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Contents

December 2012

December Features

Reviews Section

Page 4: Hitchcock

Page 17: Cloud Atlas

Page 8: Picturehouse/Cineworld Page 11: Come To The Stable

Page 18: Life Of Pi Page 19: Zaytoun Page 20: Wreck-It Ralph Page 21: Amour

Regulars Page 3: Editor’s Note and Contributors Page 31: Things to See in December

Page 22: The Master Page 23: Chained Page 24: West Of Memphis Page 25: I, Anna Page 26: The Hunt Page 27: Great Expectations Page 28: The Hobbit Page 29: Rise Of The Guardians Page 30: Seven Psychopaths

Contributors Editor’s Note Editors

Joshua Hammond: Editor-in-Chief joshua@pictureshow-magazine.com

Dale Pearson: Editor

dale@ pictureshow-magazine.com

Words

Joshua Hammond Chris Binding Cal Hudson Alice Sutherland-Hawes Katie Driscoll Lauren Harrison-Ford Lawrence Pumfrey

Online

Find us at pictureshow-magazine.com Like us on facebook Follow us @PictureShowMag

Welcome Back to PictureShow Magazine Things are becoming increasingly strange here at Pictureshow HQ, off the back of our London Film Festival Coverage and our great work and reviews over the year, we’ve been given a full press pass to Sundance Film Festival! We’re not sure if we’re going yet, we’ll have to see how much money is left in Gringotts first but how cool is that?

Speaking of cool, the temperatures have fallen and winter is fully at our door, so regular writer Cal Hudson has looked at the best ways to use Christmas as the backdrop to your story.

In the wake of the recent merger between Cineworld and Picturehouse cinemas, we did some real journalismy stuff and got on the blower with their reps. A full article on the issue can be found on page 8.

Our cover article does what it says on the tin really, it looks at he use of Hitchcock and his work in new franchises.

Joshua Hammond Editor-in-Chief

Hitch... Cock!

JOSHUA HAMMOND

Are new works focussing on Alfred Hitchcock good for his reputation?

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craft has been well documented, the portrayal of Hitchcock’s treatment of Hedren in The Girl is particularly aggressive. Based on Donald Spoto’s biography of Alfred Hitchcock, The Dark Side Of Gen Hollywood’s landscape, few figures loom nius, that came out 3 years after Hitchcock’s death larger than Alfred Hitchcock. One short, over- (20 years after the production of The Birds and weight guy from East London changed the movie Marnie), The Girl seems to be ridden with degradmaking industry forever. Hitchcock’s influence can ing assumptions about the director, his relationship be felt in most modern thrillers such as Drive, Tinker with Alma and his “obsession” with Tippi Hedren.

Tailor Soldier Spy and Phone Booth, his “Master of Suspense” title is still as appropriate 30 years after Sacha Gervasi’s upcoming film Hitchcock, seems his death as it was at the height of his power. The to tread a similar line. Hitchcock follows the prorecent flurry of works either inspired by Hitchcock’s duction of Psycho and the director’s increasingly life and works is not surprising, especially because fraught relationship with Alma. The problems with of Hitchcock’s legacy and influence. However, the this project are largely the same as those with The tone and nature of the upcoming TV series, mov- Girl, except that Anthony Hopkins’ Hitchcock imies and specials is questionable especially when it personation is of a lower calibre than Toby Jones’. casts Hitchcock as a composite of his characters.

What results is an utterly superficial film that even BBC and HBO’s recent production The Girl, has drawn negative headlines because of its supposed inaccuracies and the portrayal of Hitchcock as a sexually aggressive, impotent and sadistic man in his later years. While Tippi Hedren has recently spoken out about how Hitchcock had tried to “ruin her career”, and Hitchcock’s disdain for the acting

with the massive stars and acting talent, fails to capture any of the intrigue and excitement that Hitchcock himself could manage in a half hour special of Alfred Hitchcock Presents. The reviews for Hitchcock have only managed to muster a passive response, which even in Hitchcock’s worst releases never happened.

Voyeuristic themes are prominent in Hitchcock’s work. From the beginning of his career, the themes of looking and voyeurism pepper his work. From L.B ‘Jeff’ Jeffries in Rear Window, studying his neighbours with a telescopic lens, to Norman Bates spying on Marion Crane through a peep hole in his office. However, taking these tendencies and projecting them ONTO the director is foolhardy and doesn’t ring true. Facts should not get in the way of a good story, filling in the gaps behind stories that have enraptured audiences for half a century destroys the work of previous generations while failing to create something truly engaging. Nobody’s made a film about Michael Powell having feelings towards Carl Boehm in Peeping Tom, because that film has strong overtones of filming and sexuality.

Before moving on to talk about Bates Motel, the extremely questionable television series designed as a prequel to Psycho with a teenage Norman Bates at its centre. It has to be asked why do we need to know about the relationship behind what happens on screen. The films that are being dealt with are masterpieces, celluloid perfection, why taint them with spurious details of the tensions behind the scenes? The reason Heart Of Darkness and Roman Polanski: Wanted And Desired were such compelling documentaries was because they were just that, documentaries, based considerably more

heavily in fact. By dramatising the details found in posthumous documentaries and rumours, you dilute both the memory of the grand master and the effect of his films.

Bates Motel is A&E’s upcoming series about the formative years of Norman Bates. The original film does have a number of sequels, and their artistic merit was queried upon their original release but the need for a series exploring Bates’ teenage years seems completely without reason. In Psycho, Norman Bates was ageless, he looked young enough to be 18, but was strong, quick and clever enough to be in his mid thirties. So much about Psycho’s enduring appeal is in the unknown, that so many of the iconic images and slights can be disputed or discussed at length.

Do we really need to know why Norman Bates became so twisted? And do we need to be shown in graphic detail? In the final scene of Psycho, Dr Richman explains away Norman’s behaviour but never convincingly. The vague nature of the original film were what made it so engaging. Gus Van Sant’s attempt at a shot for shot remake of Psycho, largely failed because of the films slightly more extreme nature. Van Sant showed what Hitchcock ensured stayed hidden. But at no point did Gus Van Sant show us the bodies in the swamp behind the motel.

The final image in Psycho is of Marion Crane’s car being drawn out of the mire with a chain, only hinting at the secrets buried down there. Bates Motel looks set to draw the bodies out and show us the gory details, which is precisely what Hitchcock wanted to avoid. All of this is demonstrated in the infamous shower scene, shot in black and white to avoid the lurid red blood in the plug hole, the knife is never shown piercing Marion’s skin, quick editing gives the illusion of gore and violence when in reality you see none. If Bates Motel is a staggering new series about the teenage years of a psychopath, why base it in a universe that is fully formed and doesn’t need explaining away.

appearing and played by the formidable Vera Farmiga, but will she be hero or victim? The more you consider the delicate framework of Psycho and the fantastic balancing act it pulls off, the more Bates Motel appears to be a VERY foolish move. The massive amount of interest around Hitchcock and his work at the moment might make Bates Motel a ratings smash, but as a piece of art it will find it very hard to find life outside the shadow of Psycho.

Looking at the nature of Hitchcock’s relationships behind the camera and being spoon fed the reasons for Norman Bates’ split personality has the same result. By removing the mystery and pulling back the curtain, a certain amount of the joy Though the series has not yet been broadcast and from viewing these films is lost. After having seen Pictureshow hasn’t had the opportunity to see it, The Girl, it can be very hard to watch The Birds or the recent teaser promotional images use the iconic Marnie without the image of the predatory Toby Motel sign and hint at an attempt to launch a dark Jones creeping all over Sienna Miller. After Bates and disturbing series. This idea immediately flies Motel and Hitchcock, will Psycho have been dein the face of Hitchcock’s own image for Norman stroyed by creative folk adding to the considerable Bates, who was meant to be the kid next door, the allure of the film? Hitchcock’s work is pervy, there’s young man who took his grandma to church and little doubt about that. All you have to do is watch Rear Window and see James Stewart drooling over cared about his mother.

