Glasgow
Cinema City The Ultimate Guide to Glasgow Film Festival + Return of The Phantom Menace + Huge Reviews Section
Contents
March 2011
February Features
Reviews Section
Glasgow Film Festival - page 4
Trishna - page 18
Sheree Folkson - page 11 The Return of The Phantom Menace - page 14
In Darkness - page 19 The Woman in Black - page 20 We Bought a Zoo - page 21 Black Gold - page 22 Bel Ami - page 23 Rampart - page 24
Regulars Editors Note - page 3 Things to See in March - page 29
Project X - page 25 Wild Bill - page 26 This Must Be The Place - page 27 The Decoy Bride - page 28
Contributors Editor’s Note Editors
Joshua Hammond: Editor-in-Chief
Welcome Back to PictureShow Magazine
Words
February has been utterly frantic. For a whole week PictureShow went to Glasgow Film Festival to try and get some great previews of the films at the festival and some fantastic reviews of the films got the best reception at the festival. Our cover is a map of Glasgow with the cinemas marked in red.
Online
We also have a fantastic re-evaluation of The Phantom Menace and whether it is quite as bad as it felt 13 years ago. A little known fact is that I dressed up as Obiwan Kenobi (complete with lightsabre) to my local showing of the movie. There was a great reception when it began to glow in the dark.
joshua@pictureshow-magazine.com
Dale Pearson: Editor
dale@ pictureshow-magazine.com
Joshua Hammond Dale Pearson Chris Binding Benjamin Schwarz Benjamin Ostell
Find us at pictureshow-magazine.com Like us on facebook Follow us @PictureShowMag
The interview with the director of The Decoy Bride is also enlightening. It was a real delight to interview Sheree Folkson who was particularly lovely. See you next month Joshua Hammond, Editor-in-Chief
PictureShow’s Round-up of the Glasgow Film Festival
G
The Swell Season
lasgow Film Festival is less than a decade old, but this years’ vast ticket sales (over 31,000 sales at this years events) and interesting guests give it the gravitas of a much older and established festival. PictureShow Magazine was given a superb opportunity to go to Glasgow for a week and sample the best the festival had to offer.
2006’s Once was a fantastic independent musical that followed a guy and a girl as they became acquainted and began writing songs together and falling for one another. The songwriting skills of Glen Hansard and Marketa Irglova led the film to winning an Regular readers of PictureShow will know Academy Award for Best Original Song. that we frequently feature Glasgow Film Theatre in our “Things to See...” Section and it The Swell Season follows the story of the was a great opportunity to finally see some central duo after the incredible success of fantastic films in a really great cinema. Also Once and the pressures of sudden fame Renfrew St Cineworld was used as a venue and their burgeoning romance. for larger events, which also happens to be the tallest cinema in the world. The views The Swell Season is the name that Hansard and Irglova tour under and the majority of from the top floor are stunning. the film does take place on the road, at fesOver the next few pages you will find a tast- tivals, concerts or at Hansard and Irglova’s er from each of the festivals various strands respective families’ houses in Ireland and and superb Q&A’s with actors, directors the Czech Republic. and writers.
We also conducted a fantastic interview with the director of The Decoy Bride, Sheree Folkson which can be found on page 11. Also, in our huge reviews section this month there are a number of great reviews of films coming out in March that we got to preview at the festival. We hope you enjoy this as much as we enjoyed putting it together for you.
Shot in black and white and utilising Hansard and Irglova’s music to the full potential the film does initially appear like an overlong music video. It swiftly becomes apparent that this is not the case and that the emotion and anger on screen is painfully real. What also becomes more apparent is the massive age difference between Hansard and Irglova. Whilst the 17 year age difference may not have been as obvious in Once it is clearly a problem in The Swell Season and Hansard’s and Irglova’s outlooks mirror this. Anyone who is not a fan of Once, or Hansard and Irglova’s music may be hesitant to see the film, but it is a beautifully realised and well put together piece of work. JH
Irvine Welsh’s Ecstacy
le Moine
After what is possibly one of the longest periods of production for a film that is not a huge epic with a cast of thousands or a highly controversial remake, Irvine Welsh’s Ecstasy is on the brink of finally making it to the big screen after over a decade of work by the director Rob Heydon and Irvine Welsh himself.
Matthew Lewis’ The Monk is a quintessential Gothic text and its supernatural and incestuous themes have often deterred people keen on adaptations before. le Moine is a French adaptation of the tale telling the story of Capucino Ambrosio and his fall from grace.
The mood in the Glasgow Film Theatre is electric with anticipation for the latest adaptation of one of Welsh’s works. Glances of Welsh around the cinema had everyone talking to their neighbour about his imminent arrival and the showing of the film. The film itself languishes as a sub par version of Trainspotting, Rob Heydon even takes similar directorial flourishes to Danny Boyle in introducing the characters and filming club scenes. None of this matters as the crowd are quickly wrapped up in the thumping soundtrack and tales of chemical romance. The star of the evening is most definitely Irvine Welsh whose appearance at the post screening Q&A will largely be remembered for his incomprehensible answers, drunken ramblings and interesting cover of T Rex’s Get It On when asked by the audience “What is your favourite Dinosaur?” Whilst the film may not have been great, the evening certainly was. It was a fantastic introduction to the festival and it’s clear emphasis on fun and enjoyment in the presence of the film’s creators. JH Full review in April Issue
Dominik Moll’s adaptation certainly takes some brave directorial choices and there is a very thick use of motifs from Gothic Cinema. Shadows linger across the screen and presences lurk in the darkness as big black birds caw. The film does struggle to overcome the nature of the novel which is difficult to transfer to screen without it looking ridiculous or predictable. This is possibly an unfortunate side effect of have read lots of Gothic novels and seen lots of movies. Whilst there were no guests for the screenings of le Moine the screen was full. Fans of the book may not be disappointed but as cinema, it is significantly flawed. JH
Wild Bill
Tilt
One of the highlights of the GFF was established actor Dexter Fletcher’s directorial debut - Wild Bill. The film, set beneath the backdrop of the Olympic construction in the East-End of London, follows the relationship between the recently paroled Bill and his two teenage sons.
Bulgaria’s submission for Best Foreign Language Film at the Academy Awards had been received positively in the USA, before it came to Glasgow. The film, set in Bulgaria and Germany, documents the lives of a group of post-punkers shortly before and after the fall of communism at the start of the 1990’s.
There is much to admire in the film. A strong script allows enough character depth to separate this film from all the other low budget East-End gangster flicks which generally saturate the market every year. In fact, for a film that exists in such a competitive genre market, it was surprising to see how many genuinely fresh moments it was able to offer - watch out for an incredibly simple, but very effective scene with a paper aeroplane. Notable performances come from Charlie Creed-Miles in the title role and Sammy Williams, who shows that when child-acting is good, it can be really good. Andy Serkis as the classic London gangster will definitely raise a smile, if only for the brief scenes in which he is involved.
