmark collaboration, Hammer announced that StudioCanal, Anolis Entertainment, Pinewood and others are coming together to undertake a major restoration of the iconic Hammer film library. The project will bring over 30 movies into HD format for Blu-ray and new media exploitation in the 21st Century. This represents substantial investment by Hammer and its key partner StudioCanal, and is testimony to the extraordinary regard with which the Hammer legacy is held internationally, with some materials for the project being provided by Hammer’s original US production partners Twentieth Century Fox, Warner Bros. and Paramount Pictures.

Dracula Prince of Darkness is the first title scheduled for release in the global restoration project and will be released in the UK in conjunction with StudioCanal in March 2012. The partnership continues throughout the spring for the releases of The Reptile and The Plague of The Zombies, and will also include The Devil Rides Out, Rasputin the Mad Monk and The Mummy’s Shroud during the course of the year.

Hammer will also release definitive versions of its three hugely-influential original Gothic classics in the UK: The Curse of Frankenstein, Dracula and The Mummy.

As well as featuring a fully-restored HD picture and restored sound, the remastered films will boast a host of newly-filmed extras, including interviews with cast members. These documentary extras are being produced by Hammer expert and historian, Marcus Hearn – author of the recent The Hammer Vault.

Pinewood Studios carried out the restoration of the first three StudioCanal titles after housing the original negatives for the films, restoring the original UK title sequence to The Plague of The Zombies as well as the UK title cards to Dracula Prince of Darkness.

Recently-discovered footage that was originally cut from the British version of Dracula has been restored by Molinare to the BFI’s 2007 restoration courtesy of The National Film Center at The Museum of Modern Art, Tokyo. The Japanese footage features an extended and particularly gruesome death scene for Dracula, as well as a moment considered too erotic by the censors of the day.

Following the discovery and restoration of the Japanese footage to Dracula, Hammer is keen to unearth further “lost” scenes and on-set footage from The Curse of Frankenstein, The Mummy and other titles in their library, and hope that any private collectors with viable unseen elements will contact the company.

Hammer will regularly be posting to a Restoration Blog, which will give a unique insider’s view on the entire process, from material selection right the way through to release.

Other companies involved in the restoration project include Warner Bros. Motion Picture Imaging and Thought Equity Motion in the US and Cineimage and Deluxe 142 in the UK.

The John Carter Of Mars that nearly was

Stuart OConnor — Sun, 22 Jan 2012 13:20:46 +0000

By Tim Pelan

John Carter (Of Mars) is a property, based on the century-old Edgar Rice Burroughs high fantasy/science fiction adventures, that has been knocking around for some time, waiting for someone to lick it into shape. On March 9, director Andrew Stanton (Wall-E, Finding Nemo) delivers his take on what Disney hopes will be a successful franchise.

Recently, a video pitch from director Kerry Conran (Sky Captain and the World of Tomorrow) surfaced online. Conran was one of several directors the baton was passed to during development hell; others included Robert Rodriguez and Jon Favreau.

It's a fascinating insight into how his film may have looked, featuring a mix of concept art, animation, live action and CGI pre-viz alien interaction, linked by a narrative outlining the basic plot. Some of the designs may look familiar from trailers for Stanton's John Carter: he inherited quite a bit of the pre-production designs when he took over the reigns, adding his own twists. The video is below.

Sci-Fi London Festival poster competition

Stuart OConnor — Sun, 22 Jan 2012 13:11:47 +0000

By Tim Pelan

Allcity Media is running an open competition to design the main image for the 11th Sci-Fi London Film Festival, which runs 1-7 May 2012. The theme is Future Games, to tie in with London Olympic Year, so there's plenty of scope for Rollerball-type mayhem in your designs.

The chosen poster will also be animated, so if you wish, your design can reflect how you think this should be done. The submissions will be presented in a London Gallery, from which one winner will be chosen to represent the 2012 festival. Duncan Jones, director of Moon and Source Code, will be on the panel of judges.

Theme: Future Games
Info to include: 11th Sci-Fi London Film Festival, 1-7 May 2012
Format: Maximum A2 Vertical, to be scaled accordingly. It will be used on the brochure, advertising poster, online and staff T-shirts.
Deadline: Monday February 13 2012
Delivery: As a digital file

For questions and submissions contact david@allcitymedia.com

Sci-Fi-London is a festival that "takes a serious look at sci-fi and fantasy, bringing new, classic, and rare movies from around the world to the UK". It annually screens world and UK premieres, seminal cult classics and documentaries, and hosts debates and talks. This year the festival will be screening at the Apollo Picadilly Circus Cinema, the BFI Southbank, and selected central London venues.

Sharp Observations: Risqué Ricky? If only

Stuart OConnor — Sat, 21 Jan 2012 10:47:33 +0000

By Sarah Sharp

When, for the umpteenth – sorry, third – time, Ricky Gervais was called upon to host the Golden Globe awards ceremony this year, it provoked a variety of physical reactions in the General Public. Many were the eyebrows raised; many the thin-lipped smiles drawn tight in consternation. In Soho, a man could be observed placing a paper bag over his head and slumping slowly to the ground (though later reports could not be sure whether this was in any way a related incident, or just a natural human response to the general aura of despair indigenous to the area).

Here at the Observations Office in Sharp HQ, eyes rolled (two, to be precise). 2011 had ended on something of a damp squib with the fetid trail of faecal sludge that was Life’s Too Short – a bland and uninspired "comedy" that offered few laughs but finite evidence once and for all that life really is too short to watch someone you once respected churn out the same trash ad nauseam. In the figure of Warwick Davis – who may well be a magnificent actor but was given scarce chance to prove it – Gervais merely shat out a mini effigy of the alter ego that made his career the glittering trail of glory that it is today. If it ain’t broke, why fix it? Right?

Well, this certainly seems to be the motto of RG, who, having made his fame and fortune by inspiration of Saint Brent, has set up a shrine to him in every corner of his increasingly franchised life. For verily, on set, Saint Brent presides; in the realm of Twitter, there find ye Brent also; and in the guise of Awards Host – for which, press the "hash" key now – Saint Brent is ever present. Gervais is an atheist (if he hadn’t already told you); but in his staunch disavowal of the divine he seems to have forgotten the true deity to which he unfailingly cleaves – ie, Himself. Any disambiguation between the man’s Ego, Alter-Ego, and Super Massive Black Hole of an Ego, has now more or less become entirely defunct.

But, if "same old same old" is the name of the game, at least we could bank on this year’s Globular outing being a bit of fun with a bit of a sting in its tail. This is the assumption one makes. You hire Gervais: you expect outrage, scandal, and at least a handful of possibly libellous punchlines. You do not hire him for a safe, anodyne commentary which sidles up to the line every once in a while, but then like a chicken-shit child afraid of diving in the deep-end scuttles right back to its showbiz friends for a bit of sycophantic banter. If you haven’t seen the 2012 awards yet, don’t bother – they’re not a patch on last year. Then, at least, even if Ricky remained his lamentable self, he was bitingly funny: perhaps not as risqué as he supposes (or as his pay cheque purports) but enough to make you gasp.

This time, the only sharp intake of breath was an extended yawn. Vague jibes at the state of Hollywood’s affairs petered out into nothing – a hopeful line about the spate of divorces striking Tinseltown floated, tentative, then dissolved, even though the recent splits of Ashton and Demi, Russell and Katy, were surely prime fodder. Gone was the direct assault on the Charlie Sheens and the Tourists of today – the closest we came was a predictable rib at Johnny Depp when he came to present an award, which in its self-referentiality just about sums up the entire scope of Gervais’s comedy. The obsequious praise that introduced George Clooney onto the stage, weighted with a lame punchline that didn’t succeed in making it either ironic or irreverent, was stifling – and moreover tells us all we need to know about the man’s real attitude towards the stars he claims equality with by grace of indifference.

The result? Bored, fixed, unimpressed stares for the most part; Jodie Foster gamely gave the thumbs up to a joke about her Beaver, but she also reached for her wine glass with the resolute expression of someone beset by the Boring Man at the Bar.

Here is the problem: Ricky Gervais spends more time talking about his potential to shock – defending it (the "mong" Twitter debacle), denying it (Life’s Too Short), or denying that he cares about what people think (every interview ever) – than actually fulfilling that potential. It’s like waiting for fucking Godot: his reputation precedes him, but he never shows up. The image of Ricky Gervais, International Man of Mockery, has now far outstripped anything that Ricky Gervais, Man Who Once Wrote Some Comedy, could ever live up to.

He supposes that we sit seething at his rudeness, his avant garde approach, his unrepentant crusade up to the bounds of political correctness and beyond: but the truth is far more mundane. What galls us is precisely the lack of all that: the empty promise, the endless boasting, the pretence of indifference to public opinion. (If the man claims "I don’t care" one more time, he will almost certainly self-combust. People who don’t care, don’t talk about not caring. Didn’t he learn a single thing from Brent’s bad example?)

Forget opinion, Ricky: focus on actual substance for a change. Stop resting on your laurels, and for god’s sake (or indeed Your Own sake), ditch the star cameos. Write the type of scintillating stuff that got you famous in the first place. Of course, there is a cautionary addendum to all this, and it comes in the form of Stephen Merchant. Having spent more than a decade as the relatively unrecognised partner in crime, Merchant is now embarking on solo projects, such as his own stand up tour, which not only prove that he’s worth his comedic weight in gold (quite a lot, I should imagine, what with the height and all), but also start to shed light on where the real talent of the past collaborations might actually lie.