Miss Torso with a telescopic lens as evidence, but projecting this onto the master himself is foolhardy Ahhh, yes. Mother. and makes for less gripping drama than the people How will Mother be presented in this new series? In at HBO, BBC, A&E thought. what way will she be involved? We know she’ll be

OR

CHRIS BINDING

A look at the consequences of Cineworld’s merger with Picturehouse cinemas.

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sumably sounds, with Picturehouse running as a separate entity within the Cineworld group. With plans to expand the brand with over 10 new Pictureshow venues within the UK Cineworld will take the ‘opportunity to accelerate its growth by reaching audiences in a high value and growing part of the market (while) supporting the business through the next phase of its development’ However on the other end of the spectrum the business manifesto to ‘build Cineworlds food and retail capabilities’ do raise concerns about the future power Cineworld can wield of the actual aesthetic and retail elements of ‘art –house’ cinemas. For independent cinemas especially, the physical aesthetic and retail decisions help differentiate ‘art-house’ from the ‘mainstream’ in something as simple as the choice between organic cider and watered down Pepsi.

Although the programming itself in theory may not be changed in the takeover, the future aesthetic of newly built Picturehouse cinemas will hopefully not re –produce the stale carpets and characterless emptiness of multiplex experiences.

n personal histories of film viewing everyone surely remembers the moment they departed from mainstream cinema chains to the fabled new experience of an independent cinema. From cult programming, international film and director Q and A’s these cultural establishments have become a coveted bastion of alternative film – going and hence developed into a thriving business model with art – cinema chain ’Picturehouse’ becoming one of the leading chains of ‘art-house’ cinemas in the UK. Yet for many cinema – goers the lines between independent and commercial chains will become blurred in the wake of the recent purchase of Picturehouse by multiplex chain Cineworld, with plans to expand and ‘learn’ from the Picturehouse brand. With the deal coated in hyperbole and a reassuring press release assuring that no changes will be made to the programming or management of Picturehouse, the deal itself marks a pivotal change within the domestic UK film market and should be Although Cineworld seemingly know the market followed with great concern as a stepping stone to and seek to learn a lot from it, future developments the future exhibition context of UK. in the industry and a decline in cinema – goers may leave Picturehouse cinemas as a financial scapeAs the press release states the perceived damage goat, drowning in a quagmire of cheap nacho doesn’t necessarily seem as terrifying as it pre- cheese

The acquisition could also fall within the context of local ‘arts’ council cuts, with many smaller cinemas, theatres and galleries facing the prospect of taking corporate funding to stay on their feet. However Charles McDonald (representative of Picturehouse and other international distributors such as Studio Canal) is quick to defend the deal as far from opportunistic and the result of a successful art –house cinema seeking to expand. ‘The art house is thriving, I think the good thing about companies like Picturehouse is that they’re confronting the realities of cinema as they move forward and embracing things like alternative content [...] at ways of modernising and making the offers that cinemas can give to customers to make them as attractive as possible. So I don’t think Cineworld have bought Picturehouse because of arts council cuts, no. But I do think they looked at the market and they have seen the particular niche market that Picturehouse looks after is thriving and one that can be built on.’

Although Mcdonald’s views are far from impartial his summary of the UK exhibition market is one suggesting a thriving market ready for expansion and a realist view of scrapping nostalgic notions of ‘independence’ in favour of growth and expansion.

But what does this mean for general consumers?

tiplex cinemas in ‘The Good, The Bad and The Multiplex’ the demand for a true alternative to multiplexes has accelerated independent growth and in McDonald’s words marks a ‘true vote of confidence for Independent cinema’ with Cineworld ‘appreciating the Picturehouse brand for wont of a better expression, so much that they wanted to acquire it.’ With deal still fresh in consumer mouths, the future is hard to predict but as long as the companies programming stays separate and Cineworld maintains its claims to keeping the bands from mixing the deal should run smoothly, as the latter result would undoubtedly be explosive. Alongside the dissolution of smaller volunteer led cinemas due to centralised power the biggest fear for consumers is if the industry renders the relationship abusive and Picturehouse is subject to be sold to the highest bidder (who may not be quite as appeasing to their management and programming philosophies as Cineworld).

The key idea in arising from the deal is choice and although the prospect of independent cinemas fading into obscurity can send chills down the spine, the companies are cognisant about their audiences and are unlikely to alienate them with immediate drastic changes. Although the next ten years According to the press release, there’s nothing to may not see major physical changes in the cinema worry about and your brand will be maintained market, the chain reaction of similar conglomerate but as the small print at the end of the press release practices behind the silver screen should be viewed states and as many students voting for liberal dem- with scepticism and accountability as they can both ocrats will fondly recall, projections do not always shape and equally destroy an important sector of come to fruition. As leading critic Mark Kermode cinemas traditional exhibition context wrote a whole book on his dissatisfaction with mul-

Come tO tHE sTABLE

CAL HUDSON

Cal Hudson looks at how to best use the festive season as a backdrop for film

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ing community: fanatical or casual. With experiences ranging from the childhood opening of presents in front of a roaring fire, through the classic family Christmas meal scene, to Christmas days unavoidhristmas is a very predictable affair, com- ably spent alone, the idea of Christmas- and the ing about once a year, every year and bringing images associated with it- have the power to bring with it the same effects, motifs and paraphernalia. up memories with strong emotional connotations.

Well... Its that season again ladies and gentlemen, and I know you’re all looking forward to watching A simple internet search reveals the sheer number the Holy Trinity of Its a Wonderful Life, Home Alone of films with the word ‘Christmas’ in the title, and and Die Hard for the umpteenth year in a row. But shows just how many such films have been forgotwhat about the alternatives? There are many sea- ten by the wayside, surfacing perhaps once every sonal films out there which go largely unremem- few years in an attempt by television channels to bered (often with good reason), despite their reli- bring some extra festive spirit to the holiday schedance on the festivity of Christmas: and hopefully- at ule. With the sheer volume of these films, there are the very least- we can help to unearth some hidden many devices and clichés which must be avoided gems. in order to create an enjoyable movie: first and So why do many filmmakers choose to use Christmas as a driving device behind their motion pictures? The most obvious answer is for the emotional response the season evokes in the audience. With so much hype built up around December every year, it is seemingly impossible for anyone living in any society with Christian or Western elements to escape the cascade of trees, tinsel and turkey- especially since the advent of the internet heralded a new age of globalism.

foremost the overuse of the idea of Christmas itself.

With this in mind, how can the Christmas holiday spirit be used effectively in holiday movies?