Stash, (Yavor Baharoff) a skater and parttime pornography dealer, falls in love with the shy but quirky Becky (Radina Kardjilova). Unfortunately, Becky is the daughter of a draconian police colonel who threatens to exile Stash. Essentially, the film is a classic love story told through the setting of Bulgarian democratic revolution. There is a great deal of solidity to the film: the acting is sound, yet not mesmerising and the concept is novel, even if plot is relatively stock. Unfortunately, the Bulgarian division of PictureShow is on leave, so much of the dialogue was lost in translation. However, there were enough imaginative touches from the director to make the film a pleasure to watch. One of his main strengths was his ability to capture the conflict between the oppressed communist Bulgaria with the opposing Western infiltration. A particularly enjoyable reference was of a repeated shot of the four friends in the police station a la the famous Bus Stop shot from South Park.
After the screening, Dexter Fletcher and actor Will Poulter offered a Q + A with the audience. Perhaps most interestingly, Fletcher (who has been consistently acting since Bugsy Malone) explained how one of the requirements for getting the film made was to ‘cash in’ on his twenty years of experiThere is never a point in TILT where you will ence and contacts in the industry. feel cheated. It is what one might lazily deWhile the result may not be an absolute scribe as ‘well done’. However, this is not to world-beater, it is definitely a distinct and say it has enough newness to be influential, memorable piece of British cinema. DJP or even enough flair to be a film that will remain with the viewer much longer than their next trip to the cinema. DJP
Mark Millar and Frank Quitely
Flash Gordon
One of the more notable guests at the GFF was comic book legend and writer of KickAss, Mark Millar. Along with his artwork sidekick, Frank Quitely (real name Vincent Deighan), he opened himself up to general questions about his work and the comic book world.
If one’s first experience of Flash Gordon is late at night on some obscure satellite television channel, then one’s initial reaction may be to immediately turn it off and go to bed. In the context of Glasgow film festival however, amidst the love and adoration of many devoted fans, this camp, badly-written space-romp will never make so much sense. In many ways, Flash Gordon is the quintessential embodiment of the cult classic. On paper, it’s train wreck; the acting is hammy, the writing is shoddy and the premise is downright bizarre. For the viewer who can suspend all these preconceptions of ‘quality in film’ however, Flash becomes a very different film. For those willing to give it a chance (and many people were), Flash Gordon actually proved to be one of the most entertaining events at the GFF. Mark Millar (writer of Kick-Ass) introduced the film (although, oddly, he did confess that he had not seen it himself since he was 10 – that one screening had apparently stayed with him throughout his adult life). Jokes from the audience flew back and forth during the Q+A, and these high spirits continued into the start of the film and becoming accentuated through until the end.
In response to a question from PictureShow, Millar spoke about his new publication ‘Clint’ which amalgamates various current comic book writers into a monthly publication. He spoke about how it was his way of hearkening back to a time in his childhood when he could go to his local newsagents for his comic books. Amongst other things, Millar spoke about the meeting he had had the previous night with Alex Salmond (Scotland’s First Minister). Millar has been enlisted by the Scottish government in order to offer ideas on ways to help boost the Scottish film industry. Millar was particular keen to note the recession-proof quality in the entertainment industries. Perhaps most interesting to readers of PictureShow, was the way in which Millar spoke about the fact that the adaption of comic books to the screen was not such a simple process as people believe. In fact, his condemnation of the idea that a comic book layout is not interchangable with a filmic story board, goes some way to validating our article from Issue 3, ‘The Comic Book Movie Does Not Exist’ (see for yourselves)
Highlights of the film included Timothy Dalton calling somebody a ‘bloody bastard’ and a stellar soundtrack from Queen. Brian Blessed’s famous line - ‘Gordon’s alive’ – was, of course, greeted with rapturous applause. Flash Gordon is not a film that can Overall however, Millar and Quitely’s re- function before cynical eyes, but in front the laxed and friendly approach made for an friendly atmosphere of the GFF, the film’s camp brilliance simply shone. DJP enjoyable and informative event. DJP
Bel Ami
Death of a Superhero
Unsurprisingly, the screening for Bel Ami was full of teenage girls hoping to witness Robert Pattinson’s sparkly torso in 19th century France. Whilst the constant giggling of schoolgirls would often ruin the experience of going to the cinema, here it merely intensified the ridiculous nature of the film.
Death of a Superhero is the superb story of a young man with cancer who both retreats to and is haunted by his own artistic creations. Whilst Death of a Superhero appears to have been bypassed for a cinematic release the cast is superb and all work well together. Thomas Sangster and Andy Serkis’ scenes with one another are particularly memorable. If this never makes it to a cinema screen it would be worth seeking it out.
In one of the biggest screens available at Renfrew St Cineworld, the audience waited eagerly for the film to begin. A little Q&A from directors Declan Donnellan and Nick Ormerod preceded the film as they discussed the modern parallels to the story and Preceded by a talk from a representative of how they found directing feature films rather Teenage Cancer Trust, Death of a Superhero was one of the most intriguing films than operas. JH at Glasgow Film Festival and was a superb Full Review available on page 27 addition to the programme. JH
The Other F Word
The Crow
Produced by Morgan Spurlock, The Other F Word has some great indie credentials from the world of Documentary film making. The Other F Word deals with how members of Punk Rock bands have aged and dealt with new challenges aside from sticking it to the man.
The Crow was another showing under Glasgow Film Festival’s Kapow! mini festival. After screenings of Flash Gordon, Superman and talks by Mark Millar, Frank Quitely and Charlie Adlard the crowds in Glasgow were getting increasingly geeky.
At the centre of the film is Jim Lindberg of Pennywise who struggles with being on tour for 200 days a year and being a father to three daughters. Whilst documenting his home life, the film also follows Jim on tour and the strain both lifestyles have on him and his eventual decision to leave the band. The film’s various talking heads come from a variety of backgrounds and include such musical stars as Flea (Red Hot Chili Peppers), Mark Hoppus (Blink 182), Fat Mike (NOFX) and Lars Frederikson (Rancid). There are also appearances from Tony Hawk and Brett Gurewitz of Epitaph Records.
The print of The Crow that showed at Glasgow Film Theatre showed dreadful signs of age but as Calvin’s Dad would say “It builds character.” Each reel crackled on screen and certain frames had either warped or been damaged by heat, this did not deter the audience who were prepared to sit through it all to see Brendan Lee’s final performance on the big screen. The Crow’s power over the audience certainly had not diminished. In the theatre was a rag tag bunch of folks, some still dressing like the crow and others dressed like teachers, who were prepared to venture into Glasgow at midnight to see the film.
