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The Awards Issue
Great Reviews // Star and Shadow // Things to See
Contents
February 2011
February Feature
Reviews Section
Page 4: Star and Shadow Interview
Page 18: War Horse
Page 7: Looking for Oscar Page 12: Why Watch The BAFTAs? Page 15: BAFTAs Minute by Minute
Regulars Page 3: Editors Note and Contributors Page 25: Things to See in February
Page 19: Carnage Page 20: The Muppets Page 21: Martha Marcy May Marlene Page 22: The Descendants Page 23: Chronicle Page 24: Young Adult
Contributors Editor’s Note Editors
Joshua Hammond: Editor-in-Chief joshua@pictureshow-magazine.com
Dale Pearson: Editor
dale@ pictureshow-magazine.com
Words
Joshua Hammond Dale Pearson Chris Binding Benjamin Schwarz Edward Mason
February is a fantastic month. In February, we have the major awards ceremonies, the Academy Awards and the BAFTAs. There is an influx of great movies into UK cinemas released later than in the US. Most importantly, however, it is both mine and my editor’s birthdays. We celebrated in traditional fashion by going to the movies. We have a cracker of an issue for you this month. There is a comprehensive look at the Oscars and the BAFTAs. A superb interview with a cinema we love, that has frequently graced out back pages The Star and Shadow.
Online
As always the reviews are comprehensive and funny. Our “Things to See” section is rammed full of quality screenings in independent cinemas around the UK.
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See you next month Joshua Hammond, Editor-in-Chief
Find us at pictureshow-magazine.com
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BY DALE J PEARSON
‘The Star and Shadow is a completely different space to anything you have encountered before’, remarks Stephanie Oswald, volunteer at The Star and Shadow Cinema, Newcastle. It’s an ambitious claim, but one which I feel to be more than justified. Three nights previous I had visited the star and Shadow to view the third night of programming in their Japanese season. It was most certainly unlike anything I had experienced before.
show films which the public would otherwise not have access to. Since then, through the hard work of its volunteers, the cinema has grown into one of Newcastle’s best kept secrets. As well as cinema, they host music events, club nights, and even art exhibitions.
“There is no system of hierachy and as a result, the volunteers who run the cinema all have an equal say in its direction.”
The Star and Shadow Cinema recently celebrated its 5th birthday. For 5 years it has been the premier spot in Newcastle for fringe cinema. While there is no explicit ‘curatorial line’, the cinema prides itself on delivering eclectic and alternative features and short films, from political documentaries to zany arthouse films. However, it would seem that really anything does go here. Stephanie tells me that even if somebody approached the cinema, looking to show the most mainstream of Hollywood films (‘even Harry Potter’, she jokes) the cinema would have no real objection, it’s just that the fact of the matter is, this never really happens. In fact, the only real barrier to any of the volunteers or any members of the public screening any film of their choosing is the actual work which has to go behind every night. Anyone looking to put on their own ‘night’ will have to take responsibility for everything, and this is normally enough to put off any prospective So what of my experience of the film night itself? programmer whose ideas are bigger than their My reactions at first were mixed. the entrance and commitments. foyer still seemed to have the feel of the derelict building the cinema inhereted 5 years ago. The reThis emphasis on hard work and personal responsi- mains of an industrial lathe reminded me that this bility makes the cinema unique in Newcastle. There building was no pupose-built multiplex. But once is no system of hierachy (I am reminded of ‘Rough I entered the bar area, I could really see the work Trade’ in their infancy) and as a result, the volun- that had gone into renovating the space. It was still teers who run the cinema all have an equal say in rough around the edges, but one definitely got the its direction. Stephanie even laughs when I ask her impression that this was a warm and inviting place. if she holds a managing position, she tells me that My suspicions of the cinema’s friendly atmosphere the bar staff have as much as a say in the running were quickly confirmed when a fellow cinema-goer of the cinema as the projectionists or anybody else. offered me a pom bear. One has to also make a It is fair to say that the cinema is really owned by note of what were a genuinely friendly bar staff, the people willing to work hard enough to keep it serving genuinely tasty speciality drinks. thriving. An idealist structure, but one that seems to be effective. The cinema room itself was small and intimate, but host to a sell-out audience (as every night of the JapSet up in 2006 by Matt Fleming and Christo anese Season had been - Stephanie’s confidence Wallers, The Star and Shadow was largely inspired in her promoting skills is certainly well-founded). I by ‘The Cube’ in Bristol and ‘The Cinema Nova’ in believe that every person in the audience that night Brussels. At the beginning, they had only a lease was endeared to the fact that the trailers for upcomon a basically derelict building, and the idea to ing films were shown on youtube.
I was, however, skeptical when the night’s main feature was shown through a media player on a PC. I thought that a cinema so passionate about film would surely be using 35mm film. Stephanie corrects me on this when I meet with her, ‘we are obsessed with 35mm and we are always sad when we don’t show a film on 35mm, it’s just that many alternative titles are not available in the format.’ It was a shame then that I was not able to witness the manifestation of the Star and Shadow’s obsession with 35mm that night. However, the example was, I feel, telling of the cinema’s central philosophy - the film comes first. No matter how it is shown, the priority must be that it is shown. As for the programme itself, i don’t think that experimental japanese cinema and anime will ever really be my thing, but in the context of the night and the atmosphere, I had a very enjoyable evening. I ask Stephanie where she sees the Star and Shadow in terms of Britain’s cinema economy. Stephanie, who is French and only moved to England 5 years ago tells me about the different culture of cinema in France: ‘independent cinemas like The Star and Shadow are far more common in France’. France actively resisted the multiplex invasions of the 1980s. She tells me how she sees Britain’s culture as being far more music-centred, in comparison to France. It is for this reason that The Star and Shadow only really makes money on music nights; the film nights, she tells me, tend to run at a loss. I ask whether they then keep themselves afloat through arts grants? While they had two grants from the arts council in the early days, she tells me that the key problem with relying on grants funding is that ‘you have to make sure you do what you said you would do’. The obligations tethered to such grants are just too much of a price to pay. It occurs to me then that this fact really underlines what The Star and Shadow is actually all about; liberty, liberty from everything and everyone other than the volunteers that make it. If you are in the North East anytime then you should definitely check out The Star and shadow. The volunteers’ passion for the cinema means that the programmed events are always fresh and interesting. And even if the films don’t always cater for everyone, its definitely worth going to experience friendly alternative atmosphere. As Stephanie says, it will be a completely different space to anything you have encountered before.