Framing

With most of us knowing the deal with Christmas, and even when it occurs, it allows for the use of the season as an excellent framing device. A film starting during Christmas time has the advantage of an instant setting of the scene, with viewers able With this all pervading image of Christmas in mind, to discern a lot of information about the place itself, it is easy to assume that the season will elicit some ethos, people along with many other aspects. sort of response from the majority of the film watch-

This gives filmmakers an opportunity to delve into the narrative much quicker, or even invert the obvious seasonal associations for dramatic effect. This would explain why many films, even those in which the idea of Christmas is not prevalent, choose to incorporate elements of the season.

a dramatic ‘Madonna’ opening scene complete with mysterious child, Cronenberg mirrors aspects of the traditional Christmas story, whilst cleverly interspersing it into an enthralling and finely honed tale of intrigue in London’s Russian Mafia subculture. Viggo Mortensen puts in a great performance as the begrudging saviour in a film which, once The much-loved early Tim Burton and Johnny Depp it captures the audience, never lets it go. Through collaboration Edward Scissorhands uses this tech- parallels with the Nativity story, Eastern Promises nique very well to create an emotional and very offers a dark and sinister play on the Christmas enjoyable film. Using a framed narrative technique, theme, which proves to be an engaging and origiBurton endeavours to tell us an alternative Christ- nal insight into the modern spirit of the season outmas tale- certainly no less moving- using a Frank- side of banal fire-warmed house and plump Christenstein’s monster-esque misunderstood protagonist mas turkey conceits. exploring themes of love and friendship along with some memorable set pieces. I’m sure you remem- The much lauded Catch Me if You Can, however, ber the ice sculpture scene, which lives long in the twists these ideas of framing, instead using Christmemory after only a single viewing; and created an mas as a recurring riff to anchor the story back image is now a mainstay of popular culture, simply to its key elements. Frank Abagnale Jr.’s character because of how well the narrative, characterisation is shown in several different (and all memorable) and direction capture the essence of Christmas, Christmas scenes as the story progresses and his without being overbearing. By opening with the character develops, all very significant to his chartypical snow-in-Suburbia setting, but ending after acter and the audience. Each ‘festive’ scene brings offering a rare tale with new imagination and in- a new range of feelings and shows viewers very sights into the idea of very idea of Christmas, Bur- clearly how his situation has changed since the last ton’s film capture the hearts of many moviegoers one. Spielberg’s great employment of the underand is a worthwhile addition to any holiday view- used idea of Christmas as a device to show charing. acter development and change in status makes an excellent frame for the narrative, and anchors the This reimagining of the ideas implicit in Christmas Di Caprio’s character of Abagnale Jr. for the audibrings us to another excellently framed (but inex- ence: showing us just how effective a good framing plicably sometimes forgotten) film, David Cronen- device can be. berg’s Eastern Promises. From the very outset, with

Although using the ‘goodwill to all men’ idea juxtaposed against morally untoward ideas is nothing new or particularly original (does anybody remember Billy Bob in Bad Santa?) it remains an interesting deviation from the standard happily ever after ending imposed upon the audience in the most forgettable Christmas affairs, and is performed with more guile and a little more subtlety to create a very different atmosphere and effect. Kubrick’s last creation is at the very least worth watching: a Christmas film with a twist.

Morality The idea of morals comes with the territory when it comes to Christmas films, and this presents a very good opportunity for filmmakers to explore the idea of morality within their own films. This is an idea developed well through Danny Boyle’s under the radar effort Millions, which uses the plight of two young boys in their Devil on the shoulder vs. Angel on the shoulder roles to explore the duality of morality involved in the festive season. Using a fairly hackneyed plot device (a bag of mystery money), Boyle manages to craft a marvellous tale exploring the religious, moral and most of all human aspects of a season which is at best confusing and at worst extremely paradoxical. Seven year old Damian and his brother Anthony will make you laugh and cry, melt your heart and then break it the moment after without you even realising it in a film that is without a doubt one of the most underrated Christ-

mas tales out there today- with an excellent soundtrack to boot. Overall, this touching film does well to avoid any of the clichés inherent in exploring morality by not being overly heavy handed, and thus represents a good use of the themes which come hand-in-hand with a film set during Christmas. The two natures of Christmas are examined, and Danny Boyle leaves the audience to decide for themselves.

This is in stark contrast to Stanley Kubrick’s last film Eyes Wide Shut, in which moral dilemmas and ambiguity are set against the backdrop of Christmas: not in an attempt to seek out the true spirit of the season, but rather to highlight the questionable ambitions of the lead characters. The Christmas and crazy combination comes straight out of the blocks, with an opening Christmas party invoke and blur themes of cheating, hedonism and drug overdoses along with sinister screenplay vivid cinematography. The film continues in the same vein, dragging the audience this way and that through a taut script which never allows a moment of rest (it is Christmas after all).

Climax Christmas itself is all about climax. The building excitement throughout the advent period finally culminating in the festivities and enjoyment of Christmas Day.

Always worth a mention is Monty Python’s now cult Christmas comedy classic Life of Brian (of course its a Christmas film). The film plays the idea of the festive climax very differently, starting with the climax (the birth of Christ) and working an unorthodox alternative story line which parallels the full story of Jesus. This tongue in cheek adaptation manages to remain a classic simply because of how relatable and almost sensible the comedic narrative is.

Through the near-archetypal underloved younger sibling character Brian (“he’s not the messiah!”), we get a fresh look at the origins of Christmas whilst also enjoying many moments ranging from the ludicrous to the sublime.

But this grand and overarching take on the idea of Christmas is not necessary at all, as One Flew Over the Cuckoo’s Nest shows with admirable accomplishment. The climax here comes with the Christmas party (the first and only mention of the season), with the hi-jinks of Mac and the inmates- truly heartwarming- creating a very enjoyable scene based on the development of some magnificent character arcs; suddenly followed by the sinister.

The use of Christmas as an emotional manipulator is truly excellent here, as the season, coupled with the antics of those characters we can’t help but love by this point, is juxtaposed with some of the most distressing and emotionally complex moments of the film: the true emotional rollercoaster.

The jarring difference between the atmosphere of the Christmas party and the subsequent events is

perhaps the films defining moment, and one which moved it from being ‘a good film’ into the realm of the genius.

Big Business Hopefully these considerations have gone some way to setting you free over this festive period. You don’t have to watch the same few movies every year simply because they’re readily available and familiar; there are many excellent films which have managed to throw off the shackles associated with being a Christmas film and reach the mainstream.

Often so much so that the fact they are a Christmas film is forgotten entirely, and they are able to graze outside the niche-film pastures with the rest of the herd. Rather than being just a cheap trick aimed at plying a few tears and pounds from the audience, the idea of Christmas can be used in many different ways with many different effects to enhance a film, and add something to the whole; rather than just candy-cane-coating it. I’ll leave you now with some films worth an honourable mention which had to be included somewhere: Kiss Kiss Bang Bang (for the hilarious interplay between Val Kilmer and Robert Downey Jr. if nothing else), the depressed affair of In Bruges and, (winner of the most unusual Christmas film award ) Terry Gilliam’s Brazil. Happy holidays.

Cloud Atlas Cloud Atlas, David Mitchell’s best selling novel, has come bursting onto screens from the pages on which it originated with incredible results. If ever there was an argument for collaborative direction, this is it. Whilst it might not be a Best Picture contender, there should be a few acting nominations handed out and definitely one for make-up. Part of the fun of the film is working out which of the thirteen central actors plays which character. The reveal in the credits comes as quite a shock and is a testimony to the make-up department. It’s unbelievable what they’ve done; some of the actors are unrecognisable in their roles. The only one who suffers is Hugh Grant because, despite clearly having a lot of fun with his old codger role, his make-up looks rushed and isn’t anywhere near the quality of the rest of it. Having said that, it’s his best five minutes on screen for a long time, largely because Overall, David Mitchell should be thrilled with the he’s not playing the awkward English bachelor he’s interpretation of his book. With a story as complicated as this it should be every screenwriter’s nightso fond of. mare, but the three minds behind the script with the The majority of the time the stories mirror each other editors and directors have come up with something so the cutting between each one doesn’t take away magical. The running time shouldn’t frighten peofrom the atmosphere the film is trying to create. It’s ple, it’s barely noticeable because with the mix of cleverly put together, considering how the book is the score, engaging characters and the visuals, this written, and the dialogue over each segment ties it an engrossing and compelling watch. The stories all neatly together each time, despite making it feel will pull you in and hold you relentlessly until Tom a little like you’re watching the trailer on repeat,. Hanks waves you away to consider what you’ve With phrases that are used throughout the separate just experienced. ASH stories and themes within the score that crop up to tie lives together, it’s a beautifully put together film.

