Talking Movies

November 20, 2019

Miscellaneous Movie Musings: Part XXII

As the title suggests, so forth.

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“There are now seven different drafts of the speech. The President likes none of them”

With apologies to The West Wing. It’s been pretty entertaining hearing about apparently unbridled panic in private at Disney as they try to fix Star Wars without ever admitting in public that they broke it. Reshoots continuing until within six weeks of release. Test screenings of five cuts of three entirely different endings. These are the rumours, and great fun they are if you checked out of this cash-grab when Han went for coffee and was never seen again as he got into a lively debate about whether he or Greedo shot first with some patrons of the Westeros Starbucks. A particularly entertaining rumour has people shouting abuse at the screen as they attempted to walk out of a test screening after a bold artistic decision. Said bold artistic decision synching up with everything that has gone wrong so far it seems almost plausible. And yet… I half wonder if Disney aren’t faking footage of a mind-blowingly awful finale so that when by contrast a merely bad finale arrives people won’t be relieved and forgiving. Call it the old Prince Hal gambit. If this bold artistic decision is actually real and in the final cut it constitutes a piece of cultural vandalism that puts one in mind of Thomas Bowdler correcting Shakespeare by giving King Lear the rom-com ending it so clearly needed.

 

Very poor choice of words

I was minding my own business in Dundrum Town Centre the other day when suddenly a large screen started cycling thru shots from the new Charlie’s Angels, before ending with the misguided tagline – ‘Unseen. Undivided. Unstoppable.’ As the Joker aptly put it, very poor choice of words, as indeed Americans have left the movie monumentally unseen. There are a lot of reasons you could proffer about why, but let’s start with the poster. Elizabeth Banks’ name appears THREE TIMES. From Director Elizabeth Banks. Screenplay by Elizabeth Banks. Directed by Elizabeth Banks. ‘From Director…’ usually is accompanied by old hits, like Fincher being dogged by Seven until The Social Network, but not in the case of Banks, for obvious reasons. This is her first credit on a screenplay. This is her second feature as a director. The first was Pitch Perfect 2. Perhaps easing back on the Banks angle might have been wise. Maybe it would have been even wiser to have realised the problem isn’t the poster, it’s the people on it. Kristen Stewart and… two other actresses. Think of the combined star power of Drew Barrymore, Cameron Diaz and Lucy Liu in the year 2000 when their Charlie’s Angels was 12th at the North American Box Office for the year. Now look at this poster again and think of the combined star power of Kristen Stewart and effectively two British television actresses. Things get even worse when you see the trailer and it presents Stewart, the star, as effectively being the quirky comic relief to two nobodies. This film needed a poster with Stewart flanked by Emma Stone and Maggie Q to even get to the same starting gate as the Barrymore-Diaz-Liu effort.

Terminator 6 or 24: Day 5?

Terminator: Dark Fate has bombed at the box office, and hopefully this third failed attempt to launch a new trilogy will be the end of that nonsense for the forseeable future. By the grace of God I did not have to review it, but I would have had no compunction in mentioning its opening shock while doing so. One of the frustrations of reviewing Once Upon a Time in Hollywood was that the ending by dint of being the ending was considered unmentionable by good manners, even though it was an ending which made pigswill of much of the entire movie and it seemed Tarantino was deliberately taking advantage of such good manners in an act of tremendous bad faith. However, Terminator 6 in the opening minutes made an artistic decision that, once I had heard it as a rumour, struck me as entirely plausible given its similarity to the equally obnoxious opening of 24: Day 5. Denis Haysbert famously refused to return as President Palmer just to be killed off after mere seconds in the opening scene as a shock to launch the season until he was guilt-tripped into it by being told the entire season had been written around it. In retrospect he says he should have held out. That decision, to kill Palmer, was indicative of how Day 5 was going to lose its way to the point that I simply stopped watching; abandoning a show I had loved from its first episode on BBC 2 in 2002. The end of 24: Day 4, with Jack walking away into a hopeful sunrise after a phone call of mutual respect with President Palmer, was the perfect ending, for both characters and the show. But then the show had to keep going because money, so those character arcs were ruined, and, indeed, Day 1 of 24 (saving Palmer from assassination) became a complete and utter waste of time, and all emotional investment in his character over subsequent seasons was also a waste of time. Bringing back young Edward Furlong in CGI just to kill him off in the opening minutes of Terminator 6 was equally bone-headed. Suddenly the first two Terminator movies, the classics, were now a complete and utter waste of time. The last minutes of Terminator 2, which must rank among the greatest endings in cinema, were old hat to the eejits behind Terminator 6. If you want to make a mark on something you’re new to, it’s inadvisable to wildly antagonise all the fans who are the reason there is something for you to be a new writer or director to in the first place. If you want to create new and exciting characters, you have to write new and exciting characters, not just kill off important and beloved characters as if that magically and automatically made your new ciphers equally important and beloved. Tim Miller and Manny Coto. Sometimes it’s hard to tell them apart.

September 22, 2019

From the Archives: Superbad

Another rummage thru the pre-Talking Movies archives finds me grappling with the Seth Rogen paradox for the very first time.

Two sex-starved teenage boys Seth and Evan try to exploit the last high-school party before graduation by agreeing to get liquor for the girls they want to hook up with. However their plan goes hysterically awry when they run into two cops.

It seems to be becoming obligatory to kneel before writer/director/producer Judd Apatow and hail all his works as being The Second Coming of American Comedy. It’s all very well to celebrate the revival of the R rated comedy purely for being R rated but surely the first concern in judging a comedy should be how funny it is, not how dirty the jokes are. The truth is that Knocked Up and Superbad are filthy minded and mouthed comedies that are actually no more abundantly supplied with laughs than something like the work of Mike White and Jack Black. What distinguishes the Apatow/Rogen oeuvre is both the sheer amount of references to sex and the crudity of those remarks.

Seth Rogen, the star of Knocked Up, co-wrote Superbad and has a supporting role in it while Apatow of course produced in his capacity as a one man studio. The plot is concerned with how Evan (Michael Cera) and Seth (Jonah Hill) can have sex before leaving High School. The answer? Alcohol: “You know when girls say ‘I was so drunk, I don’t know what I was thinking’? We have a chance to be that mistake!!”. But here’s the rub, the story sheers off into two strands. One strand follows Seth and Evan desperately trying to acquire booze for the party hosted by Jules (the husky voiced Emma Stone). The other sees uber-nerd Fogell (Christopher Mintz-Plasse) fall in with two lunatic cops played by Rogen and Bill Hader. Literally every scene of his adventures with these cops is screamingly hilarious. The other strand with Seth and Evan isn’t, as it’s so focused on gross out moments that it frequently forgets to be funny. Being extremely realistic about the stupidity of teenage boys is not a good enough reason for not having enough jokes in a comedy.