But that is another story, for another day (a long story, for a day with an otherwise free diary: I’ve been swotting up on my Steve Facts). For now I leave you with the great unanswerable conundrum of the universe: Ricky Gervais – is he for real? Or is he just having a laugh? I almost hope that is the case: that would at least make one of us.

FrightFest Glasgow 2012 line-up revealed

Stuart OConnor — Wed, 18 Jan 2012 09:26:56 +0000

The UK’s favourite horror fantasy festival returns to its second home at the Glasgow Film Festival for the 7th year with its biggest line-up ever.

From Friday February 24 to Saturday February 25, Film4 FrightFest will be screening 11 new must-see genre titles, 10 of which are UK premieres. So expect to be taken of the roller-coaster ride from hell with this ghoulish global celluloid feast, featuring Argentinean demons, flesh-hungry Russian zombies, mutant cannibals, a Chinese-speaking alien, Asia’s deadliest killers, a Croatian hit-man, Pinocchio obsessed psychos and Jack Nicholson like you’ve never seen him before.

War Horse Behind the Scenes

Stuart OConnor — Tue, 17 Jan 2012 09:23:53 +0000

By Tim Pelan

Steven Spielberg's War Horse galloped onto UK screens last weekend, and is, depending on who you listen to, a heart wrenching, uplifting drama about a boy and his horse's journey through the hell of war; or a sacharine, unintentionally hilarious misfire from Mr Hollywood himself.

Rarely has a Spielberg film divided critics and the public so much. Regardless of that, it is certainly beautiful to look at, and plenty of effort went into creating the worlds our heroes journey through.

Below are clips of behind the scenes footage, from the purchase of horse Joey by Albert's drunken farmer father (Peter Mullan) in an idealised Devon; to filming of the epic looking cavalry charge with Tom Hiddleston and Benedict Cumberpatch; and the recreation of trench warfare and Joey's punishing servitude under the Germans. Enjoy.

Golden Globes 2012

Jenny Priestley — Sun, 15 Jan 2012 23:26:57 +0000

OK, so here we go. Awards season is officially here (yes, I know it's been going on since the end of November really). It's the 2012 Golden Globes and I'm officially excited. Throughout the night I'll be commenting on who's winning, what they say and whether Ricky Gervais manages to be funny.

Things we know will happen tonight: Ricky will reference the reaction to his hosting last year; George Clooney will win Best Actor (Drama), The Artist will win something (probably Best Picture Comedy/Musical), and in the TV categories....I have no idea. I'm tweeting at @jennypriestley so feel free to tell me your thoughts, reactions, hopes and dreams...

Screenjabber Pubcast: Settle down ...

Stuart OConnor — Sun, 15 Jan 2012 17:21:19 +0000

In the first podcast proper of 2012, new host Sarah Sharp tries to keep order as Nick Wheatley, Doug Cooper, Jenny Priestley, Tom Mimnagh and Stuart O'Connor rabbit on about War Horse, Goon, Margin Call, Clint Eastwood's J Edgar, Madonna's W.E. and the Fassbender member in Shame. Oh, and there's also talk of some award show or other ....

You can listen to and download the podcast here – or subscribe to it on iTunes ... plus you can also follow us on Twitter, or join us on Facebook.

We'd love your feedback too, please. After having a listen, come back here and post your comments below (you'll have to register first).

All Bond, all Blu-ray: celebrating 50 years of James Bond

Stuart OConnor — Thu, 12 Jan 2012 19:59:04 +0000

By Tim Pelan

2012 promises to be a bumper year for James Bond fans. Fifty years ago producers Cubby Broccoli and Harry Saltzman, together with director Terence Young and shupershtar-to-be (ahem), Sean Connery, released Dr No, the first cinematic adaptation of Ian Fleming's smooth and deadly British secret agent.

In October this yearSkyfall Skyfall will be the 23rd film in the series that shows no sign of falling out of favour with fans around the world, no matter who plays Bond, whether he wears denim and a scowl, as does Daniel Craig, or a safari suit and a raised eyebrow, a la Roger Moore.

To mark the anniversary, Eon Productions, MGM and Twentieth Century Fox Home Entertainment are releasing all previous 22 James Bond films in one bumper boxed set, entitled Bond 50. Only some of the films have previously been released on Blu-ray.

The news was announced in suitably glitzy fashion at the Consumer Electronics Show in Las Vegas on January 10. The panel at the event included Bond directors John Glen, Michael Apted and Martin Campbell, who successfully introduced both Pearce Brosnan and Craig as new Bonds. Also present were Bond girls Olga Kurylenko and Caterina Murino.

The set will feature 130 hours of bonus features and retail in the UK for around £89. One disc will feature brand new content. It is unknown at this stage if the previously available extra material will all be upgraded to high definition, or indeed, if all the films will be available seperately.

You can watch the trailer for the boxed set below.

And what is the mainstream anyway?

Stuart OConnor — Wed, 11 Jan 2012 20:38:57 +0000

Some thoughts on David Cameron’s ideas to improve the commercial prospects of UK film
By Stuart Barr

Text Today (January 11, 2012) the UK’s prime minister has outlined some of the coalition governments’ ideas of how to improve the commercial prospects of our small island’s film industry. You may have noticed this already, certainly Twitter and Facebook have been buzzing with comments. Well from the secluded woodland cave in which I dwell (it’s damp, it’s dark, and there are threatening noises from the midden area, that’s the way I like it) I thought I might put forth some of my own opinions on the Right Honorable David Cameron’s ideas.

It should be pointed out that the reported remarks come in advance of a speech he is delivering today at Pinewood Studios (although clearly officially leaked), and also proceed Lord Smith’s review of Government policy that will drop next week.

The gist of it is that the government wishes to provide more help for UK producers to make “commercially successful” independent pictures without the need for significant investment from Hollywood. Lord Smith (a former Labour culture secretary) is widely expected to suggest a refocussing on National Lottery funding that will favour independent films with “mainstream” potential, and the development of an export strategy for British film. On the surface this sounds laudable, but this strategy seems to me to be based on one massive Iceberg-ahead sized assumption and is extremely deficient of comment on some of the basic building blocks required to sustain a commercially viable longterm film industry.

Let’s start with the iceberg. Here’s a quote, you will have heard it before.

NOBODY KNOWS ANYTHING!

William Goldman, from his book Adventures in the Screen Trade. The caps and exclamation mark are my addition, for like emphasis innit.

Does Cameron have a mystical palantír hidden away in Number 10 that allows him to foresee the future success of any given script in development? I think not. This is why companies like Film 4 and BBC Films (oops sorry, I shouldn’t mention the BBC. Slapped wrist) spend a significant proportion of their budgets on script development, and trying to nurture new writing talent (and, in my opinion, they don’t spend nearly enough). Did anyone hear Cameron proclaiming this time last year, then what the UK film industry needed to to was invest in a low budget spin off of a niche Channel 4 sitcom popular with young people? Anyone? No, so let’s knock the crystal ball theory on the head.

The truth is, that the British film industry is already doing this. Everyone is already chasing a hit, for goodness sakes find me a film producer who does not want their slate to be commercially successful. There are however degrees of success. I suspect that Cameron is doing what many politicians have done in the past, looking at a recent success and being blinded by delusions that if we just continue making films like The King’s Speech, then audiences will continue to flock the the multiplex to see them. Well I’m sorry, this is demonstrably untrue, The King’s Speech was a huge hit and one that continued its success out of the domestic market and into that fabled land of honey and riches AAAA-MER-EEEE-KAAA (fuck yeah!) But it also had the benefit of US distribution by The Weinstein Company, who know how to market and sell a film like this like nobody else (all the way to Oscar glory). There is nothing wrong with that, absolutely nothing, but on paper a film like, say, My Week With Marilyn sounds like just as surefire a hit. It hasn’t been.

Also going back to The Inbetweeners movie, a massive hit at the UK box office, beyond anyones predictions, hopes or expectations (including the filmmakers). The film earned £45 million at the UK box office alone. Now this is my opinion, but I do not think that the film will carry that success over to the US, I just don’t. Frankly though, who cares. This is a film that shows that making export the cornerstone of British film industry strategy is foolish. It is perfectly possible for us to make films aimed primarily at the domestic audience and for them to be profitable.

The days when an organisation like the BFI existed to foster the development of small British films aimed at the art house and without commercial considerations are long gone. Would the films of Derek Jarman get funded now? Well look at the recent output of Peter Greenaway, or the extreme problems Terrence Davies has getting a new project off the ground. The fact is, that the filmmakers that are constantly used as ammunition for the argument that the British industry does not make films that are audience focussed or commercial are most often innocent of these charges. Ken Loach and Mike Leigh (for it is they) continue to make films because they continue to receive funding. They continue to receive funding because they both have a track record of making films that reach an audience, are relatively cheap to make, and return a modest but reliable profit. It would be equally a fallacy to base industry strategy on making these kind of films alone, but no one is doing that!

The history of the defunct UK Film Council is littered with the stinking corpses of films that were absolutely made with purely commercial considerations. The Sex Lives of the Potato Men is a title that still gives me cold sweats. But these films were in the main made with the objective of being successful. How would Cameron’s vision prevent such a stinker from being made?