The differing styles of the directors work well together when edited within each other, and for those unsure of who directed what, they are separated into segments in the credits.

This isn’t a book you need to have read before seeing the film. All the major points are kept with scenes that in the book aren’t hugely long, but would add too much to the already massive running time. For example, Frobisher’s journey to Vyvyan’s home is a good few pages in the book, but a simple shot of a train in the film. It will hold itself up as a standalone film without alienating fans of the book too much, and will certainly encourage people to read it. There’s only one (quite big) flaw, and that’s the final moments of the film which the less said about, the better. Sticking to the book would have made it a poetic ending but instead you get Tom Hanks’ grimy face and a fade to black.

the greatest seafarers nauseous with sea-sickness and the vastness of the Pacific is really hammered home with the wide angle shots of the tiny lifeboat.

Suraj Sharma celebrated his eighteenth birthday while filming Pi. For someone so young to have this as his first role, and to play it as well as he does is remarkable. The majority of the time Sharma would have being acting with nothing but a boat and a giant water tank to work with, but you wouldn’t know it. He is a revelation and manages to hold the film and story together with no problem. Expect great things from him.

Ang Lee has come on leaps and bounds since his last foray into heavy CGI work and has created something quite special out of a book that was previously thought to be unadaptable. With the visuals, score and brilliant central performance, this is an awe-inspiring masterpiece. In the same way as Life Of Pi the book, the film pulls you in and takes you on the Ang Lee hasn’t had a great reputation when it journey with Pi, leaving you exhausted, moved and comes to CGI (see:Hulk, just awful), so when he elated by the end. There isn’t another film out this announced he was tackling Yann Martel’s excel- year that looks or feels like Life Of Pi. It’s an unforlent book Life Of Pi, eyebrows and questions were gettable film and one everyone should experience. raised. These were mainly regarding his use of CGI ASH for, well, everything and the fact that a few directors have tried, and failed, to adapt the book. It’s easy to see why because for the most part, it’s just a teenage boy and a tiger in a boat. Pi is a sixteen year old whose family ups sticks and moves to Canada. Halfway through their Pacific crossing, their ship sinks leaving Pi as the lone survivor with only an adult Bengal tiger for company. Told through a conversation between an older Pi (Irrfan Khan) and a journalist (Rafe Spall), the film devotes most of the time to Pi’s ordeal with the conversation providing snippets of insight from an older and wiser man.

From the tiger to the mysterious island, Ang Lee has used CGI to realise it all, and it looks incredible.

The tiger is flawless and apart from a slightly odd looking zebra at one point, the rest of it is visually stunning. You could take every frame and hang it in a gallery, it is truly something to behold. At one point the sea is so still that it melds with the sky in a gorgeous sunset. This is one of those rare films that wouldn’t work without the 3D such is the level of Lee’s skill and visual imagery. The film creates an atmosphere that hasn’t been seen since Avatar and is one of the best uses of 3D. Instead of it being a gimmick, it enhances the experience. For example, the Tsimtsum sinking scene is enough to make even

Zaytoun In the midst of Israel’s invasion of Lebanon in 1982, an Israeli pilot Yoni (Stephen Dorff) is shot down and captured in enemy lands. After escaping due to the help of a young boy, Fahed (Abdallah El Akal), the two are pursued across the country as Yoni aims to return home without being captured.

The casting of Stephen Dorff, is one of Zaytoun’s primary issues. While he has committed some fantastic performances to celluloid, Sofia Coppolla’s Somewhere for one, he doesn’t seem to have the acting tools to be able to pull off a role of this calibre. At crucial moments Dorff’s accent starts to slip back into its native American and far too often can he be seen “Acting” rather than looking natural. His performance is distracting and as he’s on screen for almost the entirety of the film, he proves to be more of an annoyance rather than being the emotional anchor of the film.

Though the performance from Abdallah El Akal is relatively convincing during the earlier moments of the film, his relationship with Stephen Dorff’s pilot feels too easy and convenient.

The journey itself manages to become bogged down in every irritating film clichés. At no point does it ever have the courage to fully display the horror of its subject matter. Instead all the film offers is a few half baked attempts at tension ridden scenes that pan out in exactly the way you’d think.

For the film to fully deliver the gut-punch it so desperately wants to, it needs to offer something truly shocking, innovative or something to help it stick in the mind more than it currently does. The plot bumbles along rather than moving with real purpose.

Despite the lacklustre script and performances, the film does manage to be somewhat visually impressive. Dan Laustsen’s cinematography is well crafted and striking images do punctuate the narrative. Images of war torn Lebanon are arresting and slow camera movements allow you to take in the atmosphere of conflict.

Unfortunately for Eran Riklis, the bar for films about this conflict has been set incredibly high by Samuel Moaz’ Lebanon released just 2 years ago.

Moaz’ film benefitted from his personal experiences during the conflict and the toll it had taken

on him mentally and physically, Zaytoun feels somewhat fluffy in comparison. Even if this was the aim of those behind the film, to create a more accessible and audience friendly dramatisation of the war, the problems with the casting make it impossible.

Zaytoun aims to humanise the war between Israel and Lebanon, but is mired in sticky sweet sentiment and stilted dialogue. The performance from Stephen Dorff, who is on screen for nearly the entirety of the film, doesn’t have enough conviction to generate any reaction in the audience. The film is a VERY pale shadow of the war it dramatises.

JH

Gaming aficionados will no doubt enjoy the cameos which include the Metal Gear Solid exclamation mark, Sonic and a line about Mario and Wario who are absent due to licensing issues. The most notable scene cameo-wise is the Bad-Anon session, where villains of the gaming world meet to discuss their hang ups about being villains. Cinephiles get an homage to The Iron Giant which is an easy spot, but a short topical one Disney have included as a reference to recent events is harder to find. Keep your ears sharp.

Wreck-It Ralph Disney hasn’t had much luck with their animated films in the past decade. In 2000, they released Dinosaur which was rubbish, followed by five films including Brother Bear, Chicken Little and Bolt, none of which made much of an impression. Then in 2010, four years after Disney bought Pixar and a year after the classic-style The Princess and the Frog, Tangled was released. It became the 2nd highest-grossing Disney-produced animation, second only to The Lion King, and the 17th highestgrossing animation of all time. Finally, it seemed Disney had found its footing away from their much loved hand-drawn animations of years past. This year, they have done it again with Wreck-It Ralph, which opened in the US to record-breaking box office numbers, even higher than those of Tangled.

At its heart Wreck-It Ralph is the story of people putting their differences aside to help each other.

Ralph and Vanellope are poles apart in every aspect. She’s an optimistic, very short and irritating child from a candy-land game whilst he’s a pessimistic, very tall guy who is halfway to giving up. Together they are a yin-yang pair, with a fair amount of banter, who ultimately manage to work together.

The other pairing is Felix, a camp arcade character and Calhoun (Jane Lynch), a hardened soldier who is programmed “with the saddest backstory”. Both pairs might be the same old yarn of prejudice and redemption but they have a fresh, very enjoyable look to them.

It’s worth mentioning the short which, in the same way that Pixar show a short before their films, Disney have done. Paperman is a stunning film that will charm everyone and knocks Pixar’s shorts out of the water. Entirely in black and white, save for some lipstick, it is a mix of hand drawn and CGI to give it the look of classic cinema, while retaining a digital feel. The score is gorgeous and the story will melt even the iciest hearts. Pixar need to watch out because if this is what Disney are working on, they’ve got some serious competition.