The Other F Word does not solely deal with a succession of Punk Rocker’s kids, it also looks at the society that created a generation of punks in LA in the early 1980’s. The role of fathers is discussed at length and insights into many of these musicians’ backgrounds are incredibly revealing.
Whilst most films under the Kapow! banner had been introduced by someone who either had something to do with the film or who enjoyed the film, The Crow began without an introduction. The audience didn’t really need one though. Nobody was seeing it for the first time.
It does all sound rather heavy, but there is an incredibly joyous and lively tone to the film. The eternal hypocrisy of rebelling against authority and being a symbol of authority is never resolved, and it is left up to the viewer to decide what the other F word actually is. (Hint: It’s not food) JH
It is hard to believe that The Crow was such a massive commercial hit upon its release but whilst the film is flawed and elements of it seem laughable now, it is a very stylish, very grungy early film by an interesting director. It is a shame that Alex Proyas’ Paradise Lost has been shelved indefinitely. JH
Interview with Sheree Folkson JOSHUA HAMMOND
In town to promote her new ffiilm The Decoy Bride, the director spoke to PictureShow about the fiffiilm and her upcoming projects.
T
The role was written as an American actually so at that point I would have thought that he would have had to have been an American. But then as budgets change, ideas change and we thought “As long as she’s American, he doesn’t have to be American” and then it was *ding* David.
he Decoy Bride is being distributed by Cinemanx, and was partly shot on the Isle of Man whilst the film is set on the Scottish Isle of Hegg, how much filming took place in Scotland? Do you feel any sort of empathy towards Lara? Because she is reIt was 50-50, we did Kollabrock Castle ally, really nice. which was in Scotland, there was an interior as well which we shot in Scotland. Then We particularly didn’t want to make her, the odd exterior and mainly interiors, which like this bitchy horrible movie star. The point we shot in Glasgow weirdly. For budgetary was that they just weren’t right for each othreasons, because we only had a tiny budget er, but it’s really hard for a man when the and we had to shoot on an island it would ideal woman wants you and you have to obviously have been mad not to shoot the say “No” because you’re not right for each island stuff there. We couldn’t have got to a other. So yes, I absolutely do have sympaHebridian Island on our tiny budget. thy for her. You worked with David Tennant a couple of years ago with Casanova and since then, he has become a mega star. Has he changed at all? D’you know, he is the most extraordinary guy. I actually worked with him years ago, when he was really unknown, then we did Casanova and he still wasn’t very known. Then he went through the roof with Doctor Who and he hasn’t changed at all. He is the loveliest guy. We’d be filming and all these kids would find out where we were and at the end of shooting there’d be about 15 kids lining up waiting to get Dave’s autograph. And it’s a long day working like we were and I’d see him at the end of the day he’d go up to them and not only give them autographs but he’d ask them all questions about themselves. He’s a saint. After working with him on a few other occasions, did you always have him in mind for the role?
The film is well aware of the fact that it is a romantic comedy and looks as though it could make fun of that. Do you have an affection for romantic comedies? I absolutely adore romantic comedies... when they’re good. I mean, there are a lot of bad ones. If you go back, I was thinking about this, as a kid I used to watch on a Saturday, they don’t show them any more, old black and white movies. Like the Frank Capra films, Fred and Ginger all the way up to Doris Day even and what I realised about them was that the woman is really just as funny and stupid or clever as the guys and they really are pieces of feminism in a way. I think it’s a fantastic genre and I wouldn’t want to take pot shots at it. You could do an anti rom-com and that’s fine but I’ve got nothing against it, I think it’s a great genre.
How much did you work with Sally You said that you had a tiny budgPhilips and Neil Jaworsky on the et. How was filming on an Island? script? The real battle when you’re filming on a low We spent quite a long time. We spent may- budget is time and luckily enough I’ve been be a few years working on the script really doing it long enough to know how to do it. making it clear whose movie it was. That And hope that you tell the story as well as it was Katie’s story and then really mak- you can in the time that you have. That’s all ing the Katie and James story work. Initially you can do really. they liked each other too soon and it’s much more fun when they don’t like each other Have you been to see anything else straight away. at the festival? Was Sally Philips always intended No I’m afraid they flew me up yesterday to be in it? and send me home tomorrow, so I haven’t had chance. No, I don’t think there was any real plan. It was just when casting came around there Are you going to continue working was this part for Steve’s (Michael Urie) As- with films, or are you going to go sistant and it wasn’t a very big part and we back and do something for TV? just thought well why doesn’t Sally just do it? That’d be great. I’ve just done a Sky Atlantic show called Hit and Miss with Chloe Sevigny as a transDid you meet Michael on the set of sexual hit-man. A man who is turning into a woman. I’d love to do more films and more Ugly Betty? TV as long as it’s good. I don’t want to disYes I did and I thought he was amazing, tinguish. incredibly funny.
BENJAMIN OSTELL
I
n the late 90s a company that specialised in moisturiser for women decided to sell the same product for men. The advert showed two men, themselves watching an advert for the product (those meta moisturising companies…) commenting on the stupidity of such a product and moaning that no one in their right mind would buy it. The advert ends with them remarking that despite this, it looks good and they’ll probably buy it. This, my friends, more than adequately sums up the modern paradox of a Star Wars fan. They can complain until the droids come home about how terrible the prequels are, but you can bet your sweet bantha that the majority of them will still part with their hard earned Galactic Credits in order to see it again not only in the cinema, but in a shiny new dimension.