Indeed you can’t help but feel that all the talking dirty is some way of hiding away the sentimental soft-spot Rogen and Goldberg have for their characters, hiding away the most appealing side of their writing in favour of the most easy headline grabbing controversial side. Indeed the unlikely sweetness is reminiscent of previous Apatow /Rogen works. The characters of Jules and Evan are extremely likeable and in the denouement incredibly and sensibly honourable. Seth and Becca (Martha MacIsaac), respectively, learn from them how to behave like decent human beings. Was that emotional maturity the reason Rogen and Goldberg wrote the filth, as a necessary part of a character arc, or was it just a handy way of positioning their film in the marketplace? It’s impossible to know but it produced one of the best comedies of the year in either case.

3/5

June 9, 2019

Miscellaneous Movie Musings: Part XIII

As the title suggests here are some short thoughts about the movies which aren’t quite substantial enough for each to merit an individual blog posting.

La La Land and its predecessors

I’ve noted before that I fell into the trap of watching the movies I recommended as TV choice of the week on Sunday Breakfast with Patrick Doyle. I therefore re-watched a chunk of La La Land on BBC 2 a few months back, but ducked out after the hour mark. It occurred to me that when discussing it with Patrick Doyle I’d invoked New York, New York for its equally miserable ending, but somehow never even thought of mentioning Moulin Rouge!  which undoubtedly has the most miserable ending of all three. I’ve been trying to puzzle out why that might be and I think it is because the ending of La La Land irked me. As Patrick Doyle said if you have people flying about a Planetarium then you have located the film as a fairytale and you can’t really go for a miserable ending then. New York, New York had been posited by Scorsese as a Vincente Minnelli musical done with social realism, and I opined that those two approaches were actually mutually exclusive, but there is no denying that with social realism a miserable ending does not jar so. I had actually forgotten how good La La Land was, such was the pall the miserable ending cast over the movie in my memory. When it’s good, it’s very, very good. The performances by Emma Stone and Ryan Gosling are of the first order, the comedy sparkling, the jazz wonderful, and above all it is a rare modern beast – a musical that does not apologise for being a musical but simply skips from one big production number to the next. There is a vein of nostalgia and romance which mixes sweet touches like Gosling walking past his car to spend more time with Stone with hugely impressive swooping long takes of choreography; especially in the bench at sunset sequence. But then it all goes to hell when it takes a dive into New York, New York territory of careerism and social climbing derailing romance. I think, much like Drive, it is the bait and switch that irks me, the end does not develop naturally from the beginning. But in Moulin Rouge! the madly over the top nature of the film, with its riotous comedy and exuberant romance, betrays the hand of an opera director (which is a sideline of Baz Luhrmann’s); so the death of Satine in the finale feels of a piece with what has come before – utterly heightened. And so I fondly remember Moulin Rouge! while somewhat resenting La La Land.

One Two Three: Stone & Gosling

I’ve been, lamentably, thinking about the contours of this cinematic decade after Paul Fennessy sprung on me the first Films of the Decade list we’ll be bludgeoned with this year. It occurred to me that one of the features of the first half of the decade, if you grant a few months’ grace, was the romantic chemistry of Jesse Eisenberg and Kristen Stewart and of Emma Stone and Ryan Gosling. La La Land is the high watermark of the latter pairing, and one supposes the result of their two previous films together: the wonder of the 5 minute long-take bench at sunset sequence, in comic timing and choreography, only possible in part because they have established a working rapport. Gangster Squad is not a film that will be remembered fondly if at all, while Crazy Stupid Love seems to have undeservedly fallen from favour, but if they set up La La Land’s chemistry they deserve our thanks.

January 9, 2019

Fears: 2019

The Death and Life of John F Donovan

We have waited long,

Too long, for Dolan anglais,

Now we fear for Snow

 

Captain Marvel

Brie Larson arrives

To save the day, 90s day.

Nick Fury’s phone friend

 

Dumbo

Tim Burton is back

Pointless ‘live action’ remake

This will not fly high

 

Avengers: Endgame

Free at last, says Bob.

Downey Jr’s contract’s up!

Snap away, Thanos!

Godzilla: King of Monsters

Um, may not contain

Godzilla… going by last

bait and switch movie

 

Men in Black: International

Thor plays dumb, again

Reunites with Valkyrie

But where is Will Smith?

 

X-Men: Dark Phoenix

It’s X-3 remade,

with little context for Jean,

who cares? C.G.I!

 

The Lion King

Like the classic one

But now CGI drawings

Why not just re-release?…

Once Upon A Time in Hollywood

QT does Manson.

Bad taste abounds, but also

Pitt, Leo, et al

 

New Mutants

Fox does X-horror.

X-Men that is, obscure ones.

They’re affordable

 

It: Chapter Two

They’re all grown up now.

But fear never does grow old.

Yet may be retread?

 

Joker

Phoenix: Mistah J.

Dark take, from Hangover man.

I’m Still Here: Part two?

The Goldfinch

Dickens in New York,

Bret Easton Ellis Vegas,

Tartt’s chameleon.

 

Zombieland 2

Hey, the gang is back!

But what can they do that’s new?

A needless sequel.

 

Terminator: Dark Fate

Arnie’s back. Again.

All save T-2 not canon.

But Linda H back!

 

Kingsman ‘3’

Hasty sequel two-

Except, gasp, it’s a prequel!

So, but still hasty.

The Man Who Killed Don Quixote

Critics applaud, not

because the thing is done well,

but because it’s done.

 

Star Wars: Episode IX

Fans don’t give a damn…

Who to kill off next? Lando?

Money grubbing sham.

 

Little Women

Gerwig’s needless film-

(Winona forever!)

-version seven. Sigh.

January 31, 2018

Top Performances of 2017

 

 

 

January 20, 2016

2016: Hopes

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Midnight Special

Mud writer/director Jeff Nichols makes his studio debut on April 15th with this tale he places roughly in the territory of John Carpenter’s Starman and De Palma’s The Fury. Nichols regular Michael Shannon plays a father forced to go on the run with his son after discovering the kid has special powers, and the FBI is interested in them… Sam Shepard also recurs, as does cinematographer Adam Stone, while Adam Driver, Kirsten Dunst, and Joel Edgerton join the Nichols stable. It’s hard to imagine a genre tale from Nichols, but perhaps an unusually heart-felt Stephen King captures it.