Upcoming Events at Star and Shadow March AV festival takes place all month. Stephanie cannot contain her excitement for this festival - ‘this year the film programme is absolutely mindblowing.’ Split between The Tyneside and The Star and Shadow, the festival includes various art films introduced by the filmmakers themselves. April Robert Bresson Season. The Star and Shadow have aquired some excellent 35mm printouts from the French Embassy of the famous French filmmaker June Bamos Festival. A festival offering the a varied programme of Spanish and Latin American films Later in the year Alternative Shakespeare Film Festival. Anyone who thinks they know Shakespeare should get down to this season to see some highly interesting takes on the bard’s works. In conjunction with Northumbria University.
Looking for Oscar BY JOSHUA HAMMOND
PictureShow Magazine takes a unique look at the Oscar frontrunners.
Hugo 11 Nominations Martin Scorsese’s latest directorial feature has been something of a critical darling, regardless of it’s relatively poor Box Office takings. Scorsese’s first attempt at creating a film for children wonderfully mixes an incredibly compelling story and allusions to cinematic history. Scorsese’s track record with the Academy Awards is at best tumultuous. Having been nominated numerous times, the big awards have almost always alluded his work. However in 2012, Hugo has been awarded more nominations than any other film this year. Both technical and artistic awards seem due to be lavished upon the film, which has also been doing well at a variety of other cermonies.
The Artist 10 Nominations
The Artist is another film concerned with the history of cinema, almost entirely silent it has been generating buzz since it’s screening in May last year at the Cannes Film Festival where Jean DuJardin took home a Best Actor Award and Uggie, the Jack Russell Terrier was awarded the Palme Dog award. The Artist was destined to become an academy favourite due to it’s fantastic mixture of comedy, drama and fantastic musical sequences (though the use of music from other films has been criticised publicly by some, including Vertigo’s Kim Novak).
Moneyball 6 Nominations Aaron Sorkin, won the Academy Award for Best Adapted Screenplay last year for the terrific The Social Network. Though Moneyball has been well received by both critics and audiences, it has very little momentum going into this final strech of Awards Season. Sports films that aren’t about Boxing are rarely awarded by the Academy. It’s best chance is in the Screenplay category and the Academy may be reluctant to award Sorkin in a second consecutive year.
War Horse 6 nominations Steven Spielberg’s latest was perhaps the most unsurprising selection at this years Academy Awards, it has all the characteristics of a film that is traditional Oscar Bait. Nazis? Check. Sympathetic Nazis? Check. Interlinking Stories? Check. Stylish Cinematography? Check. Steven Spielberg knows how to genereate awards interest in his films even if they are flawed.
The Descendants 5 nominations Alexander Payne’s films are frequently well received by critics. His previous work Sideways won an Oscar in 2004 for its screenplay. (Unsurprisingly 50 year old film critics that drink red wine, loved a film about 50 year old writers drinking red wine.) George Clooney’s portrayal of Matt King has been generating real interest in critical circles. Whilst Clooney has been critically lauded for his portrayal and he already has a few statuettes under his arm, The Descendants has more to offer.
Midnight in Paris 4 nominations Woody Allen is one of the most prolific directors of our generation, whilst his latest films have largely been panned by critics, Midnight in Paris is something of a return to form. Allen’s biggest box office success of his career revolves around Owen Wilson’s Gil who can travel back in time to a period he considers to be a “golden age”. Whilst Wilson’s performance is good and he is clearly channelling a “Woody Allen” vibe, it’s the screenplay and directing are receiving the most attention and Allen’s biggest chance of taking home an award. Midnight in Paris’ main problem is that it’s a comedy and comedies rarely win big at the oscars.
The Help 4 nominations White Woman saves the South. This reductive attempt at telling the story of the Civil Rights movement in the 1960’s was always bound to get some Academy attention, but not nearly as much as it has received. The Acting categories are waterlogged with nominations for The Help in an attempt to guarantee some kind of recognition for the film. The film is hardly recognised outside the acting categories emphasising it’s shortcomings as a film. The Help aims for uplifting and sassy comedy drama, but ends up feeling offensive and mawkish.
The Tree of Life 3 nominations Regardless of this films incredible credentials, secretive and influential director, heavyweight cast, heavyweight issues regarding the nature of being. 2011’s Palme d’Or Winner is a travesty of a film. Aside from the beautiful images of nature and of the evolution of the world, Terrrence Malick’s fifth directorial feature features a mess of vague linked images and a deliberately strange series of voiceovers. Aiming for 2001: A Space Odyssey levels of profundity, it ends up looking ridiculous.
