Massive Xmas Gift Guide! 66 must-have gifts DECEMBER 2015 issue 239
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is s i h t – c i p e s “It’ k history” ill o o Cav b y c r H en co m i
N V A N M T A A B sUPERM is t
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e ss c c a e et e mpl o c mat i ult to the ed clash! c ap
Thor goes fishing MEET MARVEL’S NEW GIRL BRANDO & McQUEEN
D aw n
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Reunited
Hanks & spielberg On set: Victor Frankenstein
Mcavoy & radcliffe Oscar double?
Blanchett & Mara
buzz Welcome to the movies!
Hell for feathers first look!
THE ANGRY BIRDS MOVIE | We cast an eagle eye over footage from next year’s biggest (non-superhero) clash… Next May, one of the great mysteries of modern times will finally be solved: what ruffled the Angry Birds’ feathers? Speaking at a sneak peek of the adap of the app, producer John Cohen said: “The question we get asked most is: ‘Why are the birds so angry?’ This movie will be the origin story of how that conflict came to exist.” With three billion downloads and counting, there’s a ready-made audience for the upsizing from smartphone to silver screen. Which
14 | Total Film | December 2015
probably explains why Sony is super-keen for secrets not to leak from the 15-odd minutes of footage screened. Hopefully it won’t get anyone in a flap to say that one particularly closely guarded character reveal is worth the wait and squawkingly funny. Other scenes were expansions of what you’ve seen in the trailer, highlighting Red (voiced by Jason Sudeikis) as the angriest of all birds, living on a paradise island populated by his flightless brethren, whose collective nest is invaded by – who else? – a gang of green pigs. We also got a gander at other key characters – Chuck (Josh Gad), Bomb (Danny McBride), Matilda (Maya Rudolph) and Leonard (Bill Hader); as the roster of talent suggests, this
is a movie pitched squarely at the funny bone, with nods and winks to the grown-ups alongside comedy explosions (that’ll be Bomb) for the kids. Though it’s first time for both co-directors (Clay Kaytis and Fergal Reilly), between them they’ve got a flock of major cartoon credits, including Frozen, Wreck-It Ralph, The Iron Giant and Tangled. Writer Jon Vitti, meanwhile, is a veteran of The Simpsons, the US version of The Office and The Larry Sanders Show, suggesting a generous measure of snark and smarts as well as slapstick. But most intriguing? Cohen teases a rescue plot like something performed by Liam Neeson in Taken. Now that is angry. ML ETA | 13 May The Angry Birds Movie opens next year. Subscribe at www.totalfilm.com/subs
new films! Critter city: Zootropolis (known as Zootopia in the US) builds big.
tf tf tf Take our advice tf
Can you guess the recent movies from our ‘alternative’ consumer advice?
ZOOTROPOLIS | Buzz gets a guided tour of Disney’s latest animated animal environment.
Disney has a rich history of talking animals, but Zootropolis has taken the idea and run with it. Creating an all-mammal metropolis – where each species is sized true to scale – was no small feat. Here producer Clark Spencer takes Buzz through the concept. “John Lasseter said early on, ‘I don’t want these to be humans in animal suits...’” PET PROJECT
“[Co-director] Byron Howard started with this idea that there’s an all-animal city that existed, then they’d go off to this island where these two characters would be involved in this mystery. And John Lasseter kept saying, ‘That first part of your pitch, that’s really the cool part of it. I want you to go and figure out how we tell a story there.’”
HOWLING WITH LAUGHTER
“For the adults, [the humour] needs to usually be about the concepts and what the characters are saying, so the humour can live up at that level. For kids, they fall in love with the characters and story, and it tends to be more physical humour, so we kind of think about it in two different buckets.”
ANIMAL MAGIC
“You can do that simple pitch and say, ‘it’s going to be about a fox and a bunny rabbit’, but now you’ve got to figure out where that story goes from there. It’s kinda cool because there’s a buddy comedy side of this, but there’s also a mystery, and animation doesn’t do mysteries: that’s not what we do historically.” MM ETA | 25 March 2016 Zootropolis opens next year. gamesradar.com/totalfilm
Contains Michael Fassbender wearing blue face paint, a crown and a frown. Contains Mars. Lots of Mars. Contains silly accents, creepy contact lenses and the risk of deathby-tightrope. Bring a sick bag.