Everybody Wants Some

April 15th sees Richard Linklater release a ‘spiritual sequel’ to both Dazed and Confused and Boyhood. Little is known for sure about Everybody Wants Some, other than it’s a comedy-drama about college baseball players during the 1980s, that follows a boy entering college, meeting a girl, and a new band of male friends. The cast features Blake Jenner, Ryan Guzman, Tyler Hoechlin, Wyatt Russell, and Zoey Deutch, so in retrospect may be as star-studded as his 1993 exploration of the end of high school. Hopefully it’s as archetypal and poignant as that as regards the college experience.

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Love & Friendship

On April 27th almost exactly four years since Damsels in Distress the urbane Whit Stillman returns with another tale of female friendship, with a little help in the scripting department from Jane Austen. His Last Days of Disco stars Kate Beckinsale and Chloe Sevigny reunite for this adaptation of Austen’s ‘Lady Susan’ novella shot in Ireland. Stephen Fry, Jemma Redgrave, and Xavier Samuel are the supporting players as Beckinsale tries to marry off her daughter (Morfydd Clark) but the real attraction is Stillman, poet of dry wit and elite social rituals, adapting an author with similar preoccupations.

The Nice Guys

Shane Black’s third directorial effort, out on May 20th, sees him back on Kiss Kiss Bang Bang territory. Get ready for Ryan Gosling to Bogart his way thru the seedy side of the City of Angels as Holland March, PI. March partners up with a rookie cop (Matt Bomer) to investigate the apparent suicide of a porn star. But standing in his way is an LA Confidential reunion: Kim Basinger as femme fatale, Russell Crowe as Det. Jackson Healy. It’s hard not to be excited at the prospect of terrific dialogue carrying some hysterically self-aware genre deconstruction.

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Queen of Earth

We can expect writer/director Alex Ross Perry’s latest movie to hit Irish cinemas sometime in June. Listen Up Philip star Elisabeth Moss takes centre-stage here alongside Inherent Vice’s Katherine Waterston as two old friends who retreat to a lake house only to discover that they have grown very far apart with the passage of time. Keegan DeWitt scores his second movie for ARP not with jazz but a dissonance appropriate to the unusual close-ups, that have invited comparison with Ingmar Bergman’s Persona, as a spiky Waterston hurts an emotionally wounded Moss in all the old familiar places.

Independence Day: Resurgence

Roland Emmerich, the maestro of bombastic action that is actually mocking its audience, returns on June 24th (for some reason) with a belated sequel in which the aliens come back. Jeff Goldblum has led a 20 year scramble to harness alien tech to strengthen earth’s defences but will those efforts (and Liam Hemsworth’s mad piloting skills) be enough against an even more imposing armada? Sela Ward is the POTUS, Bill Pullman’s POTUS has grown a beard, his daughter has morphed from Mae Whitman into Maika Monroe, and the indefatigable Judd Hirsch returns to snark about these changes.

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La La Land

Emma Stone and Ryan Gosling team up again on July 15th for an original musical from Whiplash writer/director Damien Chazelle. Gosling is a jazz musician in LA who falls in love with Stone’s aspiring actress, and that’s all you need for plot. Stone did an acclaimed turn as Sally Bowles in Cabaret on Broadway, but whether Gosling or JK Simmons (!!) can hold a tune is unknown. The real question is will it be half-embarrassed to be a musical (Chicago), attempt unwise grittiness (New York, New York), or be as mental as aMoulin Rouge! with original songs?

Suicide Squad

And on August 5th we finally get to see what Fury auteur David Ayer has done with Batman’s Rogues’ Gallery. The latest trailer has amped up the nonsense quotient considerably, and this now looks like The Dirty Dozen scripted by Grant Morrison. Joel Kinnaman’s long-suffering Rick Flagg has to lead into combat the assassin Deadshot (Will Smith), angry mercenary Captain Boomerang (Jai Courtney), witch Enchantress (Cara Delevingne), half-man half-crocodile Killer Croc (Adewale Akinnuoye-Agbaje), and the psycho in psychotherapy, Harley Quinn (Margot Robbie). All eyes are on Robbie’s take on Harley, well until Jared Leto’s Mistah J turns up…

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Sausage Party

August 12th sees the release of probably the most ridiculous film you will see all year, Seth Rogen and Evan Goldberg have scripted an adult animation about a sausage in a grocery store on a quest to discover the truth of his existence. Apart from Jay Baruchel, all the voices you’d expect are present and correct: James Franco, Craig Robinson, Jonah Hill, Danny McBride, Paul Rudd, Bill Hader, Michael Cera, David Krumholtz, as well as Kristen Wiig, Edward Norton, and Salma Hayek. But given how Green Hornet failed can R-rated semi-improvised comedy and animation go hand in hand?

War on Everyone

The Guard in New Mexico! Okay, maybe not quite, but in that wheelhouse. In late August John Michael McDonagh makes his American bow with a blackly comic thriller about two renegade cops (Alexander Skarsgaard and Michael Pena) who have devoted themselves to blackmailing and framing every criminal who crosses their path. And then they come across that somebody they shouldn’t have messed with… McDonagh’s two previous outings as writer/director have been very distinctive, visually, philosophically, and verbally, but you wonder if he’ll have to endlessly self-censor his take no prisoners comedy for ‘liberal’ American sensibilities. Hopefully not.

American actor Matt Damon attends a press conference for his new movie "The Great Wall" in Beijing, China on July 2, 2015. Pictured: Matt Damon Ref: SPL1069228 020715 Picture by: Imaginechina / Splash News Splash News and Pictures Los Angeles:310-821-2666 New York:212-619-2666 London:870-934-2666 photodesk@splashnews.com

The Girl on the Train

Following Gone Girl another book of the moment thriller gets rapidly filmed on October 7th when Emily Blunt becomes the titular voyeur. From her commuter train seat she witnesses the interactions of perfect couple Haley Bennett and Luke Evans as she slows down at a station on the way to London. Then one day she sees something she shouldn’t have, and decides to investigate… The impressive supporting cast includes Rebecca Ferguson, Laura Prepon, Allison Janney, and Justin Theroux, but it’s not clear if Secretary screenwriter Erin Cressida Wilson has relocated the action to New York.