Wreck-It Ralph is up there with the best animations of this year, if not the last five years. Whilst we’ve all been ignoring Disney’s endless troop of child stars and mundane TV shows, they’ve pulled something truly magical out of the bag. The animation and attention to detail are both staggering; Disney are heading down the right road with this, and Paperman. Having John Lasseter as chief creative officer is working wonders for the studio, and will most likely continue to do so. Forget Dinosaur, Brother Bear and Bolt; this is the Disney we should be paying attention to. ASH

Amour Alongside Lars Von Trier, Michael Haneke is a European director who has built a controversial reputation on the back of challenging material. From the sexual taboo’s in The Piano Teacher to the intrusive genre deconstructions of Funny Games, Haneke’s films re –interpret the notion of cinematic spectatorship and are often painful, challenging films to watch. Yet this is what makes him such a powerful force in world cinema today, solidified once again by his latest film Amour winning the Palme D’or at Cannes film festival. Casting art house legends Jean Louis Trintignant and Emmanuelle Riva, the film chronicles a husband attempting to deal with drastic changes when a series of degenerative strokes strikes down his wife. Testing the ‘love’ of their relationship to the limit, Haneke’s unsparing account of mortality is handled with an honest documentary and raising questions of the emotional, physical and psychological stresses of seeing someone you realism that is uncomfortable to swallow. love fade away. Although ‘love’ itself is fittingly a The performances of the two leads are incredible, redemptive force in Amour, it’s hard to separate it managing to capture the minute idiosyncratic rela- from the incredibly bleak and uncomfortable expetionship traits of a 50 year plus marriage, through rience as a viewer. I.E this movie will depress the dialogue sparse scenes. As both actors themselves hell out of you. are domestically mythologized for their art – house roles images, the casting becomes important suggesting that even in the silver – screen of Hollywood time itself is not eternal. This is also mirrored by Haneke’s style and use of a Parisian apartment as setting, becoming increasingly claustrophobic when past mementos become chilling reminders of a life lost, mirrors become terrifying and ‘home’ itself metaphorically and literally transforms into a tomb. Although ‘love’ still remains between the couple, the universal frustrations, fears and family scar tissue are explored with meticulous detail , with the characters never at any time coming across as forced or ‘fictional’.

While Amour can be viewed as an archetypal Haneke film with controversial visuals, uncomfortable long takes and periods of unbearable silence, the script and performances create quick identification with the characters, rendering the expected controversial scenes incredibly potent when they do occur. With the characters being music teachers, music, silence and nostalgic dream sequences become powerful tools at Haneke’s disposal to explore themes of degeneration and death. Ironically the film is far from nihilistic and rather optimistically realist, refusing to gloss over the realities of ageing with patronising Hollywood gloss (The Notebook)

As an incredibly ‘serious’ film about equally serious subject matter Amour sees Haneke as less of a clinical aggravator and more of a documentarian. As an honest, powerful and emotionally pure ‘love story’, this is cinema at its highest form and an incredible achievement; but if you like ‘happy’ endings, stick to ‘The Notebook’. CB

pitch-perfect slow burning intensity of the opening hour has passed, the film cries out for a progression in tone or a more deftly handled widening in scope.

Instead, The Master continues to play out in its selfcontained world, meaning that some of the later scenes grow steadily laborious with their repetitiveness. Whilst this is admirable in its commitment to artistry, for the first time in Thomas Anderson’s career a film of his threatens to bore.

Despite its flaws, The Master is consistently enthralling. Many would argue that it is not plot that is of importance here, but the subtext that brews under the surface of every line, what is hinted at with every off-beat directorial flourish. Throughout the film, the screen is painted with the sumptuous blues, whites and browns of America’s oceans, skies and landscapes, thus hinting at a deeper, allencompassing meaning to the apparently narrow, character-focussed plot. Jonny Greenwood’s etheThe Master real and characteristically unsettling score expertly In recent years Paul Thomas Anderson has steadily draws audience members into the fluid and malleestablished himself as one of the most original and able nature of the characters’ morality and motives uncompromising filmmakers of our times. From his in an ever-evolving 1950s America. manic debut, Boogie Nights, to his majestic masterpiece, There Will Be Blood, the American writer The Master aims to be almost like an abstract scienand director has dazzled and defied expectations tific study of human nature. It invites the individual with an artistic progression that has eclipsed most viewer to bring their own experiences and beliefs to it, and in doing so it hopes to make them draw their filmmakers working in the last fifteen years. own subjective conclusions as to meaning. Like with In The Master, Joaquin Phoenix and Philip Seymour a scientific experiment, we are not expected to be Hoffman somehow improve on the performances in engaged, but are invited to observe, absorb and Anderson’s previous movies, but in doing so they take away from it what we want. Like life itself, threaten to overshadow this excellent, but occa- there is no concrete answer to what The Master is sionally flat exploration of religion and humanity. saying, and for many this will prove frustrating, The lead characters of Freddie Quell (Phoenix) and but the towering performances of its two lead acLancaster Dodd (Hoffman) are brought to life by tors combined with expert direction will most likely Phoenix and Hoffman who provide performances leave most film-goers at least partly satisfied, if a teeming with vigour, insecurity and complexity. little perplexed. JS Phoenix’s performance in particular will surely go down in memory as one of the most anarchic and sorrowful performances of all time.

In truth, the story of a lost soul, Quell, getting welcomed into the embrace of a cult leader who appears to have all the answers to the uncertain climate of post-war America is disarming in its simplicity. In the hands of another, less accomplished filmmaker a well-trodden story such as this could easily veer into the realms of cliché. By attempting to steer clear of obvious tropes and instead attempting to create a truly original piece of cinema, Anderson at times goes too far the other way. After the

Chained “Give me a child until he is 9 and he is mine for life” So goes the mantra, and it’s one that appears to ring true in Jennifer Lynch’s (Boxing Helena, Surveillance) newly released psychological shocker.

“Don’t get the bus home okay, take a cab” are the immortal words uttered from the start and thus we are thrown into Lynch’s world that refuses to let any moment of lightness, any sweetness and emotion (albeit dark ones) seep in. The tone here is distressing. And that’s how it continues without faltering for the remaining 86 minutes.

Bob, (Vincent D’Onofrio, Full Metal Jacket) is a taxi driver, and despite sharing the kind of blank eyed, merciless stare that chills your bones with Travis Bickle, they are nothing else alike. Bob, a murderer seemingly without reason, is somewhat in a different league of psychopath.

Chained begins 8 weeks after mother and son (Julia Ormond, My Week with Marilyn; Evan Bird) have been, on the surface, kidnapped at random

by Bob; with his mother’s demise already obvious, our protagonist Tim, given the degrading moniker “Rabbit” is kept shackled like a pet by his captor, left to watch Bob’s female victims pour in, where he is then forced to bury the corpses up after and keep a scrapbook of the missing women in the form of newspaper cuttings for Bob’s own private collection. “Rabbit” goes on to grow up, stunted psychologically in the trapped environment of dreaded abuse, becoming older but still the same frightened young boy on the inside; and this manifestation of doe eyed terror is conveyed convincingly by newcomer Eamon Farren.

The feeling of entrapment and claustrophobia spills over; the fact that we hear without seeing all of the violence begs the question: are we a voyeur in this sick man’s game? Or are we seeing it all from the perspective of “Rabbit”? The film can be, at times, suffocating to the point that it seems to move along slowly, and repetitively. However, the interspersion of Bob’s harrowing flashback episodes ensures that it never gets monotonous.