I applaud the government for trying to put the UK film industry on their agenda, but I would suggest that the best way forward is not to narrow the focus in favour of what seems like a safe bet. For example a few years back I was sitting in the NFT watching a preview of Sunshine. At the post screening Q&A director Danny Boyle was asked what his next project was. He replied that he was making a film about the Indian version of a popular game show set in Mumbai, that would focus on the crushing poverty of the city, and would be partly in Hindi. Yes, I admit that my brow furrowed and I thought, “no one is going to want to see THAT Danny”. Now I ask you, do you think David Cameron’s reaction would have been any different?

Now, to the stuff that is not mentioned in Cameron’s remarks.

If I were to suggest where government support and even intervention (although this is another debate that needs to happen) should go, then I would point to three crucial areas. Distribution, exhibition and support for new talent.

There are many UK distributors out there, but they have to compete with multinational organisations with far greater resources to pour into marketing and distributing their films. When you go to the multiplex, how many screens are showing Mission Impossible right now? And of those screens, how many are even half full on a Tuesday night? UK distributors face an uphill battle even getting their films into a cinema near you. Arguing for legislation for an enforced quota of British films to be shown in British cinemas is a controversial call and it is one that needs careful consideration and debate. But really, would it be so bad? France has operated such a system for years, and South Korea has seen its film industry rise to become a significant player on the international market which its own measures in this area. I think this deserves consideration even as I acknowledge that forcing cinemas to screen bad British movies could be counterproductive (so lets make good ones).

So exhibition then. Film ticket price increases have far outstripped inflation. Add in the extra gouging being done for 3D, and it is hard for the punter not to feel they are being ripped off. At the same time the experience of cinema is being devalued by shoddy presentation, and tolerance and even encouragement of ignorant practices by a portion of the audience. The multiplexes have followed the Blockbuster model of supply and demand where half the screens are devoted to the same single blockbuster so that the customer can see what they want, when they want. Just so long as it is Transformers. This is an aspect of the rise of entitlement culture. Really, is it too much even to expect audiences to check the times a film is playing now?

This is why independent exhibitors, and film societies and clubs deserve support. Instead in April last year, the government cut all funding to The British Federation of Film Societies. In rural areas such societies, almost exclusively run by volunteers who just love cinema, are the only way you can see independent films. A rum state of affairs.

Finally, Cameron says nothing about fostering new talent. Where are tomorrow’s writers and directors going to come from? By insisting on a focus on solidly commercial prospects I have serious concerns that this will lead to more films from established talents, based on established properties, and less films by first time directors and writers. Not to mention new cinematographers, editors, lighting technicians, musicians, and so on. This is a serious oversight and it needs to be addressed.

Remember the film industry is just that, an industry. Film production supports a huge network of professions, crafts, skills, and brings money into the wider economy. Film productions do that even before they hit cinemas (if they do at all). I fear that Cameron’s comments show a lack of joined-up thinking and foresight, and I dearly hope this is not reflected in next week’s Smith report.

Oh yeah, if you want to help the UK Film industry, make the effort to see some independent films and if you can do so, do so at independent cinemas (less texting for a start). Please don’t just wait for it to show up on Netflix.

Sharp Observations: Love Actually is Loathsome, Actually

Stuart OConnor — Wed, 04 Jan 2012 18:10:46 +0000

By Sarah Sharp

It’s the Christmas season and a few of my friends recently got married. So now’s probably not the best time to bring this up. Of course, there’s no real "good" time to take a stab at Richard Curtis, Our Saviour of all things Schmaltz and National Writing Treasure in-residence; much less his much-loved and lauded festive bonanza, 12 stories for the price of one and time-constraints be damned. Curtis and Christmas are like the Power Rangers in their final morph stage: on their own they are mighty forces, but combined they become nigh invincible. ‘Tis a brave man that tackles the Curtmas monster – a brave man, or a fool.

I guess I’ll give it a shot then.

Let me say at the outset that I do not expect to convince you. Confessing one’s hatred for a film founded on love and Christmas, penned by Dibley Vicarage Mr Cuddles, is tantamount to skewering newborn lambs in front of toddlers and telling doe-eyed parents what you really think thir baby looks like. I may as well lash myself to the stake and bring my own matches. At least Dawkins had Science on his side.

But let me also make it clear that it isn’t the subject matter that sends me spitting bah humbug blood. I’m not averse to a romcom here and there; I’ve even been known to enjoy Christmas. Love’s alright, as it goes – it is to a greater extent the thing that makes the world go round (well, next to money and interdependent international economies and large-scale warfare. Think even Chris Morris might have a job turning that into a comedy though). I may be hopeless at relationships but I’m also a hopeless romantic. It’s not the love that gets my goat, actually: it’s just Curtis Love. Curtis Love just don’t cut it with me. Let’s examine.

In keeping with the festive spirit, Monsieur RomCom seems to have had a sudden pang of social conscience and constructed a film around the premise of an Outreach program to Britain’s poor and ailing actors. No one is overlooked – big, small, black, white, good, bad, happy, sad – all are brought in out of the bitter chill of festive blockbusters and tended to with witty lines of inconsequential dialogue. And even then, when all seems well and the languishing thesps each to a man seem to have been given a role or fair to middling fluff and nonsense, still then comes the anguished cry from our tortured benefactor – "but what about Rowan? He’s barely been in anything since I co-wrote the seminal and multi-award-winning Blackadder. And that was yonks ago! Poor guy, he’s really strapped for cash, what with all those sports cars to run. Get him in too! He can wrap presents or something."

And so, in the egalitarian spirit of Christmas and British comedy (both of which tend to be most enjoyed by those that are already have quite a lot on their plate), all were welcomed to the Table of Curtis, to feast and drink and mingle and be merry. (Except Laura Linney, who had a Sad Role).

But the resultant medley is so slipshod and saccharine, so patchwork and poorly put together, skipping between tragedy and comedy with all the instability of a manic depressive on super-spin cycle, that rather than bringing a glow to my heart it makes me want to claw my eyes out. It’s like a bumper set of Russian dolls, gaudily painted hollowed husks, easily broken open to reveal ever diminishing layers of narrative.

The great transgression of Love, Actually is that I really want to love it, actually. Really, really, truly, deeply. But I can’t. I’ve tried, really I have, but I always crack at the last hurdle. It may start out with good intentions, and yes, it is at its heart a multi-faceted parable about the omnipresence of love and the implacable bonds between individuals that come to the fore in the festive period – but for all that, you’d have to be bonkers to buy into it. The vast suspension bridge of disbelief that is needed to support any Richard Curtis plot gets strained beyond comprehension in this offering, until by the final twenty minutes we’re hurtling through high farce like Thomas the Tank Engine on MDMA. And then, at the 11th hour, when the pig of Whimsy has just soared past the window, there came the call nobody could bear to hear – "Rowan’s written off [one of] his [several] Porsches! You there, Plot Guy – find room! Quickly dream a completely illogical scene in which the Man who Wrapped at the Jewellery Counter turns up at airport security to facilitate pointless plot exposition!"

I can sense your discomfort: I won’t keep you much longer. I recognise that my aversion to Curtmas is an anathema, just like Donkey’s hypothetical parfait-hater. So I will try to compose my thoughts into a succinct bitesize chunk (unlike others I could mention…). So, without further ado, but possibly some lawsuits and letterbombs, I give you my Top Five Minor Quibbles With Love Actually (, actually):

1. The issue of time
A kids’ play at school on Christmas eve? Going to which terminal now? M25 at Christmas time? Pah! Trouble me not with your peasant consternation. Did you see the standard accomodation of these individuals? They have no use of the commoners’ roads! They are transported direct to the airport via Posche-laden conveyor belt. Move aside! It’s Schindler and his precociously smitten child-boy-sidekick! Mini-Mariah, get down here and suddenly admit to knowing who the fucking hell he is (she could have done that earlier. Would have saved us all a lot of time. A lot of time. And Rowan Atkinson could have clocked off earlier and saved me personally a lot of angry hand gesticulation).

2. The issue of housing
Has Mr Curtis ever stepped outside of Notting Hill? No, really? Was that eponymous film just his idea of a locally made indie picture? I’m not saying a want Bullet Boy – just something that isn’t a mews, a white porch Kensington terrace, a split level studio or an open plan multi-vaulted wood-panelled apartment; indeed, anything that looks like it might have cost less than half and million and the life blood of your first-born child. Not one of these fuckers even works in banking!

3. The tenuous character links in a futile and specious attempt to make a coherent whole out of what is essentially a giant amorphous wankstain
Kris Marshall is in love with temptress lady and her bug eyes. Does it have any bearing on the plot? No it does not. Is it nevertheless made a point of in an early establishing scene, as if it might Go Somewhere? Yes, yes it is.

4. Keira Knightley’s Face
Really not sure if it makes me angrier when it’s got words coming out of it, or when it’s just sitting there, dormant. Like a porcelain slab carved from pure Irritation.
"Oh," she cooes, pleasantly surprised by her own mawking image in a wedding dress – "I look quite pretty, don’t I?"
She looks back to a wilting Andrew Lincoln for affirmation. I look frantically in the drawer for a revolver.
OF COURSE YOU LOOK BEAUTIFUL! YOU’RE KEIRA FUCKING KNIGHTLEY! YOU WERE HEWN OUT OF BEAUTY INCARNATE AND BREATHED INTO LIFE BY THE THREE GRACES OF A PIRATE MOVIE FRANCHISE! False modesty = not cool. Shame on you, Curtis; shame on you, Keira.