George Lucas is the victim of a lot of bad press by the fans for his seemingly constant retinkering of Star Wars. Realistically, they shouldn’t bother anyone; they are his films, anything else he will make will be automatically compared to the saga. He knows this, we know this, so really, what is so wrong with going back every couple of years and adding what technology wouldn’t allow earlier? (And does it really make that much difference to Han Solo if Greedo shoots first? Come on, people.) This year marks the first in the rerelease of the whole Star Wars series, Episode I to Episode VI, all in 3D. We can see that in releasing the films chronologically, Lucas is trying to prevent fans regarding the saga as a “Prequel Trilogy” and an “Original Trilogy”, but instead an, erm, “Hexalogy” if you will. Chronologically this makes sense, but it also changes the
dynamic of the overall story arc, along with shots of outer space really make the stars the way we view it. look especially far away, and give a sense of just how grand a scale the space opera Old fans will choose to see the films the rests on. Yet it still feels somewhat of an anway they want to, but by releasing the films ti-climax, as the only parts of the film that in chronological order, it will make a new really pop out of the screen are the various generation of Jedi see Anakin Skywalker/ subtitles. Darth Vader as a tragic hero, rather than the villain we loved to hate when we first This is a shame then, as it appears that the saw the original trilogy. Now the huge “I annual rerelease of all six Star Wars films am your Father” (erm, spoilers?) reveal in has started with more of a whisper than a Episode V is less of the drop-your-popcorn- bang. Yet a rerelease in 3D was perhaps to-the-floor moment it was in 1980 (or inevitable, as the universe it inhabits seems more realistically for most of you, 1997, to call out for it. To reiterate what was said when it was rereleased, again, for a new above, the scale of these films is huge, and generation), and more of a “Well that took while we may never get a sense of just how a while.” huge it is, the 3D does certainly make a step in the right direction. Yet when watchAs such, the recent rerelease of Star Wars ing this, I couldn’t let go of the niggling feelEpisode I: The Phantom Menace is put in ing that perhaps George Lucas has made a the unfortunate position of being placed in mistake in releasing The Phantom Menace the forefront of two controversies; not only first. is it the first in the dreaded prequel trilogy, but it is also being theatrically released While the 3D had a lot to live up to, there only with the gimmick of an added Z-axis was something about this viewing that as a reason. Since the release of Avatar didn’t feel like a total waste of money. in late 2009, 3D has been a touchy issue. I’d seen The Phantom Menace before Some say it is the new way to watch films; and had, much like the rest of the world, that it adds to the experience; whereas oth- been pretty disappointed by it. But seeing ers stay with the impression that it is just it again with fresh eyes, with no expectaanother expense added to an already too tions to be met, made the film improve in expensive industry, and the majority of the my eyes, and there is certainly something time you don’t get your money’s worth as momentous about watching Star Wars in the 3D is often tacked on, and noticeably the cinema. I left having quite enjoyed the shoddy because of it. Sadly, The Phantom film, even with its flaws, and actually quite Menace 3D doesn’t fall in the former cat- wanting to watch Episode II: Attack of the egory. There were times when watching Clones. While not a classic, The Phantom where I could lift the Special Edition Star Menace, and the other prequels for that Wars Pod Racer 3D glasses off my face matter, is an enjoyable, if ultimately forand not notice any difference. gettable experience. Go for the 3D you’re supposed to love, stay for the film you used That isn’t to say it’s a total loss. There are to hate. certain set-pieces in which the 3D makes the movie most immersive, notably the pod race and the final lightsabre battle. Wide
conflicting character, who may appear loving and caring but has untoward motives. Winterbottom’s skill with a camera is evident in Trishna for all to see. The stunning shots of Rajasthan and Jaipur are beautifully interwoven into the narrative. Winterbottom’s choice to translate the Indian music in the soundtrack is also a bold move, emphasising the role the soundtrack has on the narrative at play. It also encourages viewers to watch and remember what the words mean as certain refrains are repeated throughout. Unfortunately the plot does have a tendency to meander through the second and third acts making the film appear longer than it is. Here the plot deviates from the original narrative, characters are left out and the events change, and it becomes a little jarring if you are familiar with the book. Whilst it is important to remember where a film gets it’s source Trishna it should be allowed to move away from a strict Michael Winterbottom’s third adaptation of a adaptation in favour of presenting something new. Thomas Hardy novel takes the story of Tess of the D’Urbevilles and sets it in modern day India. In the Whilst the plot does differ in some ways from Harrole of Tess is the titular Trishna (Freida Pinto) who dy’s narrative, what remains is a very good analyis relentlessly pursued by Jay (Riz Ahmed), the son sis of the progression of a relationship. Freida Pinto of a wealthy Hotel magnate. A disastrous combina- and Riz Ahmed get their best opportunity to really tions of circumstances and infatuation lead Trishna act since their breakout roles a few years ago. For a novel that has been adapted a number of times into a destructive relationship with Jay. for both television and film, Trishna is a refreshing Michael Winterbottom is one of cinema’s most dar- and lively take on a story that has been adapted in ing modern directors. From the bizarre metacine- an incredibly dry fashion previously. Whilst this is matic A Cock and Bull Story to the highly explicit 9 not one for Hardy purists (which of Winterbottom’s Songs and the shockingly violent The Killer Inside adaptations are?) it is dynamic filmmaking and a Me, Winterbottom has rarely shied away from a great story. JH challenge or controversy. Winterbottom’s experience adapting Thomas Hardy’s work has clearly set him in good stead for Trishna which is a well executed adaptation with a excellent move away from the traditional country house set adaptations of the novel that preceded this one. As Trishna, Freida Pinto has one of her most exciting roles since her big break in Slumdog Millionaire. Instead of the terribly passive roles we have seen her take in big budget mega-productions such as Rise of The Planet of The Apes and Immortals, Pinto is the centre of attention here and it is a joy to watch her fully stretch her acting muscles. The same can be said of Riz Ahmed who has been balancing his music and acting careers for some time, with Four Lions throwing him onto the world stage. Here Ahmed relishes the opportunity to play another
In Darkness Nazi Germany, World War II and the Holocaust have all been so well documented by cinema over the last seven decades years that it is surprising that there are still stories to tell. In Darkness is one of the more compelling stories documenting the trials of a few Jewish survivors to hit out screens in some time. In Darkness documents the tale of a group of persecuted Jews who live in sewers underneath Lvov helped by a local sewer worker Leopold Socha (Robert Wieckiewicz) who brings supplies over years to help them survive. Agnieszka Holland has been making highly politically charged films in Poland for well over 2 decades. Having made films under the communist regime in Poland, her films still have a feeling of vitality and freedom that can only be afforded to a director that has been so highly censored in her with him. Whilst the story may seem to be one work. In Darkness is a story about life and the pow- about Jewish people surviving in a sewer, the heart of the film is definitely Socha’s. Robert Wieckieer of the human spirit to overcome all odds. wicz’s performance is stunning, the determination Set in the sewer systems of Poland, In Darkness uti- is almost stamped onto his face and the moments lises light to a great deal of effect. Flourishes of col- of peril and upset are ones where Socha is in real our seem to last through the seemingly impossible danger. This may seem like a traditional Holocaust task of living underground for over a year. Whilst drama, but what sets In Darkness apart is the decithere are a number of trips to the surface by both sion to make the centre of the film just a regular PolSocha and others, the film never shies away from ish worker who manages something extraordinary. disorientating the audience in a similar fashion to the characters, with intensely bright lights as char- It may feel as though you have seen many, many films about Nazis and the occupation of Europe, acters emerge from the sewers. and you probably have, but In Darkness does Holland’s film may be a little too long for some, something new and unexpected. The “big” issues it runs for almost 2 and a half hours, some strict are all sidelined in favour of telling a story about an editing could have really tightened the film up and average Joe pulling off an extraordinary feat under whipped the audience along with it. As it stands, an incredible set of circumstances. JH it does seem to take a long time to get going and to progress. Due to the majority of the film being set in a sewer underground Lvov, there is also the problem of the passing of time in the narrative. At no point are you told how long the band of survivors have been underground, the viewer must use other events to judge the passing of time such as watching a pregnant characters bump grow. The amount of time spent in the sewer is not properly communicated until the obligatory “This is a true story” message at the culmination of the film. Where In Darkness really takes off is in the intense scenes between Socha and a number of people who all work against him, from his wife, his colleague and the jewish survivors, none of them work
Leaving Radcliffe aside there is something to admire about The Woman in Black. The return to a more traditional style of horror may be lauded by some who feel that the horror genre has just become a cesspool of gross out torture pornos or found footage shaky-cam flicks. This return to a traditional mode of Gothic horror definitely has its drawbacks. Largely everything that occurs can be seen from a mile away, and the jumps that do happen are due to loud or shrill noises, after a prolonged period of silence.