Lynch’s latest offering further ventures into themes explored in her much reviled debut, Boxing Helena; the idea of ownership, the debate of nature vs. nurture and the way our individual past can haunt and affect our present. The title itself not only alludes literally to how ‘Rabbit’ is chained

to Bob, but also metaphorically to the chains we are born with and bound to- and in the case of this one” father and son” relationship, how these bonds can be betrayed. However, the film also goes onto to reveal how the ties that bind us to others cannot be forced- no matter how much Bob wishes to ‘train him’ into his way of life, ‘Rabbit’ can never fully embrace Bob’s ways enabling him to continue his murderous, warped legacy.

Regardless of the naysayers who criticised Lynch for her “misogynistic” debut back in 1993, this is a film that masterfully delves into disturbing themes and an extreme subject matter without turning into torture porn. KD

have been where Peter Jackson had most involvement, the man just doesn’t know how to edit.

Utilising old news footage and a series of new interviews with those involved, the film unfolds in a timely and well paced manner. Though nothing is dealt with in the unfathomable depth of the Paradise Lost documentaries, nothing is overlooked either. Those interested in a particular aspect of the film would do well to seek out the HBO productions, but West Of Memphis doesn’t suffer for this.

West Of Memphis After debuting at Sundance nearly 12 months ago, West Of Memphis is finally arriving on our shores in its fully evolved form. This gripping documentary follows the trial and incarceration of the West Memphis 3, Jessie Misskelley, Damien Echols, and Jason Baldwin, the young men prosecuted for the sadistic murder of three young boys in West Memphis, Arkansas. Directed by Amy Berg and produced by Peter Jackson, the film’s impressive credentials do not mask the importance of the case and its effect on the US judicial system.

West Of Memphis follows hot on the heels of the Paradise Lost HBO documentaries that have been following the controversy of the case for the last 18 years. West Of Memphis comes in at a third of the total runtime of the Paradise Lost films and provides a magnetic and engaging coverage of the case and the press storm surrounding it. Crucially, being unfamiliar with the details of the case isn’t an issue at all.

The brilliance behind West Of Memphis is in its structure. Set out narratively, those not aux fait with the details are shown the case in almost exactly the fashion the majority of America was.

We first see Misskelley, Echols and Baldwin being escorted into Police cars on archive news footage and then slowly the details of the case begin to unravel and the extent of the injustices are brought to light. The film does flag in its final act, as it looks at the most modern aspects of the case, this might

The appearances of various high profile supporters such as Johnny Depp, Henry Rollins (who was interviewed in our third issue) and Patti Smith, all play second fiddle to the facts of the story. New forensic evidence, reveals a side to the case that has never been seen before, including in the Paradise Lost documentaries. West Of Memphis also shies away from the grim reenactments that can become crazed, overacted or distracting. Footage of those involved and implicated is enough to sway opinion and this restrained effort is impressive.

West Of Memphis is a fantastic template for documentaries of this type, instead of showing its hand too early, it lets the facts sit and ruminate with the audience before showing them the full extent of the evidence or the incriminating footage. The lack of an oppressive soundtrack and the natural interviews make West Of Memphis a curiously reserved yet potent documentary. JH

I, Anna From seasoned television director Barnaby Southcombe, comes this detective story set in London.

The story revolves around Anna, (Charlotte Rampling) a middle aged woman who lives with her daughter Emmy (Hayley Atwell) and granddaughter and spends her nights trawling singles nights on the lookout for a date. After one night spirals out of control, she struggles to piece together the events and piques the interest of D.C.I Bernie Reid (Gabriel Byrne).

I, Anna sets out to be a neo-noir set in the depths of London, but issues with the plot and style of the film hinder the film completely. Through the set up and the execution, any attempts to build tension are undermined by sub par editing that reveals the secrets of the narrative. The directionless editing also seems to have over looked the motives of the individuals, Bernie Reid is just ‘intrigued’ by Anna, not for any reason and then proceeds to effectively stalk her. There are numerous subplots that all tie together extremely conveniently, so easily in fact that a seasoned watcher of detective films of TV shows can see exactly how everything will play out The performances also seem below the calibre of the actors. Charlotte Rampling is clearly just doing her son, Barnaby Southcombe a favour. Gabriel Byrne seems to be punching below his weight in this frankly rudimentary role as a police officer, even the consistently interesting Eddie Marsan suffers. The relationships between the characters are stuffy and lifeless, Anna and Emmy appear on screen briefly and Bernie’s working relationship with other police officers is almost pointless. The disparate characters and convenient plot strands make I, Anna utterly unengaging, and while the film may try and lure you in with a noir style set up, it fails to build on this premise.

Barnaby Southcombe’s direction is lacklustre and wayward, whether that’s because his mother was on set everyday is another discussion. The editing and flashback sequences feel hackneyed and characteristic of bad TV specials. The lighting and setting all seems laboured and predictable. The police offices are all shrouded in darkness lit only with a few strip lights. Flashback sequences are woozy and shot through a illuminescent filter. It’s all very pedestrian and not nearly as stylised as it wants to be.

The lack of character and plot development really hinders Barnaby Southcombe’s debut feature.

Competent performances from Charlotte Rampling and Gabriel Byrne do little to elevate this sub par noir from being anything other than a passive and directionless tale. The plotting and narrative structure also feel out of date, not in an homage sense, but tired and overused by numerous directors.

Southcombe may have the chops to pull something bigger and better off, though his directorial efforts on Holby Blue and season 8 of Bad Girls suggests otherwise, with his next film, but I’ll be more intrigued if his mother’s not in it. JH

the actors will be unknown to regular audiences, but each individual pulls off a performance of incredibly power and emotion. Each member of the community and the anger they portray, whether it be misplaced or not is awe inspiring. Susse Wold’s portrayal of kindergarten head teacher Grethe is just wonderful, even though Grethe isn’t a likeable character. Annika Vedderkopp’s performance is one of the most intriguing performance from a child actress ever. Her role in Lucas’ unravelling is massive and crucially neither the director, the audience or the characters in the film blame her for her involvement.

The stunning cinematography and use of the Danish countryside is wonderful. This is where Vinterberg’s acceptance of tools outside the Dogme 95 set of rules become incredibly successful. The use of filters and lighting, especially during scenes of either anThe Hunt guish or relief add to the narrative of the film. The final few frames are some of the most affecting and Thomas Vinterberg’s divisive Festen was the first impressive images ever cast in celluloid. film to be released under the Dogme 95 banner, meaning that it subscribed to a strict set of rules The Hunt is without a shadow of a doubt one of during the production and editing. Festen revolved 2012’s greatest releases, masterful performances around a family’s dinner table discussion after the combined with incredibly level headed direction eldest son in the family accuses his father of sexu- make for engaging cinema. The context of the film ally abusing both him and his recently deceased and the issues it encapsulates are daring and poniece. The Hunt, doesn’t subscribe to the Dogme 95 tentially alienating, but this film has to be seen and means of production, but still maintains a challeng- recognised as a work of mastery. If Dogme 95 was ing concept and is riveting viewing. Vinterberg’s inhibiting Thomas Vinterberg from making films use of artificial lighting and filters elevates the film like The Hunt, and Lars Von Trier films like Meland the exceptional performances within it. ancholia then it can only be considered a massive philosophical and cinematic misstep. JH The Hunt revolves around Lucas (Mads Mikkelson) a well liked and reserved kindergarten teacher who’s life is entirely disrupted when a young girl accuses him of sexual abuse. Swiftly, the community turns their back on him and begin to actively try and push him out of the village.

Mads Mikkelson’s acting CV swings from the gleefully violent and extreme (Valhalla Rising) to the calm and collected drama (A Royal Affair). The Hunt combines the two aspects of his CV, Mikkelson’s portrayal of Lucas and the dual aspects of his psyche are beautifully realised. Lucas’ tendency to resort to anger when shunned and accused are portrayed by Mikkelson with a tenderness that hints at the seething venom behind his eyes.