The Great Wall

November 23rd sees Chinese director Zhang Yimou embrace Hollywood, with an English-language story about the construction of the Great Wall of China scripted by Max Brooks and Tony Gilroy. Zhang has assembled an impressive international cast including Matt Damon, Andy Lau, Willem Dafoe, Jing Tian, Zhang Hanyu, and Mackenzie Foy for this sci-fi fantasy of the Wall’s completion. Little is known about the actual plot, but Zhang’s recent movies about the Cultural Revolution have been a drastic change of pace from the highly stylised colourful martial arts epics of Imperial China he’s known for in the West.

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The Founder

Michael Keaton cements his leading man comeback on November 25th with a blackly comic biopic of Ray Kroc. Who is Ray Kroc you ask? The Founder of … McDonald’s. Yes the McDonald brothers did own a hamburger store, but it wasn’t them that expanded into a national and then global, brand. That was all Kroc, who bought them out, and then forgot to pay them royalties; one of several incidents of what people might call either unethical behaviour or recurrent amnesia. Supporting players include Nick Offerman, Laura Dern, and Patrick Wilson, so this tale might be quite tasty.

Story of Your Life

Denis Villeneuve gears up for directing Blade Runner 2 with an original sci-fi movie that should arrive late in 2016. A first contact story, adapted by Eric Heisserer from Ted Chiang’s short story, it follows Amy Adams’ Dr. Louise Banks, a linguistics expert recruited by the U.S. military. Her job is to decipher an alien race’s communications, but her close encounter with ET causes vivid flashbacks to events from her life. Jeremy Renner, Forest Whitaker, and Michael Stuhlbarg are physicists and spooks trying to figure out what her unnerving experiences mean for rest of the humanity.

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Passengers

Stomping on Rogue One with a December 21st release date is the dream team of Jennifer Lawrence and Chris Pratt. Poor Keanu Reeves spent years trying to make this sci-fi rom-com happen but as soon as these two expressed interest Jon Spaihts’ long-circling script got permission to land. Pratt wakes from cryo-sleep 90 years too early, so wakes up another passenger to relieve his loneliness on the somnambulant spaceship. Michael Sheen is a robot, but the potential for delight is offset by worthy director Morten Tyldum and the high probability of the contrivance of every other rom-com being used.

Assassin’s Creed

‘One for the studio, One for ourselves’. As it were. December 21st sees the acclaimed Macbeth trio of Michael Fassbender, Marion Cotillard, and director Justin Kurzel reunite for a blockbuster based on the all-conquering game. Ubisoft Motion Pictures (yes, that’s really a thing now) and New Regency have opted not to adapt the story of Desmond Miles, or Ezio Auditore; perhaps in case this bombs. Fassbender plays original character Callum Lynch who can commune with his ancestor Aguilar, also played by Fassbender; presumably with a devilish grin as he battles the Spanish Inquisition. Fingers crossed that this works.

January 14, 2016

Top Performances of 2015

As the traditional complement to the Top 10 Films list, here are the Top Performances of 2015. The refusal to isolate single winners is deliberate; regard the highlighted names as the top of the class, and the runners up being right behind them, and the also placed just behind them. They’re all superb performances.

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Best Supporting Actress

Kristen Stewart (Sils Maria) Who knew Stewart had it in her to stop biting her lip and actually act again? As Juliette Binoche’s foil she displayed an unsuspected flair for comedy alongside an argumentative intelligence.

Suzanne Clement (Mommy) Clement as the neighbour across the way was the heart of Xavier Dolan’s movie. She recovered from her own trauma by helping troubled Steve, and stood in for us; bearing tearful witness to events.

Katherine Waterston (Inherent Vice) Waterston made an unexpected breakthrough as Doc’s ex-girlfriend. She had few scenes, but the memorable mix of warmth and wisdom in the opening convincingly set Doc on his quest.

Runners Up:

Mackenzie Davis (The Martian) Davis broke out from indies with panache, grabbing a blockbuster role where she wasn’t just random NASA tech, but instead shared many archly comic moments with Chiwetel Ejiofor.

Julie Walters (Brooklyn) There was great comedy from the nightly dinner-table feuds at Mrs Kehoe’s and Walters provided most of it as the landlady with a waspish putdown for every tenant and every occasion.

Lea Seydoux (The Lobster) All the qualities attributed to her in Spectre, and entirely absent there, were on display here where she was icy cold, forceful, implacable, and without vanity as a sharp-suited rebel leader.

Also Placed:

Elizabeth Debicki (UNCLE) It was only in retrospect I realised she wasn’t actually a great villain. Debicki had used her commanding presence to temporarily conjure the impression of greatness from a threadbare part.

Chloe Grace Moretz (Sils Maria) Moretz was a hoot as a misbehaving starlet doing a play to gain prestige. She pulled off an uncanny balancing act between elements of Jennifer Lawrence and Lindsay Lohan’s personae.

Elisabeth Moss (Listen Up Philip) Moss, as the long-suffering photographer girlfriend of novelist Philip, confidently took over the film for an unexpected segment tracing her own independent story of artistic development.

edward-norton-and-michael-keaton-in-birdman

Best Supporting Actor

Edward Norton (Birdman) Norton was transparently playing with his own persona, and having the time of his life doing it, but the hilarity of his preening self-regard was balanced by his self-awareness of his failings.

Benicio Del Toro (Sicario) Del Toro cut lines to make stoic DoD ‘adviser’ Alejandro troublingly mysterious, an inspired move as he slowly revealed himself to be a man without limits; breaking the law to do the right thing.

Colin Firth (Kingsman) Firth was effectively playing The Avengers’ Mr Steed, and clearly loving it. His A Single Man tour de force of dry heartbreak now has a stellar contrast on his show-reel: his amazing kill-crazy rampage.

Ewan McGregor (Son of a Gun) McGregor rediscovered his charisma as an armed robber in a post-Moulin Rouge! best. Charming, but ruthless on a dime, he combined both qualities in a deliriously jump-started interrogation.

Runners Up:

Jeff Daniels (The Martian, Steve Jobs) Daniels’ Newsroom-based resurgence saw him verbally duel with Sean Bean and Michael Fassbender with much gravitas, but he also displayed his considerable comic abilities in both roles.

Josh Brolin (Inherent Vice, Sicario) Brolin played law-men fond of crossing the line, but Graver’s dirty warrior sought cynical order rather than law-abiding chaos, while Bigfoot suffered from incommunicable psychic pain.

Benedict Wong (The Martian) Wong was wonderful as Bruce, the ever-harried Jet Propulsion Lab director given impossible deadlines and tasks; his hang-dog expression always one step away from total defeat.