The Woman in Black Daniel Radcliffe’s immediate post-Potter career was always going to be crucial. As the central figure of the exceedingly successful series his first new ventures are important in stopping Radcliffe being typecast in a similar fashion to actors at the centre of Mega Franchises such as Mark Hamill, Christopher Reeve and the entire cast of the original series of Star Trek. In this respect it looks as though The Woman in Black has been a good choice for Radcliffe, playing beyond his years as Arthur Kipps a young widowed lawyer who takes a job in a remote coastal village despite the warnings of the local villagers.
Jane Goldman’s screenplay is beautifully adapted from the original novel, the beauty of which comes in its sparseness, leaving a great deal to the imagination and the suggestion of the camera work. James Watkins reinforces his reputation as a quality director of horror films, whilst The Woman in Black is miles away from his brutal Eden Lake it is still a horror film. Marco Beltrami’s score also emphasises why he has been the music director of choice for Wes Craven for the last two decades, the music is incredibly effective and clearly the work of a man with some real experience in horror scores.
The Woman in Black is an effective traditional ghost story, with some jumps and a spooky, atmospheric setting. Fans of James Watkins’ fantastic Eden Lake will be disappointed, whilst they are both horror films they are cut form different cloths. Unhardened horror fans will undoubtedly find the tension hard to bear, but for anyone that has seen a number of haunted house movies, The Woman in Black is a little too traditional. The central performance does not have the clout it should and Radcliffe cannot yet Whilst the Harry Potter movies were incredibly suc- carry a film on his own. JH cessful commercially, the critical applause rarely came as easily. This was due to Daniel Radcliffe’s one-note approach to acting. We have a similar issue with The Woman in Black, Daniel Radcliffe has little to no range. The Woman in Black is largely very effective at ramping up the tension, there are long periods where little happens aside from suspicious noises. It is a shame therefore that the tension that gets built is immediately undone by Daniel Radcliffe’s bizarrely flat performance. It would be a mistake to say that The Woman in Black is like watching Harry Potter’s law career, but Radcliffe’s lack of timing and facial expressions just seem bizarre. The film could have been more effective with a better choice of lead, but it may not have made the same money.
We Bought a Zoo We Bought a Zoo follows Benjamin Mee (Mat Damon) a single father of two, dealing with his wife’s death and his children who continually act out. In order to find a fresh start, Mee looks to move away from the city and get closer to nature. Mee settles on buying a zoo and devotes his own time and money to refurbishing the zoo and its enclosures for his family and the workers who have maintained the zoo since its closure. There’s one thing Cameron Crowe does well, and that is writing and directing very cute movies. From Say Anything to Almost Famous and this month’s We Bought A Zoo, Crowe has generated an entire career out of filming nice guys doing nice things. We Bought A Zoo takes this too far. From the adorable animals, to the adorable Ben Mee (with goofy Dad hair and bad style) and his adorable kids, Crowe has overdosed on the sweet schmatzy stuff without any consideration to the realities faced by the people We Bought A Zoo is based on. It is interesting to note that the story behind We Bought A Zoo was originally British and based on the owners of Dartmoor Zoological Park.
The soundtrack feels like the choices David Attenborough rejected for Planet Earth for being too predictable and formulaic. Sigor Ros are seemingly becoming the go to guys for wistful music to soundtrack images of trees and beautiful countryside.
Whilst Cameron Crowe’s back catalogue has largely had a very cute element to it. Anyone who Very little time in the plot is afforded to the realistic has seen Almost Famous or Say Anything will monetary constraints around resurrecting and man- largely know what they are getting themselves into, aging an old zoo. The zoo was bought remarkably but We Bought a Zoo takes the airy levels to 11. quickly, almost in a matter of weeks regardless of We Bought A Zoo is that kind of feel good film that the fact that Mee has no experience with animals is designed to lift spirits on a rainy Sunday, at any or zoos at all. Any money that is needed is remark- other time, it’s so sweet that there’s a risk of tooth ably found, almost as though Mee shoved his hand decay. JH down the side of the sofa and pulled out 80 grand. Instead Crowe prefers to show you another shot of some Capuchins and a Lemur until everything is alright again, like a calming screensaver. As a viewer you must rest assured that everything will turn out alright in the end. The supporting cast is a rag tag bunch of actors, both respected and up and coming, but regardless of their status or their ability their sole purpose is to either fawn over the animals or over the Mee family. Whilst moments of humour do come from Angus Macfadyen’s Macready these are far too infrequent, and again are most likely substituted for an image of a lion yawning in the sun. There is nothing and no-one in this film that is not dreadfully “nice”, even the “bad guy” of the feature reveals his positive aspects towards the end of the film.
group scenes the supporting cast goes a long way to showing up the cracks in the leads accents and performances as many members of the supporting cast actually ARE middle eastern. The film does, however, have some positives. The battles scenes, set on the backdrop of the desert, are glorious and are often riveting. Moments of light relief largely come from Riz Ahmed, dressed as an Arabian Private Detective, playing a surgeon who takes joy in pointing out the flaws in society. Ahmed is quickly making a name for himself after the success of Four Lions. His performance, whilst one of the better performances in the film, is just a little of what he can really do.