Extremely Loud and Incredibly Close 2 nominations The nomination of Extremely Loud and Incredibly Close reinforces the idea that this years Academy Awards are one of the most self satisfied and self congratulatory Academy Awards in years. Extremely Loud and Incredibly Close has no nominations for Direction, Editing or the Screenplay. What exactly are the Academy rewarding here? Whilst the 9/11 attacks are still ingrained in the memories of most Americans, this film just pandered to the myth that surrounds the event. This film itself has such little integrity, it brings the integrity of the Academy as a whole into question.
The Overlooked COntenders Drive Drive’s sole nomination for Best Sound Editing is almost a snub towrds Nicholas Winding Refn’s superb film. PictureShow’s only 10/10 rated film so far was cruelly left out of all but one of the Award categories. Between Ryan Gosling’s understated Driver to Carey Mulligan’s quiet and restrained Irene, there was a beautiful blossoming of a relationship. This retrained relationship was juxtaposed against some of the most incredible and visceral scenes this year.
Take Shelter Aside from Driver, Michael Shannon’s Curtis was the most interesting and brilliantly played role of the year. The strong central performance was bolstered by incredible direction, fantastic musical work and solid supporting performances. Curtis’ descent into madness and the terrifying apocalyptic imagery made Take Shelter one of the best independent films of 2011.
The Skin I Live IN Another film, PictureShow rated exceedingly highly, taking it’s cues from gothic fiction and horror, Pedro Almodovar’s film has largely been neglected on all counts by the academy. Everything in The Skin I Live In, from the beautiful cinematography to the incredible musical score from Alberto Iglesias is well crafted.
Senna The most compelling documentary since Man on Wire, Senna followed the career of Ayrton Senna up until his unfortunate death in the 1994 San Marino Grand Prix. Such was the universal acclaim for the film the lack of a nomination for Senna may be the most surprising thing about the 84th Academy Awards.
Tyrannosaur Easy to understand the oversight, given the film’s very low key release. However, Tyrannossaur is a beautiful and harrowing debut from Considine, with incredibly performances by Olivia Colman and Peter Mullan.
Why watch the BAFTAs?
ALL COVERAGE BY JOSHUA HAMMOND
What is the point of the British Academy of Film and Television Arts awards?
What is the point in the BAFTA’s? They occur just two weeks before the Academy Awards which are largely considered to be a superior event and more prestigious award to win. The British Academy of Film and Television Arts has a mission. It’s mission is to “focus attention on the highest achievements in film, television and games distributed in the UK”. Whilst it can be said that BAFTA does this in a variety of ways, from funding independent cinemas and promoting creativity around the country, its good work is largely undone by the BAFTA Awards.
films, no special words from our host instead there are two token gestures for British achievements designed to sate our desire to recognise British films. The BAFTA awards simply pander to the American film industry by awarding all of the bigger and more prestigious awards to the films it thinks the American Academy will approve. Even the award statue was designed by an american sculptor. The awards cerremony this year was dominated by The Artist, a film which has been scooping many major American awards for the last two months. Whilst The Artist is a french film, written, directed and starWhy does the BAFTA Awards exist if only to serve ring french people, there is an incredibly American as a precurser to the Academy Awards? It is a su- aesthetic to it and a great deal of emphasis on the perb forum to really celebrate the best in British cre- American nature of the film industry. The lack of ativity, instead we are left with a dull series of nomi- sound disguises the continental element of the film. nations that largely mirror the one for the Academy Awards. The Awards are seemingly given to the The awards themselves are not the only problem films BAFTA suspect of being sucessful across the with the BAFTAs, previous ceremonies have been pond. The Awards given rarely differ from those at marred by an air of unproffesionalism and the big the Academy Awards. How is it that awards, voted stars are not often seen in the Royal Opera House on by members of the British Film industry, funded in London. This year’s event was a considerably by a french phone company do not promote British better ceremony than the the previous few, better hosting from Stephen Fry, rather than the irritating and European cinema better? Jonathan Ross, meant that the show ran smoothAside from two awards specially designated for er and was funnier than it has been for years. A British achievements, Outstanding British Film and considerably better turnout led to less embarrasing Outstanding Debut by a British Writer, Director or “Unfortunately … could not be here”, Christopher Producer, the BAFTA awards do little to promote Plummer being the only exception to this. This can British Cinema. There are no montages for British have side effects.
It is fair to say that viewers do not remember how flawless a ceremony was, they remember the eccentricities of Awards winners. Viewers remember Melissa Leo saying the f-word life on air, they remember Roberto Benigni going bonkers and climbing on things when he won an Oscar for Life is Beautiful. Viewers remember the “show”. Opening with Tom Jones’ rendition of Thunderball with a montage of James Bond film clips, Stephen Fry pointed out that this is something BAFTA ceremonies rarely do with a little dig at the Academy Awards ceremony “We (BAFTA) do not do musical numbers” and this is the difference between the BAFTAs and the Oscars. The Oscars are entertaining, the BAFTAs are not. It is fair to say that the focus of awards ceremonies should be on the awards themselves, but that is not the case. The viewing figures for the Academy Awards are in excess of 30million, Bafta’s are considerably less. The reason for this is that the Academy Awards are entertaining. Musical numbers, dodgy sketches and corny preambles to awards are part of the charm the Academy Awards has. People do not have BAFTA parties, people do not
get together to watch the BAFTAs. People DO have Oscar parties whether they be ironic or not. The BAFTAs are too economic. The Academy Awards go on for 3 and a half hours with largely the same number of awards to give, the BAFTA’s only just make 2 hours. The preambles, the daft musical numbers are important to the Oscars. Hugh Jackman’s opening from 2008 still sticks in the memory. James Franco and Anne Hathaway’s bizarre back and forth will go down in history. Even other awards ceremonies such as the Golden Globes have mastered what has so far alluded the BAFTAs. Awards ceremonies should be entertaining affairs about various modes of entertainment, not economic and rushed. BAFTA. The British Academy of Film and Television Arts, does not do enough to generate publicity for British film. It is not entertaining enough to generate a significant viewership, it is not prestigious enough to warrant real attention by the media and it does not give enough attention to British cinema and the British Film Industry. So, again, what is the point of the BAFTAs?