Contains a really very scary house. And Tom Hiddleston is in residence. Contains unbearable tension, beautiful shots of Mexico and the most violent ‘wet willy’ ever. JW Answers: The Intern, Macbeth, Crimson Peak, The Martian, The Walk, Sicario
Urban jungle
EXCLUSIVE!
Contains a 70-yearold contending with Facebook, unexpected arousal and Anne Hathaway (not necessarily in that order).
December April 2014 2015 | Total Film | 15
buzz Welcome to the movies!
Listen Up “I didn’t really know anything about Brando, to be honest, apart from watching his main movies,” admits director Stevan Riley (Bond doc Everything Or Nothing). But when producer John Battsek approached him with the idea of a Brando doc – with full access to his archives – he was hooked. It was only then that 300 hours of private audio recordings were discovered, with Brando riffing on everything from self-hypnosis to his role in Mutiny On The Bounty. “It was like bringing your father back to life,” admits his daughter Rebecca. “The first time I saw the film, I walked out – I couldn’t handle it.”
Brando awareness EXCLUSIVE!
LISTEN TO ME MARLON | Eleven years after
Don Look Now Arguably Brando’s most iconic performance is as Don Corleone in Francis Coppola’s The Godfather. Listen To Me Marlon shows the rarely-seen screen test, where the actor created the character by stuffing cotton wool balls into his mouth. “It’s fairly unique,” claims Battsek. “It’s not something people
20 | Total Film | December 2015
ALAMY, HOWARD BINGHAM, CORBIS, GETTY
his death, Marlon Brando returns in Stevan Riley’s compelling new documentary, told using previously unheard audio recordings made by the actor. Buzz investigates…
are very familiar with.” It wasn’t the only moment of inspiration. His son, Miko, points to his father’s powers of improvisation in the scene in Corleone’s office, picking up a cat. “That was a studio cat that was just roaming! That’s not in the script but… when you see that scene, yeah, it’s powerful.”
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new films!
press record While the family didn’t know the extent of Brando’s diarylike recordings, Miko remembers sharing such moments with his father. “He would sit us down, we’d talk [and record] and we’d listen back to it. He’d want to capture those moments and our feelings.” No wonder there were tears. “I cried!” he admits. “The tone of his voice just really got to me.”
Brando Unbarred “Hand on heart, the family, once they opened the doors to us, they stepped away and didn’t step back into the frame until we showed them the film,” says Battsek. This, despite the trustees having final cut and Riley taking the decision to show some of the more tragic moments in Brando’s life – notably the suicide of his daughter Cheyenne.
Father Figure Brando’s relationship with his father wasn’t easy, as shown in Listen To Me Marlon in a “seminal scene”, says Riley, when both are interviewed on a television show, with the actor looking petulant. “He always wanted his father’s love and attention. But despite his hatred for his dad, he still kept his father close and in charge of his business affairs.”
Hollywood Icon Pictured here in The Wild One, the 1953 biker movie that cemented his rebel pin-up status, Brando’s impact on the world of acting remains untarnished, says Battsek. “The number of actors who have got in touch wanting to see this film is unbelievable,” he says. “I now have an address book with half of the biggest names in Hollywood, because they all want to see the film!”
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Kurtz-y Riley estimates Brando never got due credit on Coppola’s Apocalypse Now, playing Colonel Kurtz. “He did change the character of Kurtz. You look at the original script – Kurtz is going, ‘Hey, man, do you like The Doors’ album?’ Very hippie. Brando said, ‘No, he’s got to be intelligent – the embodiment of pure evil.’”
Freedom Fighter Shown here with Martin Luther King, Brando was entrenched in the 1960s Civil Rights Movement and also supporting Native American issues. “He took acting very seriously…but he never thought it was enough,” says Rebecca. “He wanted to do something more, something of great change. He had such a heart for the underprivileged.” JM
ETA | 23 October Listen To Me Marlon is in cinemas now, on digital HD from 9 Nov, and on DVD and Blu-ray from 30 Nov. December 2015 | Total Film | 21
buzz Welcome to the movies!
Dark arts new pics
the revenant | Could Leo’s latest be the most grimly beautiful film of the year?