5. The Title
Love Actually. Actually what? What else was it supposed to be? Here is this going? I hereby propose the following revised titles:
    Love, Like, Totally.
   Love, Defo
   Love. For Realsies.
Take your pick, Curtis. I await your call.

3 days of Christmas: TV tips for 31 December, 1 & 2 January

Stuart OConnor — Fri, 30 Dec 2011 17:03:07 +0000

Your guide to the top TV highlights for New Year’s Eve, New Year’s Day and Bank Holiday Monday, on Freeview.

NEW YEAR’S EVE Ah, New Year’s Eve – the one night of the year we can be guaranteed endless “100 Greatest” shows to round up all manner of trivia from 2011. However, picking through the endless repeats as well (for New Year’s Eve is traditionally a viewing wasteland) the one that is really worth catching if you missed it earlier this year is Eric and Ernie (BBC2, 9pm), a sharply observed biopic about the early days of Morecambe and Wise. It covers their separate childhood debuts on the vaudeville circuit, the beginnings of their teenage friendship and decision to create a professional partner, right up to the time they first appeared on TV. It’s a heart-warming and very well-written comedic drama that captures both perfectly. Victoria Wood does a superb turn as Morecambe’s encouraging and smart mother, and there’s a nice cameo by Vic Reeves as his dad.

Jamie Smith's Harry Potter DVD marathon

jamiesmiff — Mon, 26 Dec 2011 20:27:08 +0000

By Jamie Smith

Ever wondered how long it takes to watch each Harry Potter movie back-to-back? Well, it takes around 18 hours. And a bit. I fancied a challenge on my day off so I'm giving it a go. How long will it take until I believe I'm actually a wizard? Will I jump out of the window on a broom, thinking I can fly it? Will I start trying to buy pumpkin juice from Tesco online? Read on...

Harry Potter and the Philosopher's Stone

The one where we meet everyone - aren't they all small! I'm a little behind schedule - it's 08:40 - but the first film is on. Let's do this! The first film, for me, is probably the most faithful adaptation of the series. It doesn't stray far from the source material, but that's not to say it is without flaws. The characters and themes are introduced a little clumsily - "You're a wizard, Harry!" being a particular lowlight - but this is the case in the books as well. We're almost an hour in before anything dramatic happens, at the flying lesson when Neville falls off his broom and Harry rescues the Remembrall in his first encounter against Tom Felton's slimy Draco Malfoy. But once we're at Hogwarts, there's a good, zippy pace to it and soon we're at the final showdown with Professor Quirrell/Voldemort. The acting from the three young leads is not great, with Emma Watson's smug, know-it-all Hermione the best of a bad bunch, but the impressive cast distracts from that. Robbie Coltrane as Hagrid is inspired and although the late Richard Harris doesn't get to do a lot as Dumbledore, he's a much better fit for the role than Michael Gambon. John Hurt and Maggie Smith light up the screen in their brief cameos. I really like the bit with Harry in front of the Mirror of Erised - in a fairly charmless and humourless film, it's a rare moment of introspection that shows Harry is still lonely without a family, despite all his new friends. Quidditch is a highlight of the film, with director Chris Columbus handling the sport better than any of the directors who followed him. The movie also works pretty well on its own, as the first in a saga often does, although for HP fans it's really just setting things up for later on. The sub-plot involving Hagrid's dragon is underused though and just feels like a MacGuffin to get into the Forbidden Forest for the first time, while the group being isolated due to losing the house points is brushed over. I need breakfast before soldiering on with film two. I'm also tweeting the action @jamiesmiff on the hashtag #harrypottermarathon.

Jenny Priestley's Top 10 films of 2011

Stuart OConnor — Fri, 23 Dec 2011 20:18:35 +0000

10. The Way
Emilio Estevez directs his father Martin Sheen in a drama about a father walking the El camino de Santiago in memory of his recently deceased son. Sheen delivers a really strong performance as Tom, nearly always understated and giving him a quiet dignity never descending into sentimentality which would have been easy given the real father/son relationship. It's not showy, just a well acted drama that I found engaging and engrossing.

9. X Men: First Class
Matthew Vaughn and Jane Goldman take the superhero story back to its origins while also using real-life events from the 1960s to tell the story of Charles Xavier and Eric Lensher (Professor X and Magneto). James McAvoy and Michael Fassbender stand out as the two leads, ably supported by Jennifer Lawrence as Mystique. And it has the best cameo of any film this year.

8. Biutiful
Biutiful is a dark film, not just in tone but also in its visuals. There's very little light here but that shouldn't put you off, it's still a very good film with a particularly good central performance from Javier Bardem. He is on excellent form and I was surprised he didn't feature in awards season. Maybe this is because the film's in Spanish, maybe it's because it's hard work at times, but as the inevitable ending draws ever closer, his portrayal of the desparate father breaks your heart.

7. The Fighter
To be honest, there's very little to surprise you in The Fighter, it's an age-old tale of underdog come good. What makes this film stand out is the performances from its fantastic actors, Christian Bale in particular. As a non-boxing fan I found the story thoroughly absorbing. For the first hour the fighting actually takes a back seat so that the story and characters are able to develop. There's also a lot of humour; any scene involving the brothers' seven (seven!) sisters are a lot of fun.

6. Moneyball
For me, Brad Pitt's most likeable role ever. For a film about sport, there's very little action in Moneyball. Most of the games themselves are shown in montage so even I could keep up with what was going on. This is a film about the underdog overcoming adversity to triumph against the odds - nothing we haven't seen before but told with real heart and a fantastic central performance by Pitt.

5. Rise Of The Planet Of The Apes
I went in to this film really not knowing what to expect. I came out having been hugely entertained. It's a story that rolls along at a fantastic pace, drawing you in as it moves along. The human characters take a back seat to the apes, fantastically portrayed by Andy Serkis et al. It really is time for an actor to be feted for their work with mo-cap and Serkis is the leader of the pack in more ways than one.

4. The Adventures of Tintin
Steven Spielberg and Peter Jackson working together? Of course I was going to love it. And I did. Many have described Tintin as the fourth Indiana Jones film Spielberg should have made instead of the terrible Crystal Skull. But really this stands on its own, taking Herge's story and using a thoroughly modern filming techinque to tell the story. The scene with the motorbike is probably one of the most heartstopping moments you'll see on screen this yeat - it doesn't matter that it's animated (or mo-capped).

3. The King's Speech
It still shouldn't have won the Best Picture Oscar, but The King's Speech is one of the best films of the year, showing the skills of a cast of actros at the top of their game. Colin Firth obviously stands out as Bertie but he's well supported by Helena Bonham Carter and Geoffrey Rush. It's also very funny.

2. The Artist
This film stands out like a shining beacon when compared to the other films we've seen in cinemas this year – and not just because it's "silent". It's a film about filmmaking and we all know how great they can be (Singin' In The Rain anyone?). I found myself immersed in the story of the fading silent star, it didn't matter that the characters didn't speak, it's still hugely emotional in places. And Uggie the dog puts in one of the best film performances of the year.

1. Tinker, Tailor, Soldier, Spy
Filmmaking at its finest: well written, beautifully acted, great period detail, atmospheric and engaging. We've seen Gary Oldman in three films this year: Red Riding Hood, Harry Potter and this – and he's completely unrecognisable as George Smiley, he inhabits the character completely. Again, there's terrific work from the supporting cast, Benedict Cumberbatch, Tom Hardy and Kathy Burke stand out in particular. I still have an issue with some of the casting though - anyone who's seen it will know what I mean. I love films where actors are shown at their best, and this is an actors film through-and-through. The DVD's out in January and it's top of my want list for the new year.

Neil Davey’s 10 Worst Films of 2011

Stuart OConnor — Thu, 22 Dec 2011 20:12:35 +0000

Bridesmaids
While this list is, as per, in no particular order, there is a “winner”: the godawful, alleged “comedy” of Bridesmaids. While there are always films I hate that other people love, I can usually understand why they like them. Bridesmaids came so heavily recommended by people I trust it was never going to live up to expectation but to fall that far short? It’s a complete mess, wastes its female leads, features precisely one laugh in its seemingly endless running time...

Your Highness
Dear Hollywood. Comedy is meant to be funny. It’s not meant to make you want to kill everyone involved in the production, every “respected” critic who told you it was good and then yourself for wasting 90 minutes of your life watching people getting paid millions of dollars to, basically, dance about saying “poo”, “bum” and “willy”.

Hanna
A great trailer, a great soundtrack... and one of the most unintentionally hilarious films of the year. Again, perhaps it was the hype but when a thriller makes you laugh more than the above “comedies”, something has clearly gone badly, badly wrong.

Cars 2
Something I never thought I’d be doing: writing about a Pixar film on THIS list. It’s devastating but not as devastating as sitting through this film in the first place. Noisy, uninvolving and just plain poor.

Attack The Block
Proving that it’s not just America that can get things wrong, the Brits decided to celebrate chivvy inner city gang culture in this twist on man v alien. The result is you want the aliens to win. I’m guessing that wasn’t the intention.

Source Code
Fellow critics who told me I had to see this: what the fuck are you smoking? Almost as unintentionally funny as Hanna, this took a director on the up, a cast you’d assume could do no wrong and a story that sounded intriguing... and turned them all into a mawkish, boring and anti-climactic pile of poo.