The BAFTAs - minute by minute 09:02 Tom Jones - Thunderball Celebrating 50 years of James Bond 09:06 Fry enters to Feeling Good by Muse. 09:09 Fry makes a joke about Meryl ThatcherTrophy Snatcher 09:10 Jonah Hill and Pitt kiss the screen 21:15 Award for Special Visual Effects - Presented by Cuba Gooding Jr. Gooding Jr. pays tribute to to Whitney Houston. Excellent nominations this year, no Transformers or Superhero movies. Bafta goes to - Harry Potter and the Deathly Hallows Part 2 21:19 Outsanding Debut by a Britsh Writer, Director or Producer – Presented by Chris o Dowd and Kristen Wiig Bafta goes to - Paddy Considine and Diarmid Scrimshaw for Tyrannosaur
Superb John Hurt montage featuring Alien 1984 V for vendetta Midnight Express The Elephant Man Brighton Rock The Field Love and Death on Long Island An Englishman in New York 22:07 Orange Wednesday’s Rising Star Award – Presented Christina Hendricks Bafta goes to ---- Adam Deacon 22:13 - Best Documentary – Presented by Paul Bettany Bafta goes to - Senna 22:17 People that have passed away montage - “Memory is the treausry and guardian of all things”
21:26 Production Design – Presented by Viola Davies Bafta Goes to --- Hugo
22:20 Best Adapted Screenplay - Jon Hamm BAFTA goes to – Tinker Tailor Soldier Spy “I’d just like to thank the artist for not being adapted form a book”
21:33 Best Supporting Actor – Presented by Helena Bonham Carter Bafta Goes to - Christopher Plummer
22:28 David Lean Award for Directing – Presented by Brad Pitt BAFTA goes to - Michel Hazanavicius
09:38 Outstanding British Film – Naomi Harris and Bérénice Marlohe Bafta goes to – Tinker Tailor Soldier Spy
22:33 Best Actress in a Leading Role - Presented by Colin Firth BAFTA goes to Meryl Streep Streep loses a shoe. “The fate of the well known is to be misunderstood”
21:44 Best Supporting Actress – Presented by Daniel Radcliffe BAFTA goes to Octavia Spencer. 21:51 Best Original Screenplay – Christina Ricci and Jeremy Irvine BAFTA goes to Michel Hazanavicius - The Artist 21:55 Outstanding British Contribution to Cinema – Presented by Billy Bob Thornton with an amazing beard Bafta goes to - John Hurt
22:40 Best Actor – Presented by Penelope Cruz BAFTA goes to - Jean DuJardin 22:43 Best Film – Presented by Hugh Jackman and Russell Crowe BAFTA goes to The Artist 22: 49 BAFTA Fellowship Award – Presented by Max van Sydow BAFTA goes to - Martin Scorsese
Top 5 BAFTA moments
Bottom 5 BAFTA moments
Iron Lady’s Glass Slipper
On presentation of her award Meryl Streep lost her Look over Twitter at your peril on Awards night. shoe only for Colin Firth to present it like a glass Every award winner was revealed on twitter 15 minslipper. utes before the broadcast. Evidently the broadcast was not live, but there’s no reason for the awards to be announced on twitter before the majority of Martin Scorsese’s Fellowship viewers saw the event. Touching words from Christopher Lee “I will always think of you with Fry’s Filmathon great respect and affection” DeNiro – “It’s an extradinary honor for a great art- Fry’s Filmathlon is shit, it’s just a stupid montage. I want shots of Fry coming out of the cinema ist and a great friend” seriously intelligent, wise and cool – is John Hurt talking about smiley or Gary?
Extraordinary John Hurt Montage
It was superb to see John Hurt on stage receiving the award for Outstanding British Contribution to Cinema. The Montage that preceeded it, really highlighted the calbre and variety of his work. Alien 1984 V for Vendetta Midnight Express The Elephant Man Brighton Rock The Field Love and Death on Long Island An Englishman in New York
Adam Deacon
Fry’s Constant reminders Stephen Fry’s presentation was largely better than the awards ceremonies in previous years, but why did he keep reminding us of what it is we want to see? We’re know what we want to see. That’s why we’re watching.
Terrible music choices Mumford and Sons? That Feeling Good cover from the Virgin ad? Why did Christina Hendricks walk on to “All The Lovers” when Kavinsky’s Nightcall has a similar effect and was featured in a film she was in.
Adam Deacon winning the Orange Rising Star Claudia Winkleman’s narration Award was a superb coup for BAFTA. Instead of Tom Hiddleston, Chris O Dowd or ChrisHemsworth, Claudia Winkleman has slowly been making a real who have all made more money at the Box Office mark on the British Film scene. From presenting this year, Deacons Award was given by the public. Sky’s coverage of the Oscars for a few years now and co-hosting the revamped Film 2011. WinkleRusty and Jacko man’s impact took people by surprise when Film 2011 was actually considerably better than the Russel Crowe and Hugh Jackman’s little comedy rambling monologue format there used to be. It preamble to the presentation of the BAFTA for Best is such a shame that her narration for the BAFTAs Film was a superb moment of light relief. Aside from was so tired and dull. Tom Jones’ opener, it was the closest the BAFTAs came to emulating the Academy Awards.
own prior knowledge of World War 1 rather than the events portrayed on screen.