Michael Pena (Ant-Man) Ant-Man sans Edgar Wright’s visual panache plodded like hell for the first act and a half, save his showpiece narration, but Pena’s hysterically distracted inept nice guy criminal kept it going.

Also Placed:

Sean Harris (MI5, Macbeth) The wiry, soft-spoken Harris was scary in MI5 by virtue of his villain’s cunning and utter indifference to casualties, and, as Macduff, he set about revenge with an unnerving feel of unfussy control.

Jonathan Pryce (Listen Up Philip) Pryce let rip as the elder statesman novelist: self-preening, condescending, and supportive to his protégé; hiding his guilt behind anger to his daughter; and denying to himself his own sadness.

Seth Rogen (Steve Jobs) Rogen’s shambling, slightly bewildered Steve Wozniak was a man on a mission, and always bound to fail, but his live-action Fozzie Bear helped humanise Fassbender’s Jobs tremendously.

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Best Actress

Emily Blunt (Sicario) Blunt is assured as an FBI ‘thumper’ who joins a taskforce to hurt drug cartels. Mission-creep gives her doubts, but she’s too dogged for her own good, staying to find the task-force’s true purpose, becoming a Creon to Del Toro’s Antigone – devotion to the law is the right thing.

Rooney Mara (Carol) Mara is terrific as the ingénue who is seduced by Carol and her high society, but has both cruelly taken away from her, and then sets about making her own way in the world. Rooney uses the most subtle facial expressions to chart her transformation from ingénue to equal.

Greta Gerwig (Mistress America) Gerwig shines as the somewhat ridiculous, casually abrasive Brooke, who stumbles through life from one disaster to the next with little self-pity and can charm and/or guilt-trip people into bailing out her last/buying into her next madcap venture.

Lola Kirke (Mistress America) Kirke impressively held her own against Gerwig as the perceptive, quiet Tracy; an aspiring writer who got carried away by Brooke’s mad enthusiasm, but never quite lost sight of the ridiculousness of her venture; and played disappointment exceptionally well.

Runners Up:

Cate Blanchett (Carol) Blanchett was rather good as the socialite whose charming facade masks despair, exhaustion, desire, and a recklessness that at times comes very close to making her dangerous to herself and others. But Carol’s fiery decision to be herself gave her less a meaty arc than Mara.

Rebecca Ferguson (MI5) Was Ilsa Faust a properly defined femme fatale or not? Does it matter when Ferguson gave a performance of such rare mystery and ambiguity? In never quite being able to count on her there was a mix of Han Solo roguery with a more enigmatic quality; even after all explanations.

Emma Stone (Irrational Man, Birdman) Stone delivered an amazing rant in Birdman as well as sparking off Edward Norton, and then displayed her full range with a quiet performance as a student enamoured with her professor in Irrational Man; articulating outraged conscience with great sincerity.

Also Placed:

Juliette Binoche (Sils Maria) Binoche was fully committed to her role as an actress over-analysing to death taking the other part in a two-hander play that made her, and her failed attempts to keep a straight face and seriously engage with  her while she PA defended comic-book movies was a particular joy.

Maika Monroe (It Follows) Monroe gave a strong performance, especially in playing early scenes with a dreamy quality which allowed an ambiguity later about her character hallucinating as PTSD before it became clear ‘It’ was very real and needed a Ripey response Monroe was well capable of giving.

 Steve-Jobs

Best Actor

Michael Fassbender (Macbeth, Steve Jobs) Fassbender’s low-key delivery gave us a weary warrior who lost his mind from one damn killing too many, while his irrepressible warmth allowed Jobs say horrible things but remain charismatic till the belated quasi-apology “I’m poorly made.”

Michael Keaton (Birdman) Keaton made a spectacular leading man comeback with a transparent riff on his own persona. His comic timing was superb, his lack of vanity Oscar-worthy (cough), and he outdid Edward Norton (Greatest Actor of His Generation TM) in artistic and emotional angst.

David Oyewelo (Selma) Oyelowo gave a fiery performance as MLK, whipping up a mass demonstration for a Voting Rights Act. He oozed charisma in three speeches, but was extremely vulnerable in King’s guilt and self-doubt over deaths caused by his rhetoric and leadership, and shame at his infidelities.

Matt Damon (The Martian) Damon’s best studio lead since The Adjustment Bureau was powered by Drew Goddard’s hilarious screenplay. As a one-man show on Mars his sequences were a never-ending vlog of riffs and one-liners, and Damon delivered with immense charm and comic timing.

Runners Up:

Jason Schwartzman (Listen Up Philip) Schwartzman was on familiar Bored to Death turf but he made Philip intriguing. A hugely narcissistic novelist, lacking in empathy, and casually abrasive, but also talented, capable of being hurt to a devastating degree, and perhaps too emotionally guarded because of that.

Keanu Reeves (John Wick) Keanu made one hell of a comeback as a civilised hit-man universally beloved in the hit-community, larger underworld, and the small town he retired to. Keanu’s stunt-work was an endearing mix of fluency and occasional rustiness, and he made us love Wick too.

Joaquin Phoenix (Inherent Vice, Irrational Man) Phoenix shambled endearingly as the perma-stoned PI straight man to a merry-go-round of lunatics, while his self-loathing philosophy professor embracing Dostoyevskyean freedom saw him deliver a truly amazing expression: guilt, fear, relief, and panic.

Also Placed:

Oscar Isaac (A Most Violent Year) A Pacino quality came off Isaac’s performance as oil entrepreneur Abel Morales. Early, subtle Pacino. Abel would not be bullied, would not break the law, and would not accept dirty deeds on his behalf. Isaac played this principled soul with a quiet, dignified stillness.

Tom Cruise (MI5) His implausible early escape up a pole got a few laughs at my screening. I believed Cruise could do it, he’s a fitness nut. Also in other ways, but plane stunt nuts is good; and there’s a self-deprecating quality to Cruise, absent from his 90s heyday, that makes him very winning.

January 2, 2015

Birdman

Michael Keaton makes a spectacular leading man comeback in Alejandro Gonzalez Inarritu’s major change of pace from fractured chronology and introspective misery to faux-classical unities and backstage shenanigans.