Black Gold Black Gold is a bizarre beast. A multi-million dollar blockbuster produced outside of the regular means. Designed to usher in a new wave of mainstream middle eastern Cinema, Black Gold was largely funded by Doha Film Institute in Qatar and cost in the region of $60 million dollars. That money seems to have gone on a cast and crew with huge reputations in the cinema industry and spectacular battle scenes. Set in 1930s, Black Gold follows Auda (Tahar Rahim), a young Arab prince used in negotiations by his own father, Sultan Amar (Mark Strong) to try and bring peace between his people and those of Emir Nesib (Antonio Banderas). This peace treaty becomes disrupted when vast amounts of oil are discovered in the land between the two and war between various nations becomes imminent. Black Gold clearly has the credentials of a fine film, director Jean-Jacques Annaud has a wealth of experience in large scale filmmaking. The cast too are either established and respected actors or up and comers. Bizarrely none of the principle cast are middle eastern. Antonio Banderas is Spanish, Mark Strong is British (as is Riz Ahmed), Freida Pinto is Indian and Tahar Rahim is French/Algerian. This in turn leads to a medley of unfortunate and muddled accents, which begin to sound faintly ridiculous. This becomes a problem during moments of intense dialogue especially as members of the same family have wildly different accents. During
The run time of the film is also an issue. Whilst most epics do run to 2 hours, Black Gold doesn’t seem to do much with this time until the final act where things finally start to get moving. The majority of the film is taken up by laborious trade negotiations and family politics. Various strands of the plot get lost over time and are hurriedly resolved in the conclusion. The script also has a tendency to slip into prophetic platitudes about the middle east and dependence on oil that are clearly designed to resonate with a modern audience which sound rather laboured on the screen. Black Gold is a disappointing film, whilst those behind it clearly have ambition for their film and what they want it to accomplish, it does not always pan out on screen. While Black Gold clearly aims to reach an epic Lawrence of Arabia standard, it never reaches that pinnacle in terms of acting or epic scenes. The big names in the cast and crew seem out of place in the final product and their bizarre performances only go to emphasise this. JH
Bel Ami Based on Guy de Maupassont’s novel of the same name, Bel Ami follows George Duroy (Robert Pattinson) as he returns to France following a stint of military service in Algeria. Upon his return he does everything within his power to become a powerful member of society, from pulling in favours from military buddies to doing sexual favours for their wives. As he climbs the social ladder Duroy’s lust for power cannot be sated causing conflict amongst those he has become close to. Robert Pattinson is working remarkably hard to escape the trappings of being an attractive teen star, like his Twilight and Harry Potter co-stars, Pattinson has been striving to try and further his career so that he is no longer seen as Edward Cullen *swoon* by audiences and directors. As such the role of George Duroy is perfect for Pattinson’s post Twilight career, an ugly tale of sex, deceit and politics which is a stark contrast to Edward’s irritating sentimentality and sparkling skin. It is therefore a great shame that the film as a whole is poor and that the problems stem from Pattinson. It is fair to say that Pattinson is devilishly handsome and the idea of him as a lothario in 19th century Paris is not that great a leap to make. It is surprising how utterly unsexy and clumsy he is. Spending the majority of his time staring or gawping at the camera, it would appear that Pattinson has been taking acting lessons from Kristen Stewart. There is just very little spark or sex appeal to him, it could be that industry pressures meant that the film had to be toned down for Pattinson’s pre-pubescent fan club to come and pay money to giggle in the back rows, but there is little to really admire here. The problems do not stop with Pattinson, the entire supporting cast (aside from Kristen Scott Thomas, who has French nationality and is fluent in french) have real problems with their french accents, Philip Glenister (who shines on the small screen) in particular struggles to shake his deep British accent. The supporting performances are all ones of caricature; there is no depth to any of these characters and their moves within the plot are entirely predictable. It is clear that debut directors Declan Donnellan and Nick Ormerod have tried to emphasise the parallels to modern politics, warfare and the press,
but this all seems shoehorned in. The priorities of the film are all over the place it wants to be an erotically charged tale about class in 19th century France and the dawn of the modern media with an undertone of military violence. Bel Ami carries none of these off. There is little subtlety to Bel Ami. What could have been a dark and sexy drama embroiled in the matters of the time is just looks and feels like an account of various attractive people floating from situation to situation. Robert Pattinson has not yet managed to master a perfect balance between sex and danger, Edward was neither sexy nor dangerous and George Duroy isn’t either. JH
ship with his estranged daughters as a short-lived, momentary aside to his innate violent nature. A great supporting cast of recognisable faces in the form of lawyers (Steve Buscemi, Sigourney Weaver) and investigative detectives (Ice Cube) provide interesting antagonists but despite their top billing on the poster and publicity, their under-usage in the narrative was a little disappointing and a questionable waste of talent.
Rampart In the world of narrative cinema, fighting the power and bending the rules are taken characteristics of the vigilante cop; founded on the fact that ‘justice’ and a semblance of nobility is maintained. However every anti –hero has a doppelganger and in the case of the cinematic cop it is the corrupt power abusing deviant, unbound by conscious and morals. In the tradition of corrupt cop pictures from Matt Dillon’s racist bigot in Crash to Harvey Kietel’s drug addled thug in Bad Lieutenant, Woody Harreslon takes on the mantle in Oren Moverman’s film Rampart , as a LA cop and ex Vietnam vet struggling for survival after a ‘Rodney King’ type video tape of police brutality goes public. Like the best ‘bad cop’ films before it, Rampart’s strong central performance and ambitious cinematography elevate it above genre pretensions as a dark character study and career high for Harrelson. Based upon widespread alleged corruption of the LAPD in the 90s Harrelson character nicknamed ‘date rape’ is a meaty role for an actor with a history of memorable performances. Harrelson takes the role by the helm as un-repentant , arrogant and self – righteous thug , wearing a constant sneer and uttering one liners such as ‘I’m not racist , I hate all people equally’ failing to grasp the political severity of his situation and hanging on to the dissolving threads of his career and family with a aggressive determination. However, amongst the scowling and violence director Moverman brings out a compassionate side, especially in a dysfunctional relation-
Alongside Harrelson’s performance Moverman’s style is simultaneously brilliant and infuriating. Capturing the heat – saturated claustrophobia of LA along with a incredibly jarring and immersive drug induced club scene, reminiscent of the opening of Gaspar Noe’s Irreversible , his style brings a experimental edge to what could be considered a genre picture. However in some scenes the focus on alternative form can become a little disorientating, notably in a scene of lengthy dialogue between Harrelson, Buscemi and Weaver in which jump cuts and a constantly rotating camera are un needed and unintentionally distracting. The film’s elliptic ending may also divide certain viewers, leaving the character at absolute rock bottom with no satisfying resolution. Although this ‘just desserts’ such be satisfying by Hollywood frameworks with the terrible individual being punished, the fact that there is still a morbid amount of care for the character’s fate is testament to quality writing and direction. Rampart may divide viewers but it worth seeing for Woody Harrelson’s performance alone; and for those who still have the parody infused Tallahasse from Zombieland (2009) in mind, this film should re-establish Harrelson once again as both an immersive and serious dramatic actor. CB