War Horse War Horse tells multiple stories about World War 1 through the experiences and encounters of one horse, Joey. Steven Spielberg’s adaptation of Michael Morpurgo’s novel is an ambitious attempt to relay a number of different facets to the War. War Horse had already been adapted into a stage play to great acclaim and the progression into a film adaptation was almost inevitable.
The sprawling cast of excellent actors, gives the impression of credibility though this is swiftly undone by their brief moments on screen. Emily Watson, Eddie Marsan, Liam Cunningham, Peter Mullan and David Thewlis all appear for less than 15 minutes on screen, the majority of these supporting roles do little more than to dilute the story. Supporting roles are sacrificed in favour of giving more screentime to the films leads Jeremy Irvine and the titular Horse. Speilberg does little to explore the motivations of his lead characters, Cumberbatch in particular is reduced to a characature of an english Major, complete with moustache and ridiculously overblown accent. Inconsequential roles such as Cumberbatch’s reduce the impact of the film whilst also highlight the issues with Irvine’s wooden performance. On the other hand, War Horse looks incredible. Various set pieces are done with remarkable flair. Scenes of both war and the english and french countrysides are beautiful. On a purely superficial level War Horse is superb, but there is very little to admire beneath this glossy surface.
There is something to be said for War Horse, as a film for younger members of the audience learning Steven Spielberg’s filmography is littered with his about World War 1 it is surely a good introducattempts to convey the horrors of war, from Saving tion. In terms of serious or affecting cinema about Private Ryan to Schindler’s List and Empire of The the real horrors of war it pales in comparison to Sun. Steven Spielberg is a man concerned with the the many other attempts to try and capture this and subject of war, even his films that aren’t typically Spielberg’s own back catalogue. JH War films involve Nazis or Russian Spies. Spielberg has been executive producer on multiple war films from other directors and the TV Series Band of Brothers. If ever there was a man qualified to direct an adaptation of Morpurgo’s novel, it is Spielberg. Which is why it comes as such a surprise that War Horse is such a syrupy and sentimental feature. Largely the problem comes down to the set up, the fact that these stories are being communicated through the experiences of a horse almost downgrades the devastating effect of World War 1, Spielberg encourages you to feel empathy towards the horse at the expense of the human characters. The “relationships” that Joey has with other horses are laughable, Speilberg’s attempts at filming a dialogue between the various horses are laughable. The only real horror of the film comes from your
Carnage Carnage will almost certainly not be winning any Oscars, and not because it isn’t a good. Rather, it lacks the meat the Academy Awards love - it has no large set-pieces, no intricate camera work, no monolithic events for the characters to orbit around; nothing that could be called purely cinematic in the colloquial sense of the word. It really is just two couples arguing over their children’s disagreement. This is in fact the film’s only real fault: it is a play. It is actually a rather large fault for a film not to really be a film, but it does not seem right to so heavily penalise what is essentially an incredibly entertaining and well-realised piece of work for a technicality of form. It may be entirely characterbased, focussed solely on the single event, but these characters are beautifully crafted. To those with an ear for it, this film is dialogue-porn, simultaneously charming, cutting and implicit; constantly simmering with Pinter-esque tension. Keeping track of the balance of power at any given moment is an enjoyable impossibility. Alliances are drawn up and daggers are thrust into backs at an alarming rate, but all tacitly, beneath the surface of what is actually being said. The script is a master-piece. The performances are more than up to the task set to them by the script. It is heartily eaten up by the quartet of heavy-weight screen actors, who neither upstage one another nor under-perform themselves at any time. There is a palpable relish on their part to be involved in something so refreshingly unfilmic, something requiring significantly more intelligence to perform than, say, Titanic. It would be deeply unfair to single out a single member of the cast - each played their role stylishly and deeply convincingly - but one cannot help but be drawn to Christopher Waltz, whose magnetic presence at times threatened to over-shadow his male co-star, John. C. Reilly. What is particularly impressive about the film is its adamant refusal to single out one view-point as definitively false. It follows what popularly has become the South Park model of dealing with arguments: everyone is wrong, everyone is an idiot. It would be all too easy in a film about how to deal with fighting children to simply bash the gung-ho conservative attitude non-stop, but the wishy-washy liberalist ‘why can’t we all be friends as humans’ attitude also gets a kick in the teeth. Both are shown
to be childish in their own ways, one failing to successfully come off as legitimately macho (probably to do with the casting of Reilly) and the other fails to appear anything but whiney. Of course, the film owes its theatre-like tones to the fact that it is adapted from a stage-play. It is unclear how much of a debt the film owes in its adaption, but the fact that Yasmina Reza, the original writer, was involved in composing the screen-play seems to indicate that it owes rather a lot to the original. This begs the question as to why it was made, besides size of audience. Ultimately, Carnage is great fun, but really rather unnecessary. BS
outside of the Muppets. Walter is like the audience, he watched the Muppets on TV and the Big Screen and he relishes the opportunity to join their ranks. The Muppets continues in the vein of other Muppet movies, cameos are rife (Mickey Rooney and Dave Grohl are particular highlights). The notion that “one great show” can save everything is heavily present and the film ALWAYS maintains that The Muppets are real, which is fundamental. Whilst the Muppets are the stars Amy Adams and Jason Segel are not overshadowed, Adams in particular works to make herself heard over the Muppet racket. The musical work by Bret Mckenzie (largely known as one half of Flight of The Conchords) is superb. Whilst “Man or Muppet” is the piece making waves as it has been nominated for an Academy Award, any number of the songs could have been nominated. “Pictures in My Head” gives an incredible depth of emotion to Kermit, without his friends for The Muppets so long. Chris Cooper gets the opportunity to rap It’s been more than a decade since the Muppets and “Lets Talk About Me” could have come straight were on our big screen and aside from a few from a Conchords sketch. “People call me rich Made-for-TV movies they have rarely been on our ‘cause i got mo’ money, I got mo’ cheddah then television screens. The Muppet Show, where most some super sized nachos, got cash flow like Robert were introduced to the Muppets, ended more than has DeNiros” 30 years ago but the influence and motifs of the show remain in the collective minds of society. No- The Muppets is a superb addition to the Muppets one is more aware of this than The Muppets writer canon. It does Jim Henson and all the previous and star