The performances from the supporting cast are also magnificent. Aside from Mikkelson the majority of

Great Expectations Great Expectations falls into the same traps as almost every sub par costume drama that has come before it. Outrageously over wrought performances, shoddy accents and the dreaded appearance of David Walliams blight the production from beginning to end. Great Expectations is one of Charles Dickens’ more frequently adapted works, with 8 film adaptations and 5 television specials.

Being unfamiliar with the text isn’t really an issue here. The script is a relatively faithful adaptation of the book but fails to establish it’s own identity as a film in it’s own right. The reason behind multiple adaptations, whether they be novels or comic books is to create a new version of a story people are familiar with. Great Expectations somewhat unsurprisingly fails to do this and lingers in the shadow of the superior David Lean adaptation from 1946. is certainly less monotonous and more engaging than anybody else on screen.

Lead actor Jeremy Irvine is incredibly dull and offers the same range of emotion we were offered Great Expectations is simply a diluted version of in War Horse - ie simpering to mildly peeved. The what has come before. It’s a story that almost every supporting cast does have a host of heavyweight body in the English speaking world has seen time acting names, Ralph Fiennes, Robbie Coltrane and and time again and readapting it in this incredHelena Bonham Carter being the headline names ibly out of date style is a misstep. Unfortunately but Sally Hawkins, Jason Flemyng and Ewen the majority of Great Expectations is forgettable, Bremner also make appearances that belie their the moments that aren’t are irritating. In all, it’s a talent. Fiennes and Bonham Carter almost seem to thoroughly pointless film, with a single redeeming be phoning their performances in. Fiennes’ Mag- quality. JH witch and Carter’s Miss Havisham are simply recycled from older roles. Too often Fiennes confuses intensity with volume and Carter’s manic episodes are growing rather stale.

A great deal of fault can be led at the feet of director Mike Newell, who’s “by the numbers” directorial style ensure that even with the impressive cast, Great Expectations never feels like more than a sub par ITV production seen on a Sunday night.

Even with an inflated budget and scores of people behind the action, none of the scenes, sets or sequences stick in the mind. It simply limps from moment to moment. It even seems to fall into a parody of itself at times. Scenes involving Bentley Drummle almost seem to have been robbed from a forgotten Adam And The Ants video.

Despite all this, there is one redeeming figure in the whole shambolic venture and that’s Holliday Grainger. Grainger’s performance of Estella is intriguing enough to keep interest. Her performance

Middle Earth is just as sensational and awe-inspiringly beautiful as it was back in 2003. It truly is like stepping back in time. Except this time, Jackson has a helping hand from acclaimed director Guillermo Del Toro stepping in as producer. His handy-work is on full display here and offers (in typical Del Toro style) a somewhat comical approach to the dark, fantastical creations that are on display that are very reminiscent to some of his creations/characters from his ‘Hellboy’ franchise.

The Hobbit: An Unexpected Journey It’s been nine years since cinema audiences last saw Peter Jackson’s Middle Earth and nine years since third instalment of the Lord Of The Rings, ‘Return of the King’ swept the board at the Academy Awards, winning every category in which it was nominated.

When it comes to Middle Earth, Peter Jackson is can only be the man for the job. His vision and image of Tolkien’s world is symmetrical to the source material and following the critical and commercial success of the ‘LOTR’ trilogy, it would be foolish to allow anyone else to roam this territory. ‘The Hobbit: An Unexpected Journey’ takes place 60 years prior to the events that unfolded in the ‘LOTR’ trilogy and serves predominantly as a prelude to the saga but also as a loving ode to fans.

Many characters have been included that do not feature within the book (Cate Blanchett’s Galadriel in particular) and it really depends on what side of the fence you want be on with regards to how you view these changes. If you are a fan of the original films, seeing a handful of unexpected characters is undoubtedly a joy to behold. Also, Tolkien’s ‘The Hobbit’ is by no means a lengthy tale, so to flesh it out over three feature length three hour films was a bold manoeuvre from Jackson. His intricate detail and precision is second to none. Everything appears to be given a place and meaning perfectly and every character steers the very well written and formatted plot along nicely.

Jackson has faced backlash regarding his usage of 3D technology and filming the feature using 48-frames-per-second technology as opposed to 24 fps It seems an unnecessary step, yet one that is reminiscent of James Cameron and his embrace of 3D technology when releasing ‘Avatar’. One has to remember though – a good film is a good film whatever the technology.

“The Hobbit: An Unexpected Journey” is magnificent. Fantastically cast – with memorable performances from Martin Freeman as protagonist Bilbo and James Nesbitt in particular. Everything here was spot on. Jackson has impressively left the film with enough of a cliff-hanger and enough questions to further be explained in the next instalment ‘The Desolation of Smaug’ released next December. LHF

Rise Of The Guardians Rise Of The Guardians, whilst quite flawed, still manages to be a lot of fun. Whether that’s due to Alec Baldwin’s Russian Santa (or North, as he’s known in the film) or group of holiday characters on screen together, there’s something quite magical about it that manages to dilute the mess. Jack Frost (Chris Pine) is a playful teenager who, unseen by the children of the world, provides winter and snow days for them. All of a sudden he’s recruited by the Man On The Moon to join the Tooth Fairy (Isla Fisher), Easter Bunny (Hugh Jackman), Sandman and North as a Guardian in order to protect the children from Pitch (Jude Law).

The casting is one of the biggest issues here. Chris Pine can’t pull off voicing a teenager with that rasp of his so within seconds of the film starting, it asks for a big leap of faith from the audience.

Pitch doesn’t sound nearly as villainous as he should which might be due to Jude Law sounding quite bored, but how are the audience supposed to be interested if the actors aren’t? At one point his voice is so flat and uninspired it sounds as though he’s left his voicing duties until the last minute and just can’t be bothered. Next is the character design which is all over the place. Jack Frost, Pitch and Tooth look like anime characters whereas the children, North and Bunny look much more Dreamworks. The two styles don’t mix well and leave the film feeling messy and almost rushed.

The film wastes no time in getting started and within ten minutes of the lights going down the story is well under way. It works for the kids but for those looking for a bit more substance, it rushes into a story without giving much background until the final fifteen minutes. However, when the film is fun it’s really fun. Watching Jack cause playful chaos with snow is a blast and North’s workshop is realised wonderfully. He has the added advantage of having tiny elves not dissimilar to the minions of Despicable Me. The massive bonus Rise has over other holiday films is the creation of the Easter world, which hasn’t really been seen before.

They’ve done a great job making Bunny’s world a colourful one complete with tiny walking eggs, rivers of paint and statues overseeing everything.

Those who are going in hoping for a Christmas film will be disappointed as this mainly revolves

around Easter. Santa appears because he is the main Guardian, and there are a few scenes in the sleigh, but the only thing Christmassy about Rise Of The Guardians is the snow. This is not a Christmas film, rather a holiday film. If nothing else, Rise Of The Guardians adds a fairly decent film to the holiday genre. It’s nowhere near the best but it’s a solid idea that is pretty well executed. For a studio that has been consistently good but rarely excellent this will be another above average film in their roster and there are some nice concepts which could turn this into a franchise, and really, isn’t that the aim of the game these days? ASH

production crew was as well.

Despite the very sensitive nature of In Bruges, what keeps audiences watching McDonagh’s debut is undoubtedly the comedic formula. Juxtaposing Colin Farrell’s tendency to weep on screen with Ralph Fiennes’ torrent of abuse. Seven Psychopaths plays a very different game to its predecessor, pretty much jettisoning the heavy emotional angle in favour of the meditation on the role of a screenwriter. Seven Psychopaths isn’t a traditional movie by any standards, it’s closer to an essay deconstructing itself with dialogue. Plot points and the state of Hollywood cinema are discussed at length and the motivations of the characters themselves are questioned. You can almost hear the thoughts of the writer about the film being performed on screen.