Project X Project X falls quite comfortably in the wasteland between Summer blockbusters and the Oscars. It makes no attempt to argue with this fact, content simply to be what it is: a straight-forward teen comedy about three nerdy guys throwing a party in an attempt to be more popular with no aspirations for either awards or a huge audience windfall. Unfortunately for Project X, its competition in the genre is not saturated with large amounts of content, but with quality. The last decade or so has seen a radical shift in the teen movie. No longer do apparently awkward adolescents imagine sexual fantasies and then enact them to the general adulation of their peers (as in American Pie): the flavour of this generation is much more sadistic, portraying awkward adolescents actually being awkward and subsequently doing significantly more fantasising film interested in combining naked teenage breasts with bouncy-castles has little time for character. The than enacting to the general disdain of everyone. film never set out to be about character, but again Ultimately, the goal-posts have not moved (find attention is drawn to this absence by comparison sexual candidate, mate repeatedly) – merely the with Superbad. Perhaps someone pointed this out frequency of scoring. This is precisely where Project to the screen-writers, because a romantic thread X falls down; in the light of Superbad it begins to exists in the film. This is a terrible addition, because fall apart, simply because it is not Superbad. There it contrasts with the rest of the film so starkly, and are too many similarities to avoid critical compari- looks like an afterthought. son – one of the characters is really awkward, one of them is a bit of a dick, one of them is just weird, All in all, Project X is not a terrible film, but one they’re all American, the plot revolves around a which lacks depth. It has some nice artistic flourparty, the police get involved, et cetera, et cetera. ishes – the camera-work is pleasingly amateurish Project X then fails to fulfil the expectations built without being grating and its refusal to conform to for it by these comparisons. Fairly or unfairly, it is some of the regular tropes that teen comedies have judged for things it never set out to do as a film to trundle through (acquiring alcohol, for example) because of this. In a sense, it draws attention to its is amusing because of its blatant and deliberate manner. It is, however, also a film that draws atown flaws. tention to its own shallowness, and this is never a These flaws are mainly to do with narrative flow and good thing. BS complexity: Project X falls victim to lack of proper build by nature of its plot (or rather lack thereof). Once the party starts and it’s clear that it’s going to be crazy, there really is nowhere else for it to go other than remain at a similar level. Consequently, it starts to do silly things like putting little people inside ovens. The phrase ‘cheap laugh’ doesn’t really make any sense in the context of the film because it implies that some of the laughs have any weight, but this doesn’t really excuse it. Similarly, the plot is ridiculously straight-forward simply by merit of the event it portrays; parties in themselves are not complicated things. The people attending it may be, and so might their interactions, but a
from it all the same. Fletcher carries himself well in his directorial feature debut. London gangster flicks will generally saturate the market each year, so Fletcher does well to avoid derivative pitfalls and keep things fresh. In fact, many of his directorial techniques, although simple, turn out to be very effective. The ability to find poetry in a cleaned toilet and a paper aeroplane is not just a talent but an essential requirement when working in the world of low-budget films.
Wild Bill
The only criticism to make on Fletcher’s part is that, whilst generally fresh, the film never fully comes into its own on an aesthetic level. The soundtrack is adequate, but lacking in a real coherence. The use of songs like ‘The Guns of Brixton’ may serve a purpose, but are hardly original choices to put the film on any considerable level of distinction.
Ultimately, it is fair to say that there will be better Director, Dexter Fletcher’s directorial debut, Wild British films this year (potentially even in the same Bill, opens in cinemas this month. Set beneath the genre), but that is not to say that Wild Bill is not backdrop of the Olympic construction in the East- worth a watch. There is a completeness and an unEnd of London, the film follows the relationship be- derstated quality to it that suggests Fletcher should tween the recently paroled Bill and his two teenage definitely be making more of the same. DJP sons, Dean and Jimmy. Compromised between the life of crime he used to lead and the responsibility neither he nor his sons want him to take, Bill finds himself between rock and a hard place. Also, Andy Serkis plays a cockney gangster. Underpinning the strength of the film is a good solid working script. Characters are written well enough for us to care about their development and comic touches are regular enough for the viewer to really be engaged when moments of poignancy occur. Furthermore, the gritty social aspects are never made into and ‘issue’ - there is no distracting ‘agenda’ to the narrative. Instead, the story speaks for itself. A nice touch is the use of the Olympic construction in the East End as a metaphor for the possibility of the ‘regeneration’ of the character of Bill. There are some solid acting performances throughout the film. Charlie Creed-Miles plays the title character, and does well in leading the film. A special mention should be made for Sammy Williams (playing 11-year old Jimmy) who gives an impressive performance as the cheeky London schoolboy turned drugs-runner. Fletcher revealed that Andy Serkis’ small role as a mob boss was essentially a personal favour to the director, but the film benefits
This Must Be The Place One can imagine the pitching meeting for This Must Be The Place - ‘We want to make a film in which Sean Penn plays an Ozzy Osbourne-esque ex-heroin addict punk-rocker who takes up Nazi Hunting’. It would take a cold-hearted financier to not be at least a little intrigued. This Must Be The Place follows the retired rock musican Cheyanne, living out an almost child-like existence in a sleepy town in Ireland. When Cheyanne is confronted with the death of his father, he carries on his father’s lifework -tracking down the Nazi Officer who persecuted his father in Auschwitz. There is a lot to be said for the film; foremost in Penn’s portrayal of Cheyanne. Penn ignores some of the more obvious ‘aging-rocker’ character influences (Jagger, Iggy Pop) and instead creates a character much more similar to the late Michael Jackson. This works well, showing that ‘coming of age narratives’ are not strictly reserved for the young. This childishness also serves well to critique the very much post-punk modern world. His line ‘Why is Lady Gaga...?’ - is truly inspired. There are many other highly comedic moments in the film, even if many of the best ones have nothing to do with the plot. A scene in which a rollerblader falls over was bizarre, but very funny nonetheless. In spite of all its potential however, the film falls down structurally. The director spends half an hour setting up Cheyanne in his Ireland residence, before uprooting him to America to take part in an entirely different, unconnected story about avenging his Jewish father. The disconnect from the first act to the second act is simply bemusing. Storylines and characters which are expositioned in the first act are largely left unresolved from when the second act begins. As a result, the viewer will feel a large amount of frustration for a large amount of the film. The most frustrating aspect of This Must Be The Place, is that the ‘first’ story, set in Ireland, is actually superior to the ‘Road trip’ narrative, which begins in America. Not only are the characters more compelling, but the humour is somehow more fitting. There are real hints of Martin McDonaghdarkness in the dialogue, which just doesn’t seem as funny when the story is moved to America.
It’s almost as if the writer loses faith in his own premise. As if it somehow needs to be more outlandish, more zany, and more full of Nazis. This is a shame because This Must Be The Place really has the potential to be a far more complete film than it is. DJP
because it is all moot when one considers that the script just isn’t there. Dialogue feels awkward in parts - generally it feels that the entire script could do with a rewrite. It smacks of dialogue that looks reasonable on a page, but just doesn’t sound right when the characters say it aloud. Too many oneliners fall flat, as if they are jokes which are just tacked on as an afterthought.