Jason Segel. The Muppets is a love letter to muppeteers and pioneers proud. Whilst it certainly Jim Henson’s creations, perfectly mixing the dry hu- appeals to the adult side of the audience who know mour, slapstick comedy and metafictional elements the Muppets well, it also appeals to a younger audience experiencing the Muppets for the first time. of The Muppet Show. Hopefully, it will encourage the younger people to The Muppets is unlike Muppets Treasure Island and go back and discover the wealth of humour behind Muppets Christmas Carol, as it is not an adaptation the Muppets and The Muppet Show. JH of a previous work. The Muppets it exists within the universe of The Muppet Show from 30 years ago. The passing of time is expertly dealt with by Segel and his director James Bobin, Fozzie Bear’s eyebrows have greyed and the Muppet Theatre is in disrepair. Whilst the various Muppets have moved on and have new careers and aspirations, superfan Walter still longs for the Muppets and their chaotic brand of humour. It is such a huge relief that Segel resists the urge to be satirical, or negative in his script, instead, Segel’s jokes and set-ups are just like those of The Muppet Show from 30 years ago. The creation of the new character, Walter, is something of a masterstroke by Segel. Walter’s enthusiasm and love for the Muppets gives viewers an insight into the world
Martha Marcy May Marlene Sometimes cinematic trailers are so incredibly constructed they can sell a film with only snippets of highlights and bare allusions to the narrative of the film. Along with Shame, the trailer for Martha Marcy May Marlene suggested a brooding psychological horror, with flavours of sexual violence, neatly wrapped in a ‘Manson Family’ type genre formula. Despite affinities to all three ‘appealing’ characteristics, writer and director Sean Durkin fundamentally breaks this mould producing a mysterious, slow –burning account of a young women’s traumatic re-assimilation to ‘normal’ life after spending two years in an abusive cult. The narrative follows Marcy (Elizabeth Olsen) escaping from the commune and re-locating to a furnished weekend house of her wealthy older sister (Maria Dizzia) after a long absence. While attempting to adapt to her new surroundings and forge a strained relationship with her sister and yuppie husband, the narrative retreats seamlessly into Marcy’s memories, experiences and abuse within the community. However the film rarely regresses into traditional shock tactics, relying on silence, allusion and fragmented memories: leaving the worst atrocities of the commune and other potential victims, left unseen and unheard. Mirrored by the dated looking cinematography the scenes at the commune are bathed in the warm gauzy glow of nostalgia. Ruled over by the righteous patriarch Patrick (John Hawke) the commune is an attractive looking utopia for young runways , with a socialist ethic of collective group and a community where ‘everybody finds there role’. But as Marcy soon finds out from her ‘cleansing’ initiation involving drugged rape, the position of women within the society is a lot less liberal than once imagined, with women ‘shared’ amongst the men and impregnated by leader Patrick. However the real quality that separates Marcy May from similar genre films is the believability of the community; brainwashed and bound together by fear, necessity and violence. Martha’s psychological aftershock is most pertinently expressed in her adaptation within her new conservative environment. Coming into conflict with her increasingly materialistic sister over the events of her two year absence, she also finds herself castigated for simple traits and ticks, culminating in
powerful scene of ideologies clashing over the dinner table. With Marcy’s inability to distinguish memories from dreams and inadvertently quoting the words of Patrick, it is evident that her time at commune has irreversibly affected her and although the ending alludes to her getting professional treatment, the demons of her past will undoubtedly follow her for life.The slow pace of the film and its brooding intensity may not satisfy everyone, with certain segments of the film playing out like an extended melodrama. However the incredible performances and direction create a psychological drama that toys with space and time, made all the more horrific by its abjection, rather than focus, on visceral violence. Bringing a whole new meaning to the term ‘free love’, this is M.Night Shalyaman’s The Village for the arthouse crowd. Although its slow pace might alienate some viewers, its tangibly real themes, haunting tone and searing performances make this a one to remember. Shame the same can’t be said for the film’s title. CB
The Descendants At a base level The Descendants follows a familiar structure: family melodrama, love triangles, estranged parents relating to their problem children etc. However as director Alexander Payne proved in previous dramas Sideways and About Schmidt, snappy script writing and perfect casting can create some truly incredible performances, with Jack Nicolson and Paul Giamatti respectively elevating familiar stories to evocative and emotionally resonant levels. In this tradition George Clooney, often seen as more of a object of female spectatorship than an ‘actor’ , proves his worth with a well written ‘everyman’ character . Despite being littered with small errors and a nagging sentiment, The Descendants is a thoroughly emotive film dealing realistically with death and relationships. Set in Hawaii , an opening voiceover by Clooney suggests that ‘living in paradise doesn’t exactly bring paradise’ and the film indeed follows protagonist Mike Smith (George Clooney) dealing with a barrage of changes after a boating accident places his wife in a coma , turning out to be irreversible. While attempting to rebuild relationships with his estranged daughters and deal with the explosive news of his wife’s affair, Mike is surrounded by pressure to sell a huge plot of inherited land, in which his family swarm like vultures for. Following the ‘road movie’ formula of Payne’s films, characters dot between the different islands on a cathartic adventure to find the subject of his wife’s affair. Predictably, the family gain a new found respect
for each other in this process; but the chemistry between Clooney and rebellious teenage daughter (Shailene Woodley) is incredibly believable, with suggestive silences and restrained dialogue bringing the characters to life and producing some genuine comic and emotional moments. Clooney is endearing as the ever –suffering Mike Smith lapsing inadvertently in comic mode ,i.e Burn After Reading ; but also tracing a ranged emotional arc throughout the film from childish and emotionally wrecked to a responsible father by the end. This transition, in the manner of director Alexander Payne’s dysfunctional characters, has them coming to terms with their idiosyncratic traits but at times this change can seem superficial. Also as opposed to the ‘loser’ protagonists of Payne’s previous work, Clooney does an impressive job of helping audiences relate to a confident high powered lawyer who essentially owns a tenth of Hawaii. Another minor hang up is the tag along character Sid (Nick Crause), a underwritten, pointless addition to the narrative overplaying the tired ‘stoner’ cliché for cheap stale gags. The films setting predictably provides a lot of lingering tourist shots, mirrored by a melancholy Hawaiian inflected soundtrack but this isn’t necessarily a bad thing, creating a soothing aesthetic contrasting with the heightened emotional content of the characters.