Sucker Punch
No argument? No. Thought not.

The Dilemma
A film so bad I can’t even face double checking the spelling of Jennifer Connelly’s name. So much talent, so little result.

Hugo
Oh, it’s a joyous love letter to the wonder of cinema. No, it’s two hours of terrible slapstick and bad 3D about a highly slappable child living in a wall.

Midgets vs Mascots
Yeah, but nobody’s at all surprised...

Neil Davey’s Top 10 films of 2011

Stuart OConnor — Thu, 22 Dec 2011 20:02:37 +0000

Blue Valentine
It’s been a great year for Ryan Gosling and Michelle Williams. Drive and My Week With Marilyn look likely to earn both of them Oscar nominations but, frankly, they should already have golden statuettes from this heartbreaking dissection of a failing relationship. Like Tyrannosaur, an exceptional film and, ironically, one that I’m not sure I could ever watch again.

Tangled
Nothing like a complete about face is there?! Disney’s take on Rapunzel was, is and always will be an utter joy. Funny, romantic and life-affirming, Tangled also features the studio’s best score since Beauty & The Beast and two of the best animal characters they’ve ever drawn.

The Fighter
Quite how this lost out to the twee, overrated, Sunday-night-BBC-drama of The King’s Speech is 2011’s second most baffling film questions. Compelling and triumphant. They was robbed.

Never Let Me Go
Blimey, 2011 was quite the year for bleak films, wasn’t it? This haunting tale, from the novel by Kaxuo Ishiguro, proved unforgettable / that Keira Knightley can act. And confirmed that Carey Mulligan is the best thing to come out of the UK for blooming years.

Inside Job
If you only see one film off this list, try and make it this anger-inducing, Oscar-winning documentary about the banking industry. You owe it to yourself to watch this. Careful though: it will make you want to slap people.

Paul
Because it’s not always about the best films of the year. Sometimes it’s about the films that you just bloody loved, that you could happily sit through again and again, that just made you laugh. A lot.

Real Steel
I know it was flawed, I know it was clichéd, I know there are more worthy films that I should be tempted to include here but Real Steel is probably my favourite movie of the year. It’s glorious hokum and if you didn’t get to that final fight scene without a tear in your eye, then I fear for your soul.

Super 8
Like Real Steel, Super 8 was a slab of pure entertainment, that delivered in terms of thrills and heart. As well as being the best study of teenage friendships since Stand By Me, it’s a cracking thriller. It takes a lot to make me jump. Super 8 did it three times.

The Adventures of Tintin
While we’re in a shameless entertainment vibe... There was a lot of pressure on the Belgian boy hero’s narrow shoulders. Peter Jackson AND Spielberg directing? All of that marvellous nostalgia? The film though delivered in spades. Stupidly exciting set pieces, excellent voice work, wonderful (and playful) 3D.

Patagonia
Didn’t see that one coming, did you? To be fair, there were several contenders for this final spot – Senna, True Grit and Drive included (and, for the record, Drive was the one I deliberated over longest). But, weirdly, it’s this poetic tale of Wales, Argentina and the longstanding links between the countries that lingered longest in the mind.

Tom Mimnagh’s Top 10 films of 2011

Stuart OConnor — Thu, 22 Dec 2011 19:51:21 +0000

1) Super 8
A film with everything – action, gentle humour, science fiction and healthy dose of nostalgia, evoking memories of classic Spielberg. The effects are well done (I was not bothered by the lense flare which a lot of people seems to take issue with), and it pulls together into an intriguing "coming of age"/sci-fi adventure for all the family. Elle Fanning is also clearly one to watch for the future.

2) X-Men: First class
A brilliant concept, excellent casting and despite the big budget it feels like it is understated and subtle in comparison to some of the more brash comic book film releases of recent years. The 1960s setting also removes it from the universe of the other Marvel films which makes it very distinctive. Shame about the Take That soundtrack over the credits though.

3) Rise of the Planet of the Apes
I’ve always been a fan of Planet of The Apes, until Tim Burton looked like he had killed off the franchise forever! So it was a welcome sight to see the series get a new lease of life with this excellent prequel. If nothing else this film is a must see for Andy Serkis’s performance as Caesar, possibly the best motion capture performance you’ll ever see. James Franco and John Lithgow are also excellent in support.

4) Tinker Tailor Soldier Spy
Very little to add that hasn’t been said by others, Tinker Tailor is a wonderful espionage drama, and though not to everyone’s taste, was a personal highlight for 2011. It will always fail to match up to the Alec Guinness starring adaptation, but not by much, which is high praise indeed considering the regard in which I hold Guinness. Firth, Cumberbatch and Hardy are all excellent.

5) Perfect Sense
Another unfortunately overlooked gem this year, beautifully acted by Eva Green and Ewan McGregor, a touching love story during a far more realistic apocalypse than film is normally capable of producing, gradual and gritty, and filmed on a surprisingly small budget. Engrossing and enthralling throughout.

6) One Life
A spectacular look at a variety of animals in stunning detail, from birth, surviving in the harshest conditions, to having their own offspring, expertly narrated by Daniel Craig, as excellent as you would expect it would be for a BBC natural history film.

7) Bobby Fischer Against the World
An intriguing look into one of the most brilliant, but warped, minds in the history of chess, and his spectacular rise and fall. The film has access to all kinds of unprecedented intriguing photography and video footage which shows Fischer at his peaks and his lowest ebbs.

8) Thor
The second-best Marvel film of they year – perhaps a controversial statement for those who loved Captain America, but I’m standing by it nonetheless. Chris Hemsworth is excellent as Thor, while Tom Hiddlestone is perfectly cast as Loki. Brilliant effects and a cracking story add to a fun filled adventure that perfectly balances the amount of focus on Earth as well as Asgard in the run in to the Avengers film in 2012.

9) Source Code
I’m not a fan of Jake Gyllenhall in general terms, so any film he is in will need to do a lot to gain my approval. However, this is an apt follow up to Duncan Jones’ directorial debut with Moon, showing that he is more than capable with a bigger budget and more complicated story. Gyllenhall is also surprisingly reserved in his role, and the film keeps you guessing right until the final third.

10) Tucker and Dale vs Evil
T&D takes every slasher horror cliché and turns it completely on its head. It's brilliant from start to finish, criminally overlooked and very, very funny to boot. Tyler Labine and the always reliable Alan Tudyk both shine as the misunderstood hillbillies.

Worst 5 films of the year (in no particular order):
Transformers 3: Dark of the Moon
Abduction
You Instead
Avuahood
Sucker Punch

The 3 days of Christmas: TV tips for December 24, 25 and 26

Stuart OConnor — Thu, 22 Dec 2011 15:36:08 +0000

By Louise Bolotin

Your guide to the top TV highlights for Christmas Eve, Christmas Day and Boxing Day, on Freeview.

CHRISTMAS EVE
Christmas Eve is surprisingly devoid of quality viewing, apart from the slew of seasonal films that get trotted out every year and fill most of the schedules from breakfast till midnight. On the drama front there’s an extra episode of EastEnders (BBC1, 8.45pm) for soap fans that will set the scene for Christmas Day’s annual spectacular. My top tip is Lapland (BBC1, 10pm), a feature-length comic play starring Sue Johnston about a Liverpudlian family who go to Lapland in search of Father Christmas. It’s a fairly predictable tale of redemption for a quarrelsome brood, but for a heartwarming seasonal tear-jerker it’ll do the job. Pack tissues.

If you’re still panicking about what to cook, there’s a repeat of Nigel Slater’s Simple Christmas (BBC1, 11.15am) that’s packed with some mouthwatering recipes that don’t involve turkey or figgy pudding and leaves plenty of time to hit the supermarkets for last-minute ingredients.

ITV is going all out for a celebrity-packed evening, kicking off with The Cube Celebrity Special at 6.30pm and featuring some of Coronation Street’s regulars. At 7.30pm, Ant and Dec plus Holly Willoughby front Text Santa for several hours of star-filled entertainment and fundraising for charities. Expect musicians and actors looking to revive their careers alongside the feelgood factor.

Carol services are traditional on Christmas Eve and there’s plenty to choose from. BBC2 starts off with its annual Carols From Kings at 5.45pm. Cambridge’s famous choir singing all the traditional hymns heralds the start for many of Christmas, religious or not. ITV are screening Carols From Bucklebury (11.15pm), a rural parish in Berkshire. Kate Garraway drops in on the candle-lit service and chats to the villagers. Finally, there’s a live Midnight Mass (BBC1, 11.45pm) from the Roman Catholic St George’s Cathedral in London.

CHRISTMAS DAY
The highlight of the schedules is undoubtedly the two-hour Downton Abbey Christmas special (ITV, 9pm). Season 2 was patchy, but this one-off episode shows that creator Julian Fellowes is truly back on form. The special has been strictly embargoed so I can’t reveal much except to say that the will-they won’t-they on-off romance between Lady Mary and heir presumptive Matthew Crawley contains to play out, with various consequences, and the fate of Mr Bates, arrested for allegedly murdering the first Mrs Bates, is further revealed after season 2’s cliff-hanging finale. There are also developments for Lady Sybil and Lady Edith that will surely be explored in more depth next season. And in a side storyline, there’s a terrific cameo by Nigel Havers as a fortune-hunting bounder. Fans will not be disappointed at all, oh no.