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Riggan Thomson (Keaton) was Birdman. In his own mind he still is. The film starts with him levitating in his dressing room while a growling voice in his head argues with him. But Birdman III was released in 1992. The aged Thomson is trying to salvage some respectability by staging his adaptation of Raymond Carver’s ‘What we talk about when we talk about love’ on Broadway. A happy accident sees his leading lady Lesley (Naomi Watts) introduce her boyfriend Mike (Edward Norton) to the cast; and ticket sales take off – to the joy of Thomson’s attorney/producer Jake (Zach Galifianakis). All Riggan has to do is keep his drug-addict daughter Sam (Emma Stone) on the straight and narrow as his PA, negotiate the hurdle of an unexpected pregnancy with girlfriend and co-star Laura (Andrea Riseborough), raise extra money to pay for the star attraction that is Broadway legend Mike, oh, and try not to murder Broadway legend Mike…

It’s not often a movie gets released on New Year’s Day that looks to be the best movie of that year, but Birdman is a good bet to pull off that feat. There is a lot to talk about with Birdman that’s unusual: whether it be Antonio Sanchez’s exclusively percussion score that quickly becomes adorable and only yields to strings when Keaton becomes Birdman, or Inarritu’s conceit of filming the movie as one single long-take that collapses time at certain points in order to trace some crucial days leading up to opening night of Riggan’s play. Emmanuel Lubezski’s camera-work is spectacularly fluid in maintaining the illusion but the time-lapses make you wonder why doing one long-take made more sense than simply four long-takes. I have a sneaking suspicion that the need to show off so spectacularly in cinematic terms is because it hides the theatrical concerns of the script.

Inarritu and his co-writers Armando Bo, Alexander Dinelaris, and Nicolas Giacabone have constructed a back-stage tale that mixes comedy and drama with aplomb. Keaton and Norton are transparently playing with their own personae, and having the time of their life doing it, but the hilarity of Mike’s preening self-regard and Riggan’s crises of confidence are balanced by their arguments over the nature of what they do. Lindsay Duncan’s ridiculous critic Tabitha wants to take Riggan down to score off Hollywood fakes who can’t act and aren’t interested in learning the technique needed to triumph on Broadway. And yet, for all Riggan’s critique of her reviews as being lacking in any dissection of technique, Riggan himself shares many of her concerns that cinema has left him behind because he is interested in exploring truth and the human condition. He fears maybe Mike is right that such concerns now only exist in the theatre, and only if someone like Mike is there to attract crowds and provide protection against poison-pen reviews.

Birdman is interesting, funny, and experimental; and to consistently pull off all three of those at the same time is enough to overcome any quibbles.

5/5

January 28, 2014

2014: Fears

Filed under: Talking Movies — Fergal Casey @ 7:25 pm
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300: BATTLE OF ARTEMESIUM

Noah
Arriving in March is Darren Aronofsky’s soggy biblical epic starring Russell Crowe as Noah, and Anthony Hopkins as Noah’s dad, the oldest man imaginable Methuselah. Jennifer Connelly, Emma Watson, and Logan Lerman round out the family, and Ray Winstone is the beastly villain of the piece. Aronofsky doesn’t lack chutzpah, he passed off horror flick Black Swan as a psychological drama in which Natalie Portman did all her own dancing after all, but this will undoubtedly sink without trace in its own CGI flood because it apparently tackles head-on the troublesome references to the Sons of God while somehow making Noah an ecological warrior – which neatly alienates its target audience.

300: Rise of an Empire

The ‘sequel’ to 300 finally trundles into cinemas 7 years and about three name changes later. Queen Gorgo (Lena Headey) urges the Greeks to unite in action against the invading army of Persian ruler Xerxes (Rodrigo Santoro), while Athenian Themistocles (Sullivan Stapleton) leads the Hellenic fleet against the Persian fleet (which we’re supposed to accept is) led by the Greek Artemisia (Eva Green). 300 is a fine film, if you regard it, following PG Wodehouse’s dictum, as a sort of musical comedy without the music. Zack Snyder took it deadly seriously… and has co-written this farrago of CGI, macho nonsense, Bush-era patriotic bombast, and deplorable history.

TRANSCENDENCE

The Raid 2: Berandal
March sees the return of super-cop Rama (Iko Uwais), as, picking up immediately after the events of the first film, he goes undercover in prison to befriend the convict son of a fearsome mob boss, in the hope of uncovering corruption in Jakarta’s police force. 2012’s The Raid was bafflingly over-praised (Gareth Evans’ script could’ve been for a film set in Detroit, and in the machete scene a villain clearly pulled a stroke to avoid disarming Rama), so this bloated sequel, running at nearly an hour longer than its predecessor, is a considerable worry. At least there’ll be some variety with subway fights, and car chases promised.

Transcendence
Nolan’s abrasive DP Wally Pfister makes the leap to the big chair in April with this sci-fi suspense thriller. Dr. Caster (Johnny Depp), a leading pioneer in the field of A.I., uploads himself into a computer upon an assassination attempt, soon gaining a thirst for omnipotence. Pfister has enlisted Nolan regulars Morgan Freeman and Cillian Murphy, as well as Paul Bettany, Rebecca Hall, Kate Mara, and the inimitable Clifton Collins Jr, and Jack Paglen’s script was on the Black List; so why is this a fear? Well, remember when Spielberg’s DP tried to be a director? And when was the last time Depp’s acting was bearable and not a quirkfest?

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The Amazing Spider-Man 2

May 2nd sees the return of the franchise we didn’t need rebooted… Aggravatingly Andrew Garfield as Spidey and Emma Stone as Gwen Stacey are far better actors than Tobey Maguire and Kirsten Dunst, but the material they were given felt inevitably over-familiar. Alex Kurtzman and Roberto Orci wrote the sequel, and, after Star Trek ‘2’, their Sleepy Hollow riffs so much on Supernatural it casts doubt on their confidence in their own original ideas, which is a double whammy as far as over-familiarity goes. And there’s too many villains… Electro (Jamie Foxx), Rhino (Paul Giamatti), Harry Osborn/Green Goblin (Dane DeHaan), and Norman Osborn(/Green Goblin too?) (Chris Cooper).

Boyhood
Richard Linklater and Michael Winterbottom as transatlantic parallels gains ground as it transpires they’ve both been pulling the same trick over the last decade. Linklater in Boyhood tells the life of a child (Ellar Salmon) from age six to age 18, following his relationship with his parents (Ethan Hawke, Patricia Arquette) before and after they divorce. Linklater has spent a few weeks every year since 2002 shooting portions of this film, so Salmon grows up and his parents lose their looks. Hawke has described it as “time-lapse photography of a human being”, but is it as good as Michael Chabon’s similar set of New Yorker stories following a boy’s adolescence?