The Descendants is by no means perfect and its Oscar nominations may raise a few eyebrows. Nevertheless, it remains an incredibly acted drama with mature themes of mortality and change that will undoubtedly resonate with almost everyone, whether you live in ‘paradise’ or not. CB
Chronicle In the overarching tropes of horror cinema and superhero mythologies, the most relatable characters are often teenagers. With raging hormones and repressed fears , characters are often seen externalising their in-securities into destructive uncontrollable , threatening themselves and those close to them in a similar fashion to Brian De Palma’s Carrie. The latest film in this vain, emerging seemingly out of nowhere after a Cloverfield style handheld style viral trailer, is a story of three friends gaining telekinetic powers after touching a strange submerged blue artefact . Unlike similar dire attempts at the genre such as The Covenant (2006), Chronicle is an incredibly stylish and at times thrilling teen drama , with stellar effects and a innovative handheld element. Explaining as little as possible about the glowing blue rock that affords the teenagers powers, the film focuses on the relationship between the three friends as they train their powers ‘like a muscle’ ; from petty tricks to levitation and flight. Bringing the clichéd teenage stock characters to the mix including the popular jock ,level headed philosophy student and awkward ‘loser’ you can guess the rifts that are going to separate the group and the ‘problem child’ before the films narrative sets in motion. However this doesn’t make it any less effective with the emotionally charged exchanges gaining a certain power infused grandeur when character Andrew (Dane Dehaan) social and familial insecurities, come to manifest in a growing uncontrollable power, leading to a thrilling effects laden climax similar to Testuo’s demise in the Japanese anime Akira (1988). The handheld cinematography is striking , travelling into turbulent raves and later (with the influx of telekinetic power) affording the camera a freedom that other handheld flicks couldn’t implement without breaking the fourth wall ; immersing the viewer in the plight of the three friends. Performances are great all around and emotionally charged scenes laced with a power infused grandeur still resonate clearly at an emotional level. The film is also structured in two distinct parts that most superhero flicks follow including the comedic earlier scenes in which characters experiment with their powers followed by the darker showdown between nemesis and ‘hero’. Unfortunately some of the dialogue is also clunky with one of the teenagers reading up on
evolution and declaring himself an ‘Apex Predator’ producing some cringe worthy lines. However despite these faults, the handheld element, intense frenetic fight scenes and creative take on the physics of telekinesis make it rise above its clichéd script. In many respects without the hand held gimmick Chronicle is a film that you will have seen before countless times ; yet it is still a incredibly entertaining flick : A Kick–Ass on steroids that plays out familiar teen inadequacy and friendships at a exaggerated , hyper – real level. As opposed to the stoic control of X –Men’s Dr Charles Xavier’s powers , Chronicle’s teen ‘superheros’ while essentially flawed and relatable, have never made telekinesis look as fun. If a submerged shiny blue boulder is ever discovered in your local vicinity, please get in touch immediately. CB
wrecking intentions. Like in Juno, the style used by Reitman and Cody is an unconventional one, where a more simple, low-fi and ‘indie’ approach is used to make the film all the more unexpected and unique.