BBC1’s drama offerings start with Doctor Who (7pm). This hour-long special draws on The Lion, the Witch and the Wardrobe for inspiration as the Doctor travels back to 1941 to help a young war widow (Claire Skinner from Outnumbered) and her two children come to terms with their loss, taking them through an enchanted time portal into a magical other world. It’s packed full of guests stars – Bill Bailey, Alexander Armstrong and Arabella Weir – and is a real Christmas delight that will excite the kids and charm adult viewers.

From fun to gloom with the EastEnders hour-long annual doomfest (BBC1, 9pm) that will have fans biting their nails as this grim Christmas day unfolds into tragedy. Again, the plot is heavily embargoed but Phil remains on the rampage as he comes closer to discovering the identity of his stalker, tensions are still high in the various Branning households and matters come to a head in the poisonous triangle composed of downtrodden Zainab, the malign Yusuf and stressed-out Masood trying to find his young son Kamil. This goes head-to-head with Downton, by the way, so some of you will need to set PVRs or use the online catch-up services if you want to see both. There’s more doom and gloom in Weatherfield for Coronation Street fans (8pm) not to mention danger. There’s a fire at the Croppers’ house that threatens the lives of several residents and Tracey’s spinning out of control as she tries to keep her latest batch of lies undiscovered.

There’s light entertainment on offer too. There’s a Christmas special for Strictly Come Dancing fans (BBC1, 8pm), with some of this year’s contestants plus guest dancers who include Su Pollard (who really ought to come with a nuclear warning), EastEnders actor Charlie Brooks, boxer Barry McGuigan and Blue singer Simon Webbe. Over on BBC2, ballet star Darcey Bussell Dances Hollywood (6.30pm) in an exquisite tribute to some of cinema’s greatest musicals. It’s full of beautifully recreated routines by stars such as Ginger Rogers, Gene Kelly and Debbie Reynolds, among others. And don’t miss the return of Absolutely Fabulous (BBC1, 10pm). Edina and Patsy are back to their Bolly-swigging antics in the first of three season specials. The script is razor-sharp and full of brilliantly honed gags that include an hysterically funny take on The Killing.

BOXING DAY
Settle down with a pile of turkey sandwiches and the leftover Bailey’s for The Borrowers (BBC1, 7.30pm). This fabulous version of the classic children’s story by Mary Norton knocks spots off the 1997 John Goodman film. Christopher Eccleston tops the bill as Pod in a star-studded cast that includes Victoria Wood, Stephen Fry and Shaun Dooley. The little people who live under the floorboards, led by Pod, are thrust sharply into the gigantic world of humans when they are caught sneaking around the house borrowing items. This is without doubt the best programme of the day – heart-warming, beautifully toned and undemanding as you wind down after the big day.

Unusually this year, there’s no new Poirot Christmas special but ITV offers a worthy rerun of 2009’s The Clocks in Agatha Christie’s Poirot at 9pm. David Suchet, who was surely born to the title role, heads the two-hour dramatisation of one of Christie’s less well-known whodunits. A dead man is found in Dover behind a sofa, with all the clocks mysteriously stopped at 4.13pm. The plot stretches incredulity somewhat, in typical Christie fashion, but who cares when there’s an A-list cast that includes the late Anna Massey, Frances Barber, Lesley Sharp, Geoffrey Palmer, Phil Daniels and Tessa Peake-Jones.

On the cultural front, don’t miss Jane Austen: the Unseen Portrait (BBC2, 9pm) which explores whether a 200-year-old painting that recently came to light is a portrait of the celebrated novelist. Apart from a hazy sketch by her sister, it’s virtually unknown what the author looked like, frustrating for her aficionados as she also gives away so little of herself in her books. Could this discovered portrait finally unlock the mystery? Austen biographer Paula Byrne and broadcaster Martha Kearney try to get to the truth, consulting art experts who can apply their forensic knowledge to the veracity of the painting and discussing it with Austen experts.

Comedian Miranda Hart shifts channels to join Bear Grylls in Bear’s Wild Weekend With Miranda (C4, 9pm), in which the unlikely duo head for the Swiss Alps for a couple of days of risky derring-do among the mountains and glaciers. This a fairly entertaining romp through a moderately harsh winter climate and Hart, who is known for her spectacular pratfalls in her comedy series, proves more adept than you’d expect.

If you missed Professor Brian Cox’s Wonders of the Universe earlier this year, the four-part series starts a rerun on BBC4 at 7pm. There have been some wickedly accurate spoofs of Cox’s unique presenting style popping up on YouTube recently, but there’s no doubting the Oldham-born physicist knows his stuff. In this series, shot in some of our planet’s most spectacular places, Cox looks at how the human race has tried for millennia to understand its existence through religion and mythology and uses science to explain many phenomena such as the mystery of time, from the daily cycle of day and night to the concept of cosmic time. Cox’s great appeal is that he makes difficult ideas very understandable to the rest of us.

Screenjabber Pubcast: Elementary, my dear Salander

Stuart OConnor — Thu, 22 Dec 2011 07:30:25 +0000

Sarah Sharp is back in the host's seat as she, Doug Cooper, Jenny Priestley and Stuarts Barr and O'Connor discuss the upcoming awards season and review a few films, such as Alvin And The Chipmunks: Chipwrecked, Sherlock Holmes: A Game of Shadows, The Girl With The Dragon Tattoo and Mission: Impossible Ghost Protocol. Yes, it's a week for long titles ....

You can listen to and download the podcast here – or subscribe to it on iTunes ... plus you can also follow us on Twitter, or join us on Facebook.

We'd love your feedback too, please. After having a listen, come back here and post your comments below (you'll have to register first).

Stuart O'Connor's Top 10 films of 2011

Stuart OConnor — Wed, 21 Dec 2011 19:15:22 +0000

It's been a good year for film – in fact, a better year than most. It was a strugggle to trim this list to just 10, but I managed. Just. So here, in no particular order (I'll leave you to guess my absolute fave), are my Top 10 Films of 2011 ...

Bridesmaids
It was called a female version of The Hangover (it's not), a chick flick (it's not) and a rom-com (it's not). What Bridesmaids IS is the best comedy of the year. Hollywood finally realised that women are just as funny as blokes, and Kristen Wiig finally got the star vehicles that she's deserved for a very long time.

Rise Of The Planet Of The Apes
A wonderful revisiting of a classic sci-fi series gives a fresh twist on the ape saga, and a bravuro performance from mo-cap supremo Andy Serkis.

Hugo
Martin Scorsese's love letter to cinema is easily the best use of 3D we've yet seen in a live-action film. And probably the only time I've ever seen Jude Law on screen and not wanted to punch him in the face.

X-Men: First Class
When Matthew Vaughn and Jane Goldman get together, good things happen – witness Stardust, Kick Ass and now this wonderful X-Men prequel that details the early days of Professor X and Magneto. It's a stellar ensemble cast, but it's Michael Fassbender's riveting performance as Erik Lensherr that steals the show.

We Need To Talk About Kevin
It's a difficult watch, but utterly compelling. It's a powerful, unpleasant story, but trust me – We Need To Talk About Kevin is a must-see film. You've never seen this subject matter treated in such a way, and when the realisation of what's going on actualy hits you, it's like a kick in the guts. Yes, it's best to know as little as you can about the film before you see it – you will be rewarded.

True Grit
Now I'm not a fan of remakes, but this one is, for once, an exception. I was never a huge fan of the John Wayne take on this story – for me, the Coen brothers have done it so much better. Jeff Bridges gives an interesting read of the grizzled Marshal, Rooster Cogburn, but the outstanding performance is from young newcomer (and Oscar nominee) Hailee Steinfeld.

Drive
Hasn't 2011 been a good year for Ryan Gosling! And his best performance of 2011 is easily in the role of an unnamed Hollywood stunt driver who dabbles in a little crime on the side. Handsome, charming and a man of few words, Gosling's "driver" is easily one of the darkest villains of the year ... and one of the most violent.

Super 8
JJ Abrams does Spielberg ... brilliantly. A blend of ET and The Goonies, Super 8 will make you feel like a kid again. It's also got possibly the best train crash ever filmed ... yes, even better than the one in The Fugitive. And be sure remember the name Elle Fanning – she almost steals the film, and is going to be a talent to watch in the future.

The King's Speech
What is it with films that take royalty down a peg or two? Critics love them, audiences love them and the voters of the Academy love them. Oscars all round for this one – for the film itself, for Colin Firth as the stammering King George VI, for director Tom Hooper and for writer David Seidler. But the unsung star, for me, is Geoffrey Rush as the Aussie doc who helps to fix the king's speech.

Cars 2
This is bound to be a controversial choice, because it's appearing on lots of "worst film" lists around the place. But I really did love Cars 2 – it's the best parody of a Bond film I've seen in a long time. It's fast, it's funny, it looks gorgeous (the cities of Tokyo and London, in particular, are stunningly rendered) and the folks at Pixar just don't know how to make a bad film.

Honourable mentions: 127 Hours, Black Swan, The Fighter, Never Let Me Go, Paul, Animal Kingdom, Drive Angry 3D, The Lincoln Lawyer, Submarine, Diary Of A Wimpy Kid 2: Rodrick Rules, Donor Unknown, The Tree of Life, Melancholia, Harry Potter And The Deathly Hallows: Part 2, Horrible Bosses, Captain America: The First Avenger, Glee The 3D Concert Movie, The Skin I Live In, Kill List, Crazy, Stupid, Love, Real Steel, The Help, The Adventures Of Tintin, Snowtown, 50/50, Shame.