Birdman director Alejandro González Iñárritu’s next film couldn’t be any more different, even if the ambition is familiar. A 19th-Century fur trapper (Leonardo DiCaprio) is out for vengeance after being mauled by a bear and left for dead by his comrades (Tom Hardy, Domhnall Gleeson, Will Poulter). The shoot almost matched the story for intensity, with Iñárritu filming on location in freezing conditions (largely in Canada), using only natural light. But if the gawp-inducing 22 | Total Film | December 2015
trailers are anything to go by, the commitment seems to have paid off. “If we ended up in greenscreen with coffee and everybody having a good time, everybody will be happy, but most likely the film would be a piece of shit,” Iñárritu told The Hollywood Reporter. Hardy has dubbed the results of the filming “unlike anything I’ve ever seen”, and Gleeson describes looking at the monitors at the end of a day’s shooting, thinking, “‘This is why I want to be an actor…’ I’m so glad [Iñárritu] got the opportunity to make that.” MM ETA | 15 January The Revenant opens next year. Subscribe at www.totalfilm.com/subs
new films!
This month, the upcoming Jurassic World sequel. Buzz pitches four dino outing ideas. Jurassic Spelled
EXCLUSIVE!
Drive angry
STEVE MCQUEEN: THE MAN & LE MANS | Chad McQueen talks his mould-breaking movie star father.
If there was one thing Steve McQueen loved, it was racing. Recounting his near-disastrous 1971 passion project Le Mans, shot at the famous race track in the wake of hits like Bullitt, this new documentary – featuring contributions from son Chad McQueen – paints a vivid portrait of the legendary movie star. DAD DOC
Making Le Mans, McQueen was in crisis. “It was an eyeopener,” admits Chad. “I didn’t realise the depth of the infidelity. How many girls… I knew my dad was a player but to that extent, I didn’t. He sheltered us kids. I didn’t know my mum and dad were having problems. I thought everything was smooth.”
KING OF COOL
“He was my dad first and foremost. But I do get it,” says Chad, commenting on his father’s enduring legend. “The way he resonates today is phenomenal. He laid the ground work for the Ryan Goslings, the Brad Pitts…” These guys might be good but they’re still “pretenders” to the throne, he says. “There’s nobody out there like him.”
STAR POWER
“My dad, he had very clear vision,” reflects Chad. “Once he made a decision [about] the way he wanted to go with a character that was it. [Studio head] Jack Warner himself couldn’t tell him what to do – he’d say: ‘Go fuck off!’” Chad smiles. “We’re sitting talking about him 34 years after his death, so he did something right!” JM ETA | 20 November Steve McQueen: The Man & Le Mans opens next month. gamesradar.com/totalfilm
The thrilling tale of a small-town spelling bee contest (no-one can say the $150m budget isn’t up there on the screen). During 90 eventful, emotional minutes, we get to know and care about the gaggle of eightyear-olds competing for the top prize, which is, as it happens, a trip to the Natural History Museum; the lucky winner comes down to who can spell Pterodactylus.
Jurassic Girls
We follow a clutch of twentysomething cave girls as they quest for meaningful work and relationships. Moments of humour and triumph jostle with a startling emotional frankness that is often painful to watch. Much sex, nudity and Adam Driver doing his hipster-caveman shtick. The odd token dinosaur lopes in the background to keep franchise viewers happy. Might actually work better as an HBO spinoff.
Jurassic Out Of This World
Why not get in on the space zeitgeist (Gravity, Interstellar, The Martian, Star Wars: The Force Awakens) and open a new theme park on a far-flung planet? Or perhaps JOOTW could take inspiration from Aliens and see Owen training up a whole platoon of Velociraptors to take on a swarm of hostile E.T.s? Claire, meanwhile, runs through swamp, desert and mountain scree in high heels.