The Decoy Bride
Furthermore, one gets the impression throughout the film that it is constantly making attempts upon ‘quirk’ and ‘whimsy’ (often essential to any straight romcom) which it just does not carry off. There are too many ‘comic’ contrivances which are neither plausible nor funny. For example, a scene in which Kelly Macdonald pretends to be a cow in an outhouse is a particularly apt example of this. It is never bizarre or confusing; in fact it is clear what the filmmaker is trying to do - but that is half the problem.
The Decoy Bride is a feature-film from experienced television director Sheree Folkson. It is also the feature-film writing debut from Sally Phillips (of Bridget Jones’ fame). Whilst the film does many things right, the sub-par script renders the film largely forgettable.
Ultimately, David Tennant’s presence as a romantic lead will fill enough seats for this film not to be a complete financial write-off. But if you’re looking for something anywhere near Four Weddings and a Funeral or Notting Hill in quality, then you will not find it here. DJP
An English novelist (David Tennant) is engaged to marry Hollywood actor and dream woman, Lara Stone. Determined to have a paparazzi-free wedding, Stone arranges to have the wedding in secret on the remote Hebridian Island of Hebb. When Lara Stone goes missing and Island girl, Katie (Kelly MacDonald), is asked to fill in as a decoy Bride in order to divert the attention of the press, romantic comedy runs amok. Whilst there are many who will not enjoy this film at all, it is not exactly easy to berate it. It has a charm (mainly resulting from its Hebredian setting) which underpins the film’s lightheartedness, even if it falls short of warming the cockles of the heart, as it were. Performances from the three leads, (Kelly Macdonald, Alice Eve, David Tennant) were all definite pros in the film. And where David Tennant’s best Hugh Grant impression may not be as endearingly English as the master’s, he is generally pleasurable to watch. One could go on; the direction, the costume, the cinematography - it is all done to a very reasonable standard. It is superfluous to ‘go on’ however,
Things to see in March With the Oscars having only just passed, many of the independent cinemas around the country are showing some of this last years great movies. There are regular showings of The Artist, The Iron Lady and Shame at most little community cinemas. If you missed them, then now is a great opportunity to catch them in a great little cinema near you. Meanwhile, here are our favourite offbeat showings this month. Scotland
Edinburgh Filmhouse Dead by Dawn 29th March
JOSHUA HAMMOND
The annual Dead By Dawn Horror Festival is returning to Edinburgh this March and whilst the line-up has not yet been announced you can be sure that it will have a lovely blend of interesting, terrifying and classic movies. Glasgow Glasgow Film Theatre Invasion of The Body Snatchers 18th March After an intense month hosting the Glasgow Film Festival, Glasgow Film Theatre is winding down to regular showings again. Invasion of the Body Snatchers is one of the most remade and parodied films of all time. Sometimes it is necessary to go back to the source to remember why it has inspired so much interest and why Invasion was so bad in comparison. Nairn Cinema Nairn On The Town 12 March
On The Town is another classic movie that has inspired parody after parody that it has Dundee become almost forgotten and only rememDundee Contemporary Arts bered for the sketches it has inspired. A Safety Last perfect reason to check it out. One of Frank 10th March Sinatra’s earliest films it tells the story of Safety Last is one of the silent era’s classic three sailors with a limited time in New York films. Harold Lloyd’s film is a superb exam- and documents their travels around the city ple of what slapstick comedy is capable of. with the women they fall for.
South Abingdon Abingdon Film Society Taxi Driver 8th March
create a fantastic evening. Go with pink wigs, leather jackets and plenty of Dax wax because people WILL be in costume and they WILL sing along.
Berkhamsted The Rex Martin Scorsese’s latest Hugo won 5 acade- Bugsy Malone my awards at this years event. Hugo’s child- 31st March ish glee and affectionate look at the history of cinema is in stark constrast to Scorsese’s Director of Wild Bill (page 26), Dexter Fletcher was a child actor in the 1970’s early, considerably more brutal work. with roles in The Elephant Man and Bugsy Malone. This gangster epic played out with Bloxham children and custard pies has some of the Films in Bloxham best performances by children in any film. The Wave It also marked Jodie Fosters break into act30th March ing. Modern German cinema is in the midst of a regeneration at the moment and films like Wales The Wave that balance important politics and entertainment are part of the reason Cardiff why. The film follows a teacher who devises Dickens Season an interesting way to try and educate his Chapter pupils about the dangers of Fascism. The All through March Times and dates vary Wave is intriguing cinema. Charles Dickens adaptations litter the cinHastings ematic landscape. Chapter has collected Electric Palace Cinema some of the best and put them all together They Came From Beyond Space in a fantastic season that runs throughout 25th March March. The Electric Palace Cinema in Hastings is aware that They Came From Beyond Space is essentially a B Movie. Set in 1960’s Britain as Meteors fall and begin to take over those that approach them.
Fishguard To Kill A Mockingbird 4U at Theatre Gwaun 27th March
To Kill A Mockingbird is, without doubt, one Reading of the greatest American dramas. Adapted The Hexagon from Harper Lee’s novel of the same name Sing Along Grease it features a powerhouse performance by 30th March Gregory Peck as the lawyer Atticus Finch. It also features Robert Duvall in one of his Screenings of Grease will always inspire earliest performances, playing Boo Radley. a fantastic turnout. Sing Along Grease will Invigorating Cinema.
Central Birmingham mac Lawrence of Belgravia 16th March City Lights 17th March Way back in Issue 4 of PictureShow we previewed Lawrence of Belgravia and said “The best kind of music documentaries are the ones that remain entertaining even if you’re not a fan of or familiar with the featured artist. If you subscribe to this view, Lawrence of Belgravia which follows cult underground musician Lawrence (Just Lawrence, like Madonna is just Madonna or ‘Madge’… if you’re an idiot) is surely the cream of the crop.” Check it out. Solihull Solihull Film Society Everything is Illuminated 17th March Everything is Illuminated marks one of Elijah Wood’s first post Lord of The Rings films and it is undoubtedly one of his strangest. Adapted from Jonathan Safran Foer’s novel of the same name that follows a young jewish man trying to find the woman who helped his relatives during the 1930’s in Europe. It would make a great double bill with This is Not The Place (page 27) Derby Quad M 8th March Fritz Lang may be more well known for his colossal Metropolis, but M still packs one hell of a punch on the big screen.
Leicester Phoenix Square Fear and Loathing in Las Vegas 30th March November’s The Rum Diary was an adaptation of another Hunter S Thomson work. Fear and Loathing in Las Vegas is a far superior film with Johnny Depp’s now famous portrayal of Raoul Duke (a thinly disguised Hunter S) is worth making the trip for.
North East Durham Gala Cinema The Lion King 10th March The Lion King may have only just been rereleased into Cinemas in 3D, but for those of you who were put off by the new bonus dimension, the Gala Cinema in Durham is showing the regular print in all of its majestic glory.
PictureShow Magazine will return on the 2nd of april