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Edge of Tomorrow

Tastefully released on the 70th anniversary of D-Day, Tom Cruise plays a soldier, fighting in a world war against invading aliens, who finds himself caught in a time loop of his last day in the battle, though he becomes better skilled along the way. So far, so Groundhog Day meets Source Code. On the plus side it’s directed by Doug Liman (SwingersMr & Mrs Smith), who needs to redeem himself for 2008’s Jumper, and it co-stars Emily Blunt and Bill Paxton. On the minus side three different screenwriters are credited (including Christopher McQuarrie and Jez Butterworth), and, given how ‘development’ works, there’s probably as many more uncredited.

Jupiter Ascending

The Wachowskis return in July, oh joy, in 3-D, more joy, with a tale of a young woman (Mila Kunis) who discovers that she shares the same DNA as the Queen of the Universe, and goes on the run with a genetically engineered former soldier (Channing Tatum), oh, and he’s part wolf… The cast includes the unloveable Eddie Redmayne, but also the extremely loveable Tuppence Middleton and the always watchable Sean Bean, and, oddly, a cameo from Terry Gilliam, whose work is said to be an influence on the movie. Although with bits of Star Wars, Greek mythology, and apparently the comic-book Saga floating about, what isn’t an influence?

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Sin City: A Dame to Kill For

An unnecessary prequel to 2005’s horrid Sin City follows the story of Dwight McCarthy (Josh Brolin) and his dangerous relationship with the seductive Ava Lord (Eva Green). Shot in 2012 but trapped in post-production hell the CGI-fest will finally be ready for August, we’re promised. Apparently this Frank Miller comic is bloodier than those utilised in the original, which seems barely possible, and original cast Jessica Alba, Bruce Willis and Jaime King return alongside newcomers Juno Temple and Joseph Gordon-Levitt. But who cares? The original’s awesome trailer promised cartoon Chandler fun, and delivered gruesome, witless, sadistic, and misogynistic attempts at noir from Miller’s pen.

Guardians Of The Galaxy
Also in August, Marvel aim to prove that slapping their logo on anything really will sell tickets as many galaxies away Chris Pratt’s cocky pilot (in no way modelled on Han Solo) falls in with alien assassin Gamora (Zoe Saldana), warrior Drax The Destroyer (wrestler Dave Bautista), tree-creature Groot (Vin Diesel’s voice uttering one line), and badass rodent Rocket Raccoon (Bradley Cooper’s voice), going on the run with a powerful object with half the universe on their tail. Writer/director James Gunn (SlitherSuper) has form, and reunites with Michael Rooker as well casting Karen Gillan as a villain, but this silly CGI madness sounds beyond even him.

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Far From the Madding Crowd
Bathsheba Everdene (Carey Mulligan), a wilful, flirtatious young woman unexpectedly inherits a large farm and becomes romantically involved with three widely divergent men: the rich landowner William Boldwood (Michael Sheen), the exciting Sgt. Troy (Tom Sturridge), and the poor farmer Gabriel Oak (Matthias Schoenaerts). John Schlesinger’s 1967 film of Thomas Hardy’s classic novel is a formidable predecessor. This version is from slightly morbid director Thomas Vinterberg (FestenThe Hunt), in his first period outing, and, worryingly, he co-scripted this with David Nicholls of One Day fame; whose own tendencies are not exactly of a sunny disposition. Can the promising young cast overcome Vinterberg’s most miserabilist tendencies?

The Man from UNCLE

Probably a Christmas blockbuster this reboot of the 1960s show teams CIA agent Napoleon Solo (Henry Cavill) and KGB man Illya Kuryakin (Armie Hammer) on a mission to infiltrate a mysterious criminal organization during the height of the cold war. Steven Soderbergh nearly made this with George Clooney from a Scott Z Burns script. Instead we get Guy Ritchie and his Sherlock Holmes scribe Lionel Wigram. Sigh. Hugh Grant plays Waverley, while the very talented female leads Alicia Vikander and Elizabeth Debicki will highlight the lack of suavity and comic timing of the male leads; particularly troublesome given the show was very dryly done tongue-in-cheek super-spy nonsense.

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Exodus

Another year, another Ridley Scott flick among my greatest cinematic fears… Thankfully Fassbender is not implicated in this disaster in waiting. Instead it is Christian Bale who steps into Charlton Heston’s sandals as the leader of the Israelites Moses in this Christmas blockbuster – don’t ask… Joel Edgerton is the Pharoah Rameses who will not let Moses’ people go, Aaron Paul is Joshua, and the ensemble includes Sigourney Weaver, Ben Kingsley, Emun Elliott and John Turturro. But Tower Heist scribes Adam Cooper & Bill Collage are the chief writers, with Steve Zaillian rewriting for awards prestige, and Scott’s on an epic losing streak, so this looks well primed for CGI catastrophe…

2014: Hopes

Filed under: Talking Movies — Fergal Casey @ 3:58 pm
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The Monuments Men

George Clooney stars, co-writes with Grant Heslov again, and directs what seems like a promising mash-up of The Train and Ocean’s 11, arriving sometime in February. Somewhat based on fact, a crack team of art experts and soldiers are assembled in the dying months of WWII to try and rescue priceless works of art from wanton destruction at the hands of nihilistic Nazis. The team includes regular Clooney cohort Matt Damon and the great Cate Blanchett, alongside the undoubtedly scene-stealing comedic duo of Bill Murray and John Goodman, and oddly Jean Dujardin. Can Clooney pull off a more serious art heist from Nazis caper? Fingers crossed he can.

The Grand Budapest Hotel

Wes Anderson returns in March, apparently in thrall to Lubitsch and Lang. Edward Norton did so well in Moonrise Kingdom that he’s invited back alongside Bill Murray, Jason Schwartzman, Tilda Swinton, and Owen Wilson. Newcomers are Ralph Fiennes, Saoirse Ronan, Jude Law, Mathieu Amalric, and F Murray Abraham. Fiennes is the legendary concierge of the titular hotel in inter-war Europe, where any gathering storms are ignored in favour of absurd murder plots, art thefts and family squabbles gone mad, as Fiennes gives his lobby-boy protégé an education in dealing with the upper classes which he’ll never forget; if they escape a sticky end long enough to remember.

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Veronica Mars

AW YEAH!! It was cancelled in 2007 but Kristen Bell’s iconic teen detective snoops again as creator Rob Thomas sends NYC legal eagle Veronica back to sunny Neptune to attend her high school reunion. Present and correct are friends Mac (Tina Majorino) and Wallace (Percy Daggs III), nemesis Madison (Amanda Noret), and frenemy Dick (Ryan Hansen). Dad Keith (Enrico Colantoni) remains a sage, warning against the obvious peril of insipid boyfriend Piz (Chris Lowell) being replaced in her affections by roguish ex Logan (Jason Dohring), who is once again accused of murder and asking for V’s help. Please let the sparks of ‘epic love’ spanning ‘decades and continents’ rekindle!