Jurassic World War Z
Dinos vs zombies vs Brad Pitt! Just think of the sprinting dead forming a human pyramid to bring down a T-rex... It would break the box office! JWWZ could also begin an anthology of movies that blend cinematic universes: Jurassic Westworld (dinos vs bald killer robots!); Jurassic Underworld (dinos vs vampires vs Kate Beckinsale in PVC!); and, of course, Jurassic Waterworld (Mosasauri vs Kevin Costner with gills!). JG ETA | 8 June 2018 The untitled Jurassic World sequel opens in three years. December April 2014 2015 | Total Film | 23
MAKING OF
Saving Private Ryan comrades Steven Spielberg and Tom Hanks reunite to fight another on-screen battle in a true Cold War spy story. TF interrogates the main players to discover what tempted them to Bridge Of Spies. Words: Jamie Graham
his is my fourth collaboration with Steven, plus we’ve worked extensively on some miniseries together,” booms Tom Hanks, his gusto tempered not one jot by the fearsome cold that has him unleashing a volley of coughs between sentences. Not wishing to contaminate Total Film, he insists on an elbow bump by way of greeting, then settles into an armchair in an expansive suite at the Ritz Carlton hotel, Manhattan. He adjusts his baseball cap. “The first collaboration [Saving Private Ryan] was such a huge emotional saga,” he continues. “At that point, World War 2 movies had just become genre pieces or caper >>
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Bridge Of Spies
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December 2015 | Total Film | 93
MAKING OF movies; no one bothered with going back and re-examining, or deconstructing the myths – particularly D-Day – or questioning what it really meant to the human condition, both then and now. It was bigger than anything I had experienced before. Powered by that, the next times we worked together, we had no period where we had to get to know each other. It’s a very clean and wonderful way of working. I can say, ‘Well, I think that’s a stupid idea’; he can say, ‘I see what you’re trying. It ain’t working.’” It’s not hard to see why Spielberg and Hanks reunited for another war story in the form of Bridge Of Spies. Both are history nuts who grew up in the shadow of the Cold War, and this particular true-life tale – populated by men in hats and spilling over with subterfuge, suspense and tightly wound set-pieces – revolves around an upstanding Brooklyn insurance lawyer, James Donovan, who fits Hanks as snugly as Atticus Finch fitted Gregory Peck. Donovan’s extraordinary tale was brought to executives at DreamWorks by London-based playwright and TV writer Matt Charman, who stumbled upon it via a footnote in a biography on John F. Kennedy. The kind of story you just couldn’t make up, it concerned a Russian sleeper spy, Rudolf Abel, who was arrested by the FBI in 1957 and charged with sending coded messages back to Russia. Required to grant Abel an independent defence, the US government turned to Donovan, who duly accepted at considerable cost to himself and his family given anyone standing within 1000ft of a ‘Red’ was viewed as a traitor. But that was just the start. Donovan, a deeply moral man dedicated to the principles of justice, provided a far more robust defence for Abel than anyone expected, and subsequently rescued him from the expected death penalty. Good job, too: when US pilot Francis Gary Powers was shot down in a U-2 spy plane in
Spy glass: Rylance puts his stage experience into the intricacies of Soviet sleeper agent Abel.
Cold War case: James Donovan (Tom Hanks) defends Rudolf Abel (Mark Rylance).
Soviet airspace, Donovan was the man who the CIA charged with visiting Berlin to negotiate an exchange, Powers for Abel. “My father had gone to Russia during the Cold War on a foreign exchange right after Francis Gary Powers was shot down,” says Spielberg, now 68 years young and still sprightly and twinkle-eyed. “My dad and three other associates from General Electric stood in line because they were putting Powers’ flight suit, helmet and the remains of the U-2 on display for everybody in Russia to see what America had done. A couple of Russian military officials approached and asked for their passports, saw they were Americans and
got them to the head of the line. This Russian pointed to my dad and his friends and said, ‘Look what your country is doing to us’. I never forgot that story. And because of that, I never forgot what happened to Francis Gary Powers.” Hanks, 10 years younger than Spielberg, was a nipper during the Cold War, but he too has strong memories of that perilous time. “It was part and parcel to every one of our classes,” he bellows. “If we took a geography class, we looked at a map, in which half of it was red.” He pauses to honk into a handkerchief. “There was this episode of Star Trek that really represented the thinking of the ’60s as far as I’m concerned. There was a historian. He’s yelling at Captain Kirk. He says [shouts even louder] ‘Captain Kirk! Will this be like the 2.3 million people who died in your First World War? Will this be equal to the 60 million who died in your Second World War? Will this be another 365 million who died in your Third World War?’ And there it was. There was going to be a Third World War. Sooner or later those red guys on the other side of the world were going to either force us to push the button or they were going to push the button themselves.”