Dishonourable mentions – the WORST of 2011: Yogi Bear, How Do You Know, Arthur, The Beaver, Transformers: Dark Of The Moon, Immortals.

The best HORROR films of 2011: Hobo With A Shotgun, Hatchet II, Rubber, Stake Land, Tucker & Dale Vs Evil, The Woman, Deadheads, Troll Hunter, The Human Centipede 2, The Innkeepers.

Sarah Sharp's Top 10 Films of 2011

Stuart OConnor — Tue, 20 Dec 2011 13:47:33 +0000

1. Tyrannosaur
Not my "favourite" in terms of "ooh, I could watch this again and again and again"; certainly not recommended viewing for snuggle-on-the-sofa kind of cosy night-in (unless you like your sofas piss-stained and drenched in self-revulsion). But easily the most affecting and effective film I’ve seen all year. Considine can now rest on his laurels not only as outrageously good actor, but also a bloody brilliant director. Not that he will, mind you.

2. Bridesmaids
All hail the wondrous entity that is Wiig; genuflect to Her greatness and be glad that we lived to see such cinematic times. SNL old-timer and possessor of the finest legs in Hollywood, Wiig gave us the film with the biggest heart and grossest farts for a long time. Not a rom-com, not a chick-flick: just sheer bloody genius.

3. Tinker Tailor Soldier Spy
Aficionados of the BBC original may baulk, but the big screen adaptation of Le Carre’s meticulous spy-novel was a magnificent feat of British filmmaking at its best. Grey, glum and gloomy, entirely without glamour: this is the cold heart of espionage. It’s also a masterclass in acting: having founding a career on flamboyant madness, Gary Oldman reins it in with a restrained stillness that’ll knock your beige woollen cable-knit socks off.

4. The Guard
It was hard to imagine Brendan Gleeson in a better film, in a better role, than as the world-weary hit man In Bruges. But medieval Europe ain’t nothing next to the Irish outback. Sex, drugs, and rampant racism; oh, and Mark Strong leading a pack of philosophical gangsters given to elongated debates of existential musings. Writer/director John Michael McDonagh is the brother of Martin In Bruges McDonagh: one has to wonder what their Christmases are like.

5. Paul
Brit nerds on US road trip collide with alien sounding strangely like Seth Rogen? This could have been awful. Pegg’s projects to date have been pretty stupendous, so a stinker would not have been out of the question. Thankfully, however, this was not the case. A love letter to bromance, romance and sci-fi, this geek-fest of galactic proportions is not to be missed.

6. Submarine
That Richard Ayoade’s a pretty smart bloke: not only can he fix your computer for you, he’ll make you an eclectic endearing coming-of-age comedy while he’s at it. Painful, poignant, cripplingly funny in places, this will be an all-too familiar tale to anyone who’s ever been a teenager or had parents. Scintillating performances from old hacks and newbies alike. Another award for Paddy Considine’s shelf: most hilarious hairdo in history.

7. The King’s Speech
Need I add to the ocean of praise? Who cares about the niggardly details of actual history? Unruly splurges of ‘fuck’ and ‘bugger’, that’s what I pays me money for. And to see the collected company act their tiny Edwardian booties off. Spiffing stuff.

8. X-Men First Class
Fassbender bending metal and McAvoy manipulating minds: what girl could ask for more? Between the killer bar scene, Kevin Bacon’s mesmerising performance and January Jones’ equally mesmerising breasts, this was a film that pulled all the punches. Silly, sensational and spectacular: First Class is No.1 on my X Men list.

9. Rise of the Planet of the Apes
As Andy Serkis awoke one morning he found himself transformed in his bed into a gigantic [insert any member of animal kingdom here]. Hobbit-goblin, big ape, little ape, Ian Dury – is there nothing the man cannot become? The film was by no means without its flaws, but a thrilling sense of suspense and energy was not among them. Who knew the final days of Mankind would be so watchable?

10. One Day
Beset by the twin threats of rom-com schmaltz and die-hard fans of Nicholl’s novel, the adaptation managed to hold its own with a story both funny and tragic in equal measure. An interesting stab at the accent from Hathaway, but by no means the most execrable offering we’ve ever had from our Stateside cousins – moreover, she made Nicholl’s often grating and irritating Emma into a genuinely likeable and charming character. A tale of the failure in success and life’s missed opportunities, this one’s a heart-breaker.

Nick Wheatley's Top 10 Films of 2011

Stuart OConnor — Tue, 20 Dec 2011 13:25:03 +0000

1. Drive
Nothing has had a bigger impact on me this year than the simple tale of a driver and his trouble with a gangster. The thrills kept me on the edge of my seat; I didn't know where it was going next and the performances deserve a few Oscars next year. Nicholas Winding Refn managed to create a streamlined masterpiece out of so little. Safe to say Gosling's jacket is top of my Christmas list.

2. The King's Speech
Everyone did get carried away with this film nearly a year ago but for good reason. It's a film that could have easily been rather dry and tedious but was transformed into a worthy oscar winner. Epic performances and expert direction turned the story into an international phenomenon that had everyone talking.

3. Rise Of The Planet Of The Apes
Andy Serkis finally got the recognition he deserves thanks to his stunning performance as Caesar, the leader of the apes. This film came completely out of the blue and had the shadow of Tim Burton's remake hanging over it but stunned everyone with its thoughtful take on the apes' beginnings.

4. True Grit
The Coen brothers have been through a good run of form of late and True Grit was an excellent addition to their repertoire. The Coens and the Western genre was an intriguing combination and when Jeff Bridges boarded the project they struck gold. His Rooster Cogburn was an engaging anti-hero and young Hailee Steinfeld gave a memorable performance.

5. Harry Potter And The Deathly Hallows Part 2
My most anticipated movie of the year and it didn't disappoint. After the rather sedate part one, director David Yates saved the best for last. True, there is a lot to get through and maybe not quite enough time to fit everything in that you might like to see but it's a grand finale and one that completes the franchise in bombastic fashion. I've been one of Daniel Radcliffe's biggest critics in the past but I think he finally clicked in this last movie. Plus when supported by Alan Rickman and Raiph Fiennes it's a strong climax, finishing the saga in style.

6. Midnight in Paris
Woody Allen has been hit or miss for quite a while now but he certainly hit the sweet spot with this charming tale of a writer overcoming the traditional writers block. Owen Wilson captures that energy Allen is often looking for from his leads and provides a fantastic performance plus Allen manages to paint Paris in such a beautiful light. Truly one of Allen's best movies.

7. Troll Hunter
A film straight out of Norway that took my breath away just from the title but a throwaway film this is not. Featuring a group of students discovering the existence of trolls this film is an exciting adventure with so much thought put into it. The mythology of the creatures past is incorporated into this film with great action, impressive CGI and some strong performances from the predominantly young cast. Unfortunately, the US remake is already under way.

8.Tinker Tailor Soldier Spy
Not as high on my list as I'd anticipated, I was expecting it to be competing for my own personal honours but it is still a remarkable show. The plot may be a little excessive and understated but it's an acting master class from Gary Oldman and a bold approach from director Tomas Alfredson which still delivers a special and unique spy movie.

9. The Guard
The script for this film is oozing wit with Brendan Gleason's cunning Guard delivering one-liners left, right and centre. An Irish comedy with much more depth than first appears. Watching this and In Bruges sets you up for a cracking double bill.

10. Super
Kick-Ass set in the real world. It's a super-hero movie like you've never seen before and is unforgettable for it's standout violence and in your face humour. With it's solid cast, unapologetic attitude and hilarious dialogue it's definitely worth checking out for pushing the super-hero genre to the extreme.

Honourable Mentions
Bridsemaids: the best comedy of the year proving that girls can do The Hangover too
Thor: Kenneth Branagh brings Shakespeare to the Marvel universe in this silly but awesome super-hero movie
Project Nim: best documentary – yes, better than Senna!
Snowtown: chilling drama, most intense film of the year by a long way
My Dog Tulip: an underrated animated heart warmer
Mission: Impossible – Ghost Protocol: the best stunts of the year
The Adventures of Tintin: Steven Spielberg brings back his Indy vibe
Arthur Christmas: Aardman animation on form again
Hugo: the best use of 3D in a live action film ... of all time

Does anyone want to watch some movies?

Stuart OConnor — Sun, 18 Dec 2011 17:59:44 +0000

By Stuart Barr

Lately, the film blogosphere has been getting me down – but two recent eventshave pushed me over the edge.

The relationship between fandom, semi-pro and amateur movie bloggers and the industry marketing machine is a long and complex one, but over the past year it increasingly seems to be spinning out of control. This is evidenced in the constant drip-drip-drip of paparazzi set photos, leaked plot details, teaser trailers released a full year ahead of the movie they are supposed to be promoting.

It is getting harder and harder for a film fan to reach a movie theatre without such a thorough advance knowledge of a film that they could take it as the specialised subject on Mastermind and score 70% without even having seen the thing.

The most egregious example is, of course, The Dark Knight Rises: official website launched May 2011, first trailer “leaked” July 2011, Empire magazine cover story November 2011, six-minute preview December 2011 . Not to mention the constant, rumours and blurry pap set photos flooding the net and tabloid media. All this for a film that is not going to be released until JULY 2012!