Frank

Lenny Abrahamson is the opposite of a Talking Movies favourite, but he’s teamed up with the favourite di tutti favourites Michael Fassbender. Thankfully Abrahamson’s miserabilist tendencies and agonising inertness have been put to one side for this rock-star comedy co-written by journalist Jon Ronson, a man with a verified eye for the absurd having written The Men Who Stare at Goats and The Psychopath Test. The original script loosely based on a cult English comic musician follows wannabe musician Jon (Domhnall Gleeson), who discovers he’s bitten off more than he can chew when he joins a pop band led by the enigmatic Frank (Fassbender) and his scary girlfriend Maggie Gyllenhaal.

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Captain America: The Winter Soldier

Literally everything I loved most about the original disappeared with the time-jump. So the major attraction of April’s sequel isn’t Robert Redford as a shady new SHIELD director, but Revenge’s icy heroine Emily VanCamp as the mysterious Agent 13. Samuel L Jackson’s Nick Fury and Scarlett Johansson’s Black Widow regrettably take the place of Tommy Lee Jones and Hayley Atwell in support, but Anthony Mackie as sidekick Falcon is a major boon. The real worry is that directors Joe and Anthony Russo (You, Me and Dupree, yes, that’s right, that’s their resume) will be intimidated by their budget into endless CGI action and precious little else.

X-Men: Days of Future Past

I’m excited and nostalgic, because May 23rd sees the arrival of the X-3 we deserved, but never got. Bryan Singer returns to the franchise he launched for one of Claremont/Byrne’s most famous storylines. In a dystopian future, where mutantkind has been decimated by the Sentinels of Bolivar Trask (Peter Dinklage),Kitty Pryde (Ellen Page) Wolverine (Hugh Jackman – this is a movie, not a comic, it’s all got to be about Wolverine!) is sent back into the past by Professor X (Patrick Stewart) and Magneto (Ian McKellen) to alter history by rapprochement of their younger selves (James McAvoy, Michael Fassbender). Jennifer Lawrence co-stars, with every X-Men actor!

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22 Jump Street
A proper summer blockbuster release date of June 13th for this sequel recognises the hilarious success of the absurd original. Schmidt (Jonah Hill) and Jenko (Channing Tatum) (or was it the other way round?) go undercover in college to crack another drug ring, and once again their fantastic bromance starts to crack under the strain. The original’s unwieldy team of writers and directors are back, as are Ice Cube, Nick Offerman, Rob Riggle and Dave Franco. Amber Stevens and Wyatt Russell are the college kids, but sadly Brie Larson is absent. Jonah Hill appears in full goth gear, which seems to suggest that the absurdity levels remain healthy.

The Trip to Italy

It’s not clear yet if we’ll get this as an abridged film or just be treated to the full version as 6 episodes on BBC 2. In either case Steve Coogan and Rob Brydon reunite to play heightened versions of themselves as they bicker their way around restaurants in Italy for the purposes of writing magazine reviews. 2010’s endearing roving sitcom The Trip, with its competitive Michael Caine impersonations was a joy, and director Michael Winterbottom takes the show on tour here. And no better man for the job, as this originated with their duelling Al Pacinos at the end of his A Cock and Bull Story.

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Magic in the Moonlight
Woody Allen’s latest should hit our screens around September. This time round the cottage industry is giving us a period romantic comedy, set in the south of France, which takes place in the 1920s and 1930s. The cast is as usual intimidating: Emma Stone, Colin Firth, Marcia Gay Harden, the imperious Eileen Atkins (one of the few actresses capable of domineering over Judi Dench), and Jacki Weaver. Will F Scott and his ilk make an appearance? Who knows! There are no details, just stills of open-top cars, drop waists, and cloche hats so this could be a close cousin of Sweet & Lowdown or Midnight in Paris.

Gone Girl

The start of October sees the great David Fincher return, with his first film in three years, and it’s another adaptation of a wildly successful crime novel. Nick (Ben Affleck) and Amy (Rosamund Pike) are seemingly the perfect couple, but when she disappears suddenly on their 5th wedding anniversary, Nick becomes the prime suspect as he discovers his wife told friends she was scared of him. Could he have killed her? Or is the truth far more twisted? Gillian Flynn has adapted her own work, and, incredibly, penned an entirely new third act to keep everyone guessing. The unusually colourful supporting cast includes Neil Patrick Harris and Patrick Fugit.

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The Interview
The pitch is that an attractive talk show host and his producer unwittingly get caught up in an international assassination plot. So far so blah, if that was say Ben Stiller and Owen Wilson directed by Shawn Levy, except that the host is actually James Franco, the producer is Seth Rogen, the interview is in North Korea, and the awesome Lizzy Caplan is the rogue femme fatale CIA agent who drags them into all sorts of mischief. And it’s written and directed by Rogen and Evan Goldberg who distinguished themselves with 2013’s best comedy This is The End. This is very likely to mop up the non-Gone Girl audience.

Interstellar

Christopher Nolan tries to redeem himself after TDKR with a small personal project, taking the same release date as The Prestige did. Well, small, in that the WB needed Paramount to stump up some cash for it, and personal, in that Spielberg spent years developing it; albeit with the assistance of Jonathan Nolan. Scientists attempt to observe a wormhole into another dimension, and that’s about all we know, other than vague speculations about ecological crises. Matthew McConaughey 2.0 stars alongside Anne Hathaway, Casey Affleck, Matt Damon, John Lithgow, Jessica Chastain, and, yes, Michael Caine – who is now as essential a part of the signature as Bill Murray for Wes Anderson.

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The Hunger Games: Mockingjay – Part I

Jennifer Lawrence goes for third biggest hit at the North American box office for the third year in a row with her latest turn as rebel heroine Katniss Everdeen on November 21st. Having survived the Quarter Quell and the destruction of her District, she discovers President Snow has Peeta hostage, and that the rebellion has a leader, President Coin (Julianne Moore), ready to embark on a full-scale bloody war of rebellion against the Capitol. Recount writer (and Buffy shmuck) Danny Strong is the new screenwriter, and Elementary star Natalie Dormer joins the cast, but director Francis Lawrence remains in situ, with his considered visual style.

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