Of course, Spielberg draws from movies and pop culture as much as from life, so there was another attraction to Bridge Of Spies. Unlike 1941, 1941, Empire Of The Sun, Schindler’s List and Saving Private Ryan, all of which are located during World War 2, Bridge Of Spies, set as it is during a war for information, allowed him to indulge his lifelong love of espionage. “I love spy movies!” he says. “I love John le Carré, the James Bond movies, Mad magazine and the infamous ‘Spy vs. Spy’ column that Subscribe at www.totalfilm.com/subs
Bridge Of Spies
Chilling out: Hanks and Spielberg get frosty on location.
I grew up with, so spying has always been on my mind.” But this is the autumnal Spielberg who’s drawn to sombre, thorny themes, so don’t expect glamorous ladies, rocket-in-pocket gadgets and ballistic set-pieces. What appealed about Charman’s screenplay, which was given a polish by the Coen brothers in order to dig deeper into the characters, enrich the dialogue and bring life’s absurdities into sharp focus,
previously worked together, but they shared history: Spielberg cast Rylance in Empire Of The Sun in 1986 before the actor dropped out for a theatre job, and they’d reconnected in 2013 when the director slipped backstage to say hello after Rylance had crushed a Broadway production of The Twelfth Night. “The books about Abel that were useful are the ones written by the artists who worked with
was that its adventure came with complexity. “It wasn’t just shadows and light and spies in a stereotypical way,” nods Spielberg. “It’s spies that we wouldn’t think twice about. We wouldn’t even notice them let alone figure out they’re here to do a mission against our national security.” Which brings us to Rudolf Abel. Played by Mark Rylance, the legendary English stage actor with three Tony Awards and two Olivier Awards to his name, Abel is a gentle, interior, fastidious man, all muffle and shuffle. “I went on the internet, found books,” shrugs Rylance, admitting he’d not even heard of the Russian spy when Spielberg came a-calling. The pair, who went on to make BFG, had never
him when he was pretending to be an artist in Brooklyn in that warehouse,” he says. “One particular painter became very close, and was completely surprised when he was arrested. This guy actually was so upset by it that he tried to visit Abel in Russia later on, but wasn’t able to make contact with him.” Information on Abel is scarce, but Rylance trawled through whatever there was – FBI transcripts, snippets of footage, descriptions by colleagues – to build the character, from his soft Scottish accent to his unassuming posture to his constant dabbing at his nose with a handkerchief (“He had a nasal problem so he always had 20 handkerchiefs drying in his studio”).
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Hanks, on the other hand, pretty much is Donovan, their moral fibres entwined. “Well, you know, the stuff I’ve done – Apollo 13, Saving Private Ryan, Cast Away – I get it,” he nods when it’s suggested his face could be on Mount Rushmore. “Not that I’d put this face on Mount Rushmore. Look, I’m not a muscle man and I’m not a superhero. Even in the Da Vinci movies, I get beat up more than I do anything else. But the logic of how I ended up here is relatively irrefutable. I do have that kind of reputation in the work I’ve done; the characters earn those places. Part of it is getting older. I spent a long time in my 20s and 30s just playing the guy who couldn’t get laid. Then I just said, ‘I’m not playing pussies anymore. Because one, I’ve exhausted it, and secondly, I’m too old to play a pussy now.’ Look, I became a dad, I got married, I went through all kinds of things like that. And I must say, the sort of roles that I’ve often been able to do have been guys who have been wrestling with bigger versions of moments of humanity I think I’ve wrestled with as a human being, as a dad and husband, and an American.”
Beginning principal photography in September 2014 and shooting in New York, Germany and Poland, Spielberg, as ever, provided the most authentic environments possible for his actors. A Hitchcockian chase on a Manhattan subway >> December 2015 | Total Film | 95
MAKING OF
Under pressure: Donovan's perceived association with the Soviets caused a media storm.