Young Adult Comedy movies can, by and large, fall into two distinct categories. The first being a physical, situationbased comedy whereby the film is created and shot to hurl maximum comical impact at the viewer in the hope of laughter ensuing. The second category is a more subtle approach, whereby the humour emerges more subtly from conversation or circumstance, and can thereby come across better as a far more polished effort. Having the film market flooded regularly with comedy films that fall into the former category, it can be argued that a film that falls into the latter could easily be perceived as more original in respects of it breaking that mould of familiarity. The comedy Young Adult is based around the life of Mavis Gary (Charlize Theron), a vapid, self-centred and shallow 30 something year old, who becomes fixed upon the idea of returning to her home town to win back her high school sweetheart Buddy Slade (Patrick Wilson). The catch, inevitably though, is that he’s now a happily married father of one. Taking the directorial reins on the film is Jason Reitman (Up in the Air), with the script written by Diablo Cody (Juno). Having both previously worked together back in 2007 on Juno (released to critical acclaim, winning Cody an Oscar for Best Original Screenplay) the two seem to have once again created an unconventional comedy, where it’s appeal lies in that it delves deeper than your average Hollywood comedy, with genuinely emotive and sad moments interwoven with the dark humour of Mavis, along with her teenage, immature behaviour and marriage-
Cody’s talents lie in that she creates stories that explore teenage life, behaviour and consequences. This was utilised in Juno to great effect. Mavis’ character, by coincidence is a ghost writer of a soon to be cancelled young adult’s book series, where the language and feelings of her characters is mirrored by her. The film is set in the time where Mavis is writing the final book of the series, where her character graduates from high school, marking a turning point in not just her book but also in her life. By the time the final chapter of the book is written at the closing scene of the film, Mavis too reaches a realisation that she too must move on with her life, grow up and behave less like the characters she has created. With solid performances by Theron, Wilson and a full supporting cast (including the excellent Patton Oswalt), this unique, dark comedy, created and shot excellently by Cody and Reitman portrays a unique and funny twist on love, relationships and teenage behaviour, with the viewer experiencing a more complex film than your average Hollywood comedy. Drawing on her talents for creating off-beat stories, Cody’s writing shines once again, making Young Adult one not to be missed. EMM
Things to see in February Love is in the air, with North East Valentines Day around Newcastle the corner a number of 28 Days Later 16th February superb little cinemas are Tyneside Cinema showing intimate little Whilst Tyneside Cinema has Valentines Day events in February the pick of this screenings of romantic month’s screening is 28 Days Later. Danny comedies from the past. Boyle’s zombie thriller reanimated the Zombie holocaust genre whilst catapulting As an alternative to all the careers of Cillian Murphy and Naomi Superb musical work from John this romance, there is a Harris. Murphy adds to the terrifying and kinetic action scenes. great selection of horrors, thrillers and science Wales fiction around the counCardiff try. Silent Film Season North West
Various Dates Chapter
The incredible amount of attention The ArtStockport ist has created over the last 6 months has Great Expectations given rise to a revival of interest in silent films. To cater to this Cardiff Cinema Chap17th February ter has organised a little Silent Films SeaStockport Plaza son featuring a number of events with live David Lean’s Great Expectations is a British music. Titles include:- The Unknown, PanMasterpiece. As an adaptation of Charles dora’s Box and Vampyr. Dates and times Dickens’ novel it has never been surpassed vary, it might be worthwhile just popping and just two years later Lean went on to in and just seeing what is showing at that direct an adaptation of Oliver Twist. This time. classic has a superb cast with the likes of Alec Guiness and and Jean Simmons in supporting roles.
Central Derby
Barry Lyndon 23rd feb Quad Stanley Kubrick’s Barry Lyndon is often overlooked by film fans, however, it is Martin Scorsese’s favorite film and its influence is incredibly widespread. The period drama follows the character of Barry Lyndon (Ryan O’Neal) over various periods in his life
Sheffield
Dr Strangelove 20th Feb Film Unit “You can’t fight here, this is the war room!”
If Barry Lyndon isn’t the Kubrick for you then Dr Strangelove is playing at Film Unit in Sheffield. Largely considered to be one of the greatest satires on modern politics and warfare. Stanley Kubrick’s pitch black dialogue give the film an edge that balances politics and comedy perfectly.
Hexham
Ratatouille 18th February Forum Whilst not one of Pixar’s mega franchises like Toy Story, Cars and (soon to be) Monsters Inc. Ratatouille is a superb piece of art. The central relationship between Remy and Alfredo is superb and the images of cookery are sumptuous. It throughly deserved Best Animated Feature at the Academy Awards.
South London
Quartermass and the Pit The Devil and The Pit 19th February Roxy Bar and Screen Roxy Bar and Screen specialise in interesting double bills. This February they are showing two classic Hammer Horror films in one evening.
Milton Keynes
The Spirit of The Beehive 24th February Mk Plaza Made during the final years of Franco’s fascist dictatorship The Spirit of The Beehive is a critical look at Franco’s regime. Concerned with cinema and its effect on growing up, The Spirit of The Beehive is a rare treat.
Reading
Coraline 18th February Phoenix
The Cabinet of Dr Caligari 1st March Reading Film Theatre
Coraline is a bizarre kids film that is most definitely not just for kids. It is the latest in a long line of dark and eerie films designed to keep both parents and children entertained.
It is rare to see a silent, german expressonist film on a big screen, but Reading Film Theatre are showing the 1920’s The Cabinet of Dr Caligari with its superb set design and powerful final realisation.
Scotland Edinburgh
Laura 24th February FILMHOUSE Otto Preminger’s Laura is a quintessential film noir. New York Police Detective Mark McPherson investigates the death of the titular Laura. The twisty turny murder mystery is drenched in style and deserves your full attention.
Glasgow
Brief Encounter When Harry Met Sally 14th February GFT Valentine’s Day gives cinemas a superb opportunity to show some of the greatest
romantic movies ever made. Glasgow Film Theatre is offering the young and in love a screening of Breif Encounter and When Harry Met Sally. Two very different films from two very different periods that are two considerable classics. Brief Encounter’s closing scenes are just as heartbreaking as they were 67 years ago.
Dundee
Kiss Me Deadly 21st February DCA As you may have guessed from the title Kiss Me Deadly is a great film noir and subscribes to the conventions of the genre. Mike Hammer is a brutal private dick who’s life is turned upside down when he gives the wrong woman a lift home.
PictureShow Magazine will return on the 5th of March