While Warner Brothers has clearly been stoking the flames of fanboy anticipation for DKR, conversely Fox have been trying to keep the lid on Ridley Scott’s Prometheus. Is it an Alien prequel or not? Details of plot and character have been tightly controlled. But even here an apparent full plot synopsis was “leaked”. This may have been a hoax – frankly my desire as a fan of Alien and Scott has completely overwhelmed any journalistic (stop laughing at the back) desire to investigate further. But it requires an effort of will not to crack and take a peek.

Everyone likes to moan about the steady creep of Christmas ads and marketing into October, but film fans find it hard to resist the lure of secret knowledge. Before you know it, people are taking to social media tweeting links, discussing details, and acting just as much cavalier disregard for other peoples’ pleasure as that twat with the 100,000 candle power screen on their mobile phone texting in the front row of the cinema. To go back to the Christmas analogy, it is like telling a child what they are getting for Christmas in June, giving them the manual in July, the box in August and then expecting them to still be excited in December.

The insidious thing about all this is the collusion of studios and blogs to propagate all this marketing fluff. There was a ridiculous incident a few weeks ago when Daniel Day Lewis was photographed in a restaurant trying to keep to himself. However, and brace yourselves if you were unaware of this...

...and note my SPOILER WARNING...

He had a beard!!!

OMG OMG OMG OMG!

A beard. And not just a beard...

Slicked back hair...

OMG OMG OMG OMG OMG!

This stupid photo was then featured prominently in every thing from E Entertainment News (an NBC Universal company) to, eh, Moviehole (sorry, no idea) as a major news scoop. Why? Because Daniel Day Lewis is playing the lead role in Stephen Speilberg’s Abraham Lincoln biopic now shooting. Awesome stuff, Richard Schickel must be gutted he missed this one. For a nice summation of the sheer stupidity of this particular piece of non-news, I refer you to this rather nice piece of satire from The Shiznit.

Last week, two further incidents appeared which pushed me to write this unfocussed rant. The first was the publication, quickly pulled, of a link to a blurry shot-on-cellphone pirate of the latest Dark Knight Rises teaser on the granddaddy of film blogs, Ain’t It Cool News. In extremely tetchy Twitter exchanges between former Cinematical, current Twitch and FEARnet critic Scott Weinberg and Harry Knowles of AICN, Knowles claimed to have had no knowledge of the story and credited it to the work of a subordinate (whom he publicly named as any responsible editor would).

The benefit of the doubt would chalk this up to a slip of procedures; the less charitable might see it as an endorsement of piracy. Draw your own conclusions. What you wont find is any great protestations from Warner Brothers online. Certainly nothing to compare to the huge furore over the embargo-breaking David Denby review of The Girl With the Dragon Tattoo in the New Yorker. The conspiricist might see this as evidence of a worrying level of collusion between studios and film bloggers, at a time when the studio marketing machine is exercising increasing amounts of control over what passes for legitimate mainstream film criticism.*

The other incident is the leaking of a sales trailer for the upcoming Dario Argento version of Dracula. I won’t try to convince you that this will be a return to form for the faded Italian maestro, I can’t, I watched the bloody thing (I’m as guilty as anyone). But the leaked trailer was immediately linked to on almost every major genre blog. It was then all over twitter and Facebook. Based on a few minutes of footage the film was tried, and sentenced to be ritually disembowelled over hot coals.

Earlier this year the film failed to pick up a distributor at the American Film Market, and probably that is due to its quality, or lack off. After the derision this dreadful trailer has created it is quite likely that it will find seeking a distributor even harder. But, this is a few moments of footage, edited really quite staggeringly badly, and featuring clearly unfinished placeholder special effects. If this was sanctioned by the production company it has backfired spectacularly, if not it is close to corporate sabotage. I have no illusions there is a masterpiece being blighted here, but it is not completely inconceivable that it might be at least entertaining schlock. Leaking this trailer doesn’t really help anyone, except provide a fleeting Friday funny on YouTube.

On their own, each of these incidents could be regarded as rather trivial, indeed in the greater scheme of things they are trivial, but together with the constant drip-feed of leaked trailers, posters, synopses, etcetera et-bloody-cetera, they have pulled a red mist down over my head. When did actually enjoying, critiquing and analysing actual films become secondary to the enjoying, critiquing and analysing marketing campaigns?

The studios are owned by giant multi-national conglomerates who don’t really care about movies at the end of the day so long as the bottom line on their financial spreadsheet is black. Fandom has been subject to a confidence trick, we think we have the power, we think we are in control, but we aren’t. Ultimately we are just another consumer for a brand of toothpaste.

We, the seething few, with our passive aggression and our slightly raised blood pressure, need to come out and say enough is enough, can we maybe just watch a few bloody films for a change? I say fuck all this crap, does anyone want to switch off the computer, go see a movie and have a chat in the pub afterwards?

Anyone?

* The embargo issue is a different kettle of fish, but for some provocative thoughts on this there is a great Armond White article on the issue.

For what it’s worth, I suspect Pauline Kael would have told Scott Rudin to shove his embargo up his arse!

Stuart Barr's Top 10 films of 2011

Stuart OConnor — Sun, 18 Dec 2011 17:19:37 +0000

1. Hugo (directed by Martin Scorsese)
Scorsese manages to work a passionate plea for film preservation into his first attempt at a family entertainment and creates a movie that both rewards the intellect and thrills the senses. The only film presented in 3D this year which makes the process essential on a narrative level.

2. Drive (directed by Nicholas Winding Refn)
Without doubt the benchmark for cinematic cool in 2011. Drive takes a conventional thriller, strips it down and reassembles it using only essential parts to create a lean, mean driving machine and one of the finest LA movies in years.

3. Margaret (directed by Kenneth Lonergan)
Subject to extended production wrangles, and appearing on screens a full five years after it was shot, Lonergan's second feature should be a disaster. Instead this strange, flawed, messy drama is a flawed diamond. At the heart of the movie is a terrific performance by Anna Paquin playing one of the year's most confounding and infuriating characters. Paquin deserves some serious awards season attention for this.

4. Black Swan (directed by Darren Aronofsky)
Easy to forget that this was actually released in the UK back in January, but Black Swan should still stand as one of the year's best. Part melodrama, part horror film, Aronofsky's hysterical psychodrama is equal parts Michael Powell, Dario Argento and David Cronenberg.

5. We Need to Talk About Kevin (directed by Lynn Ramsey)
Based on Lionel Shrivers best seller, Kevin could easily by played as a straight "bad seed" type horror story, but in director Ramsey's hands it becomes something much stranger and more disturbing. Featuring another brilliant lead performance by an actress, in this case Tilda Swinton.

6. 13 Assassins (directed by Takashi Miike)
Hands down the year's greatest piece of action filmmaking. The film devotes 50% of its running time to depicting a single battle, but the sheer elegance of the filmmaking combined with superb characters and performances make this a completely thrilling experience. Michael Bay should be strapped to a chair Clockwork Orange style and forced to watch it on a loop. Also features the years best villain (just pipping Albert Brooks in Drive).

7. Kill List (directed by Ben Wheatley)
The years best horror film, but you would be forgiven for thinking you had accidentally wandered into a new Mike Leigh film for the first 40 minutes. Wheatley's Kill List starts as a domestic black comedy, before switching into a hitman thriller, but it is on its way to somewhere far, far darker. The last 15 minutes genuinely terrorised me.

8. Cell 211 (directed by Daniel Monzon)
A new prison guard is knocked unconscious and wakes in the midst of a violent prison riot, with only his wits to protect him he must pose as an inmate or risk becoming a hostage. A rare prison film that doesn't use the old hand/young fish plot drives the narrative of seemingly every other film in the sub genre, Cell 211 is a tough, unsentimental and violent thriller of the kind that used to be made by Robert Aldrich or Don Siegal. Features a towering performance from Luis Tosar as the violent lifer behind the riot.

9. In a Better World (directed by Susanne Bier)
Although it won both Oscar and Golden Globe awards for best foreign feature in 2011, Bier's complex drama about the relationships between fathers and sons, and the nature of violence and revenge, disappeared at the UK box office. Bier became better known in film circles for being insulted by Lars Von Trier during his notorious Melancholia press call at Cannes. A shame, as In A Better World is a thoughtful, considered and moving film aimed at grown ups released during a summer where most films seemed to aimed at 13-year-old boys (as usual).

10. Amer (directed by Hél?ne Cattet & Bruno Forzani)
Amer is a visually and aurally stunning meditation on the sexual awakening of a young women told in three vignettes at three formative stages of her development - childhood, adolescence and womanhood. Directors Catter and Forzani choose to tell this slim story by using the visual tropes of Italian Giallo thrillers popular in the 70s and early 80s. Highly impressionistic, visually striking and featuring a wall to wall soundtrack comprised of music from Giallo films Amer is possibly too arthouse for a general horror audience, and too esoteric for an arthouse audience, but still a bold calling card and unlike any other film released in 2011.

The one that you'll hear about next year: Shame (directed by Steve McQueen)
I'd love to include this but have disqualified it as it is not out until early 2012, but McQueen's explicit study of a man suffering from sex addiction is a stunning film. Michael Fassbinder confirms his status as the most exciting young actor to have appeared in the last few years with a performance that is both fearless and absolutely devastating. There is also a superb supporting performance from Carey Mulligan.

The year's worst films
The Tapes
Hall Pass
Uwe Boll's Auschwitz
Camp Hell
Age of the Dragons