was shot at the Metro Station at Broad Street, with production designer Adam Stockhausen swapping out signage and lighting fixtures, while actual subway cars from the 1960s were utilised. Three hundred yards of the Berlin Wall were reconstructed with the original materials and measurements. And the Glienicke Bridge, which once separated East and West Berlin and served as the location of the Abel/Powers exchange, was cordoned off for Spielberg to recreate history. Add in Kasia WalickaMaimone’s terrific costumes, with some scenes featuring 300 kitted-out extras, and a persuasive palette – green, maroons and yellows for Brooklyn, blacks and greys for Berlin – and it’s like stepping back in time. “The attention to detail, and the money they have to invest in it!” whistles Rylance, stressing it was a big help to the actors. “But my God, those were two absolutely freezing nights on the Glienicke Bridge!” Hanks is in firm agreement. “It’s a massive aid, if nothing 96 | Total Film | December 2015
other than to remind us all of the responsibility,” he starts before riding out an explosive coughing fit. “When you’re standing on the Glienicke Bridge, the far side, which was the East, is not very developed. And so when the sun came down, it was pitch black over there, much like East Germany was when the sun went down. It’s a huge, magical factor.” Watching the scene is magical, too – the recreation is a masterclass in suspense cinema, painted to perfection by Polish DoP Janusz Kaminski, who here works with Spielberg for the 14th time. In stark contrast, composer Thomas Newman (WALL·E, Skyfall) makes his Spielberg debut, having stepped in when poor health prevented John Williams from continuing his record of scoring every one of the director’s films since The Color Purple in 1985. So devastated was Spielberg that he initially considered forgoing a score altogether, but soon decided to trust in Newman, whose understated piano tinkles and orchestral swells are sparingly used. The score, like
the screenplay, is careful to avoid political bias. “One of the things I loved about this story was that everyone you think should be wearing a black hat isn’t necessarily wearing that hat,” says Spielberg. “It isn’t easy to root for someone who is a spy against the security of our nation… how could we possibly come out on the other end of this experience caring about this person? But in this case we do, and that was something that made me want to get involved.” Indeed, for all the awards-worthy craft on display and in spite of the contained, precisely orchestrated set-pieces, what is most intriguing about Bridge Of Spies is that Donovan and Abel develop a strong respect for one another. They might reside on opposing sides of the Iron Curtain but both are men of scrupulous loyalty and honour, guided through life by unwavering codes of conduct. “I googled and went on YouTube, and just put in ‘James Donovan’, and one of the first pieces of film I saw was him explaining during the trial his entire reason for taking the case,” explains Hanks. “He said, ‘This man is not a traitor. You can’t execute this man for being a traitor because he’s not an American, and only an American could commit treason in the United States of America. And in fact, he’s a spy who’s doing a job, just like we have spies in Russia that are doing their job.’ The truth is, Rudolf Abel was a stand-up guy. He didn’t cave, he didn’t turn in his country, Subscribe at www.totalfilm.com/subs
Bridge Of Spies x
xxxx he didn’t try to bribe his way out of it.” xxxxxx Watching Donovan and Abel share a screen is captivating. Equally captivating is taking a step back to watch Hanks and Rylance share a screen – icon of film versus icon of stage. Was there a clash of styles, or at least a friction that made for an interesting dynamic? “I think Tom’s technique is far superior to mine,” says Rylance modestly. “I was bowled over watching his performance. You just don’t have the impression of the power of what he is doing when you’re on set. And yet when you see it [on screen]… it’s so still, so pure. He also knows how to use his own sense of decency, his own solid presence. He’s gold dust for a director in this kind of role. It was a lesson to me. I’m not experienced enough. It’s still odd for me not to be the primary storyteller. In the theatre, it’s me and the audience. I’m the editor, cameraman. I vary pace. I give focus to other actors. I take focus. I can kill the humour. I can increase the humour. In film, that’s none of my business. The director does all of that stuff. I still have a level of distance to go before I get really comfortable with that.” Hanks waves away such humility. “Mark is making this uncanny transition from being a pure stage actor to someone who can do both,” he points out. “You can see how the disciplines
Table talk: Rylance and Hanks go head to head and (below) The Beard directs Rylance on set.
that have made him who he is translate to the soundstage. Some stage actors can become wooden, mechanical. But Mark made it just quieter and quieter and quieter. He would take a shift of a couple of degrees or wait a little bit longer to answer my question; I found myself as Donovan almost constantly leaning forward to hear what he was going to say. It means the two of us are inside a scene, really listening to what the other person says. The dude’s fascinating.” Make that two fascinating dudes in a fascinating film. Who knows, Bridge Of Spies might just change people’s perceptions of the Cold War in much the manner that Saving Private Ryan changed younger generations’ outlook on World War 2. Hanks nods. “I think that period is, by and large, defined by really quite too simplistic terms,” he says. “This can demythologise the Cold War.” And provide audiences with some expert thrills whilst it’s at it. TF Bridge Of Spies opens on 27 November. gamesradar.com/totalfilm
December 2015 | Total Film | 97
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