The inclusion of Bonny the Shih Tzu is Seven Psychopaths’ real moment of genius. Bonny represents animals in Hollywood as a whole. Immortalised by Martin McDonagh’s follow up to In Bruges is more the late Blake Snyder in his Save The Cat! series. ambitious in terms of scale and storytelling. Mc- Bonny is an elegant satire of Hollywood’s tendency Donagh experiments with the form of narrative to ensure that our leads can keep an insignificant cinema while simultaneously sending up his own thing (in Snyder’s work,a cat, here Bonny) safe. In profession. It’s a bold combination to try and pull reality Sam Rockwell’s Billy is a dreadful human beoff convincingly and thankfully, McDonagh accom- ing and McDonagh uses Bonny to show how the plishes it. plot establishes Billy as a favourite character.

Seven Psychopaths

Marty (Colin Farrell) is a Hollywood screenwriter struggling to come up with a concept for his next script, tentatively titled, Seven Psychopaths. After becoming inadvertently involved in his friend, Billy’s (Sam Rockwell) misguided dog napping venture he becomes increasingly steeped in mad escapades and dead bodies.

Martin McDonagh’s In Bruges, was one of 2008’s best releases, outrageously funny and deeply sad at the same time, which is one hell of a balancing act. Seven Psychopaths feels closer to McDonagh himself, the casting and character names are a giveaway especially after McDonagh worked with both Sam Rockwell and Christopher Walken on the stage. But the story of a writer with writers block (a story as old as time), feels personal. Marty is lost in a sea of booze, loose women and clueless associates, his script is half baked and by his own admission the female characters are lacking any kind of depth. Which is why Seven Psychopaths works so well, the metacritical nature of the plot and conversations ensure that not only is the audience kept guessing but you get the impression that the entire

Seven Psychopaths is in many ways a fantastic move forward for the talented McDonagh. Using a medium he’s relative new to, to deconstruct it is a work of heady genius. However, in the rambling dialogue ridden scenes, he even admits that the film you’re watching has flaws and as such this review can’t ignore them either. Seven Psychopaths is a lot of fun and frankly unforgettable, but it has problems and even the writer was aware of them. JH

Things To See In DECEMBER Christmas is upon us and with it comes a host of Christmassy themed showings and special screenings at local independent cinemas. For for those of you who find it hard to get into the Christmas spirit we’ve even picked a host of films over the next month for you to look out for.

Wales Aberystwyth Aberystwyth Arts Centre Muppets Christmas Carol 21 December

who doesn’t appear to be quite what he seems.

Hitchcock’s films are all over the media at the moment and where better to reacquaint yourself with the master than at the cinema?

Scotland Dundee Dundee Contemporary Arts Vertigo 28 December Recently voted by a poll of Sight And Sound contributors to be the greatest film of all time, Vertigo is Alfred Hitchcock’s greatest of many great works.

Seek out the movie and read our article on page 4 and consider how much you really want to know about the production.

Edinburgh Filmhouse The Wizard Of Oz 24 December

In 2013, Sam Raimi’s Oz: The Great And The Powerful well be unleashed into cinemas, Filmhouse are showing the original movie on Christmas Eve! One of Pictureshow’s favourite Christmas films, While it’s available on regular television over the regular readers will be aware of our slight Muppets Christmas period, there’s something incredibly speobsession by now. Muppets Chirstmas Carol is the cial about seeing it on a big screen.

Henson company’s most successful literary adaptation. Statler and Waldorf’s casting as Marley and Glasgow Marley is inspired while appearances from Rizzo Glasgow Film Theatre and Sam The Eagle are joys to behold.

Grease 6 January Cardiff Chapter Glasgow’s showing of Grease on the 6th of JanuSpellbound (1945) ary is one like few others. You’re encouraged to 22 December mess around and sing along to the endlessly catchy tunes. A screening to attend juts for the atmosphere One of Alfred Hitchcock’s earlier films staring In- and hundreds of Glaswegian women singing along grid Bergman and Gregory Peck. The plot revolves with Olivia Newton John. around a newly instated head of a mental asylum

North West Kendal Brewery Arts Centre Death Proof 17 January Quentin Tarantino has recently dismissed Death Proof saying “Death Proof has gotta be the worst film I make” when talking about his “legacy” as a filmmaker. Here at Pictureshow we’re inclined to disagree, Death Proof contains the fantastic soundtrack and whip smart, pop culture laden dialogue we’ve come to expect from QT without being baggy and overlong. Death Proof is leaner than all of his other films and meaner too. Brewery are showing it before the wide release of Django Unchained.

Sounds like a great double bill to us.

Lancaster The Dukes Raiders Of The Lost Ark 12 January

great performance from a pre Roger Corman Vincent Price.

Manchester Cornerhouse Edward Scissorhands 22 December As Cal Hudson mentions on page 12, Edward Scissorhands is an alternative Christmas tale and a fantastic one at that. Aside from Ed Wood, it is Tim Burton and Johnny Depp’s greatest collaboration and beautifully shot and stylised.

North East Leeds Hyde Park Picture House Jaws 30 December

If you have heard middling things about Lincoln, and aren’t sure whether Daniel Day Lewis going all method all over everything is for you then find a Spielberg film that goes back to his roots. Jaws is a The greatest film ever produced. Why haven’t you fantastic exercise in building and maintaining tenbought your tickets already? This film deserves to sion. You hardly ever see the shark, but you know be seen on the big screen. it’s out there...waiting.

Liverpool FACT Laura (1944) 6 January

Sheffield Showroom Miracle On 34th Street (1994) 22 December

A quintessential film noir featuring Dana Andrews and Gene Tierney as the titular Laura. Andrews plays a police detective looking into the death of advertising executive Laura. The film features a

In some people’s eyes, Miracle On 34th Street is the quintessential Christmas feature. If Cal’s alternative christmas flicks (on page 11) aren’t for you then indulge yourself with festive cheer.

Midlands

24 December

Birmingham mac James And The Giant Peach 5 January

Again, a more traditional Christmas film, many folk make the pilgrimage to see this on the big screen to really get the festivities moving. James Stewart had resigned himself to not acting again after the war, but this role made him reconsider his retirement.

When people think of stop motion animation, they often overlook this fantastic Henry Selick feature and the best adaptation of a Roald Dahl work to date. Featuring the sublime voice talents of Simon Callow and Miriam Margolyes, it’s good for relaxing before you go back to the office for regular life to begin again.

Corby The Cube The Muppets Christmas Carol 22 December We’ve already waxed lyrical about the joys of Muppets Christmas Carol because it’s showing in Aberystwyth as well. (See page 32) Derby QUAD National Lampoon’s Christmas Vacation 21 December The highlight of Chevy Chase’s career (this is before he became such an ass in public). A modern Christmas comedy, with Johnny Galecki from The Big Bang Theory as well!

Leicester Phoenix Square It’s A Wonderful Life

Stoke-on-Trent Stoke Film Theatre The Man Who Laughs 7 January Often cited as the inspirational for Batman’s nemesis The Joker (there was even a Batman story arc named The Man Who Laughs) South Bristol Watershed West Side Story 6 January With the festive season truly over, it is always worth your while to try and see a musical without all the carols and tinsel and West Side Story is as far away as you can get without watching South Park London The Prince Charles Cinema Lethal Weapon 26 December You’re never too old for this shit.

PictureShow Magazine will return in January 2013