Movies Plus - March 2017

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IN

, 3D & 2D

IN CINEMAS MARCH 30 BOOK TICKETS NOW

EARLY MAR

Kong : Skull Island Logan Trespass Against Us Elle Fist Fight Viceroy’s House

MAR 24

The Lost City Of Z Power Rangers Another Mother’s Son Aquarius Life CHiPs The Secret Scripture

The Boss Baby Guardians Of The Galaxy Vol 2.

Fast & Furious 8 Sense Of An Ending Lady Macbeth Mindhorn

MAR 31

Ghost In The Shell Free Fire Smurfs : The Lost Village Graduation

COMING SOON

MAR 17

Beauty & The Beast Get Out Personal Shopper The Salesman The Olive Tree

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OUT NOW LOGAN

Directed by: James Mangold Starring: Hugh Jackman, Patrick Stewart, Dafne Keen In the not too distant future, mutants are no longer being born, and Logan/ Wolverine (Hugh Jackman) has gone into hiding. While working as a limo driver and looking after an ailing Charles Xavier (Patrick Stewart), Logan comes across a young mutant with familiar abilities, who is being perused by dark forces.

WHAT'S ON IN IRISH CINEMAS

MAR 17 BEAUTY & THE BEAST

Directed by: Bill Condon Starring: Dan Stevens, Emma Watson In this new live action version of the classic animated Disney animated film, Belle (Emma Watson) finds herself imprisoned in a castle by The Beast (Dan Stevens), and it is not long before the young woman realises there is something magical and mysterious going on within the castle walls.

MAR 24 THE LOST CITY OF Z

Directed by:James Gray Starring:Tom Holland, Charlie Hunnam, Robert Pattinson, Sienna Miller Based on a true story, ‘The Lost City of Z’ follows Percival Fawcett (Hunnam) who mounts several expeditions to find a lost city in the Amazon, having found evidence of a previously unknown, advanced civilization in the area. In 1925, Fawcett and his son mysteriously disappeared in the Amazon in an attempt to prove the existence of the city to the wider scientific community.

VISIT MOVIES.IE FOR TRAILERS

MAR 24 CHIPS

Directed by: Dax Shepard Starring: Michael Peña, Dax Shepard, Jessica McNamee, Adam Brody In this big screen version of the TV show that originally ran from 1977 to 1983, Dax Shepard and Michael Peña play California Highway Patrol motorcycle cops, Jon and Ponch, who find themselves caught up in an extreme situation when an ex-cop begins wreaking havoc in their city.

HIS TIME HAS COME

IN CINEMAS NOW

IN NUMBERS...

The visual effects team from industrial

KONG SKULL ISLAND

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To fully immerse audiences in the movie, director Jordan VogtRoberts filmed across 3 continents, capturing landscapes on Oahu, Hawaii, on Australia’s Gold Coast, and in Vietnam, making it the first major film to shoot extensively in Vietnam

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This is the 2nd installment of the planned MonsterVerse following on from 2014's 'Godzilla' from 'Rogue One' director Gareth Jennings. The two classic monsters will eventually face off in 2020 in 'Godzilla Vs Kong'

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To create an authentic look for characters, property master Steven B Melton bought 21 helmets from eBay and used them to create 300 different clothing designs. He revealed “Each character’s helmet has different stickers and designs, some of them purchased from former Vietnam helicopter pilots.”

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1933 CLASSIC

Kong's design is inspired by a combination of the 1933 classic and the Japanese adaptation from the 1960s, allowing the creative team to utilize a look similar to the classic Kong, while drawing upon the exaggerated "kaiju" aspects, and powers, displayed by the Japanese adaptation, such as greatly exaggerated height, build, strength, and supernatural abilities.

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The visual effects team from industrial Light & Magic numbered almost 300 artists, animators and technicians, based in three separate facilities. ILM’s work on Kong took over a year and a half, eight months alone were spent designing the mythic figure.

100ft At 100-feet tall, this new version of KONG towers over many other iterations.

“That dimension gives Kong weight and a grandiose quality, where a human will look like a speck in the shadow of this colossus, and you see how insignificant we are in his world, where we really don’t belong,” revealed visual effects supervisor Jeff White. Previously in Peter Jackson’s 2005 version of 'King Kong' the beast was just 82 feet tall.

wtt SQUIRREL NOISES 5.1

To fully capture Kong’s islandshaking roar, sound designer Al Nelson rigged up special playback equipment to play Kong’s scream through a 5.1 channel system achieving a natural reverberation & echo.

Creating the vocals of the Skullcrawler monster was tougher. Nelson revealed that he used the sound of dying rabbits to create this roar, alongside sea lions “which make some of the most disgusting sounds heard in nature—like they’re trying to hack up a lung - as well as squirrels, which make this awful screeching sound when they’re calling out to each other; it’s really creepy. So when you think of this immense beast, you’re actually hearing a little squirrel”

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<<<<< KONG : SKULL ISLAND OPENS IN IRISH CINEMAS ON MARCH 9TH 2017

INTERVIEW FOR PERSONAL SHOPPER

Kristen STEWART

Best known as the love interest in teen Vampire sensation ‘Twilight’, Kristen Stewart returns to cinemas this month in ‘Personal Shopper’.

Stewart plays the role of Maureen, a stylist and shopper for Kyra, a young actress in Paris. As she works to pull someone else’s life together, her own begins to fall apart when she gets mysterious text messages from an unknown source, as she tries to make contact with her late brother from beyond the veil.

Could you relate to Maureen in the way that since ‘Twilight’ shot you to fame you need people to do things for you that you simply cannot due to a lack of normalcy?

To be on the other side of that, to

feel so incapable; you can’t go to the store – I mean, technically, you can, it just could prove to be logistically not worth it. Maureen is so capable.

She’s incredibly tactile and she’s incredibly physical, so it was fun to play somebody who is just capable.

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Sometimes I do feel a little bit like I have had my limbs cut off, and that’s not to say that that’s a bad feeling, it’s just surreal.

This is your second movie with Olivier Assayas after ‘Clouds of Sils Maria’. What is it that makes you like working with him?

There is a communication that is undeniable, and there is a light, there is a flame that he lights under my ass that is stronger than I have ever felt. I truly try to navigate my career by feel, and I just feel him. The idea that he can be the catalyst of a thought process and really allow me to have it, and he really lets it be mine, is a really good feeling. You feel like you are creating something with someone, rather than satisfying someone. As much as I really am driven to satisfy, I really feel like a part of it, and it’s a different version of the job. I like both, but this is my favourite. I have never felt it stronger.

Did you watch any ghost films to research the role?

I didn’t prepare for this movie at all.

I read the script once, and I wanted to discover it every single day so I tried to forget it immediately. So no references or ghosty things. When I was little that is what I was most genuinely afraid of though; I wasn’t afraid of people breaking into my house or monsters. I would genuinely

sit up at night and be like “Who’s in here?” so it’s genuinely coming from somewhere pretty real.

As the lead of this movie, would you say it’s easier for you to prepare for a role like this if you believe that there is something on the other side of death or easier if you don’t?

Without any religious implication, I’m fairly agnostic on this. I genuinely don’t know, but I’m really sensitive to energies and I truly believe that I am driven by something that I can’t really define so I can’t really take responsibility for it, and it gives me a feeling that we are not so alone. In this case, I think to fall into the ambiguity of that actually provides a thought process that is interesting for about five minutes, then if you over think it, it’s actually so debilitating.

That’s why this movie is scary. It’s a ghost story, sure, but the supernatural aspects of it just lead you to the very base questions.

Living in this sort of grey area allows for people to become closer to one another and not feel like when you lay your head down on your pillow at night that you’re going to tailspin into oblivion because those questions cannot be answered. Do I believe in ghosts? I dunno! I guess I believe in something.

WORDS - BROGEN HAYES IN CINEMAS MAR 17TH

FREE 'Free Fire’ tells the story of an arms deal in 1970s Boston that quickly goes wrong when personal agendas are brought to the negotiating table. There is a host of Irish talent on display with Cillian Murphy, Michael Smiley and Jack Reynor happily shooting up an enemy consisting of Brie Larson, Sharlto Copley and Armie Hammer. With so many bullets flying, the question soon becomes, just who will make it out alive?

How did it come about that you are telling an Irish story with so many Irish actors?

It’s Cillian Murphy’s fault, basically [laughs], he requested to meet up with me through my agent. It’s always great when actors do that and reach out. We really got on well, and he went “If you ever think of me for something…”

As soon as he expressed an interest, the poor fool, we went “That’s it!”. So then it was a

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INTERVIEW WITH DIRECTOR BEN WHEATLEY

FIRE matter of going “Well what is the story?” and I work a lot with Michael Smiley and I wanted to work with him again, and it’s like “What do Cillian and Smiley get up to together?” then I had this shoot out idea, and I thought it had to be in the 70s, because it doesn’t work in the modern era because of mobile phones and stuff, and it all started to come together.

I read this thing about the IRA buying guns in America and shipping them out through the QE2 to Belfast, and I thought “F**k that’s great!” Once that happened, then it all started to come together.

Michael Smiley and Cillian Murphy were in from the start, what made you cast our re-adopted Irishman Jack Reynor?

He was someone I wasn’t really aware of, and they had said about it through one of the agents. Then I watched all his back catalogue and was like “Wow, he’s F**king great” and then I had a few chats with him through Skype and we really got one well. Then he was terrific on the film.

I keep in touch with all of them, and I will hopefully work with everybody again at some point.

The film is an actor-driven action movie, which must have been challenging to plan in terms of setting the movie in one room.

How did you go about this?

I built the environment in Minecraft so I could walk around inside it [laughs] It is about that space, and if you get the space wrong then you’re screwed. We wrote it first and I had a kind of 3D idea about how it would work, so I built it and had a look inside it. Then we had a look for a space that would fit that, and we found it! All the pillars and all the walls are built; that’s just a big, clean, empty room to start with. There were maps, story boards… On the other side, you can have improvisation because half the movie is just people chatting, and a lot of the time, because they are all injured, they don’t really walk around too much, so then you can have improvisation in those bits before you get back into the action.

Did you deliberately make ‘Free Fire’ to appeal to a broader audience?

This question has come up a bit, and I always thought the other films were quite broad audience pleasers, and only as they come out I learn they’re not! [laughs] I think we always try to make films that lots of people will see, and then we slowly learn maybe not so much. I hope lots of people go and see it, that’s the plan.

Do you remember specifically when you realised how well comedy and violence go together? Was there an epiphany for you?

‘Tom & Jerry’ probably, between that and’ Monty Python’, I think.

Or ‘Time Bandits’ or one of the Gilliam movies. I think it was cartoons probably.

How important was Martin Scorsese coming on board as producer for ‘Free Fire’?

He helps in every respect, ‘cos he gives it a kind of legitimacy, which is great. He also helps with casting, so people are excited. Just having access and being able to talk to him and to be within that circle is amazing. When you are talking to people who have had the same sets of problems – editing problems and logistical problems and special problems – just to be able to have access to that is amazing. It’s someone who’s written the rule book for most of it.

Words : Brogen Hayes

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JURY PRIZE BEST ACTRESS LYNDSEY MARSHAL WINNER

BEST SUPPORTING ACTOR BRENDAN GLEESON

DEBUT DIRECTOR ADAM SMITH ACTOR MICHAEL FASSBENDER SUPPORTING ACTOR SEAN HARRIS

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S S A TRESP T US S N I A AG D i re c to r A da m S m i t h ta l k s a bo ut th e n ew B ren d a n G l ees on & M ic h a e l Fa s s b end er m ov i e

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In new movie ‘Trespass Against Us’ Brendan Gleeson and Michael Fassbender take to the screen as father and son for the second time in 2017 (previously they played happy families in video game adaptation 'Assassins Creed’). Inspired by a real life family, 'Trespass Against Us' tells the story of Chad Culter who lives on a halting site with his father Colby. Inherently drawn towards crime Chad finally sees that an environment where the police are constantly on their tails is not one that he wants to subject his young children to any more. After one final job for the domineering patriarch of the family, Chad sets about getting away from his father, but soon realises that this is not as easy as it looks.

We caught up with director Adam Smith during the recent Audi Dublin International Film Festival to talk about his first feature, the real life family who inspired it and his impressive Irish cast.

How did ‘Trespass Against Us’ come about?

I was making a documentary called ‘Ghetto on Sea’, which is about pirate radio station, which has become the inspiration for ‘People Do Nothing’ on BBC3, and there was a brilliant runner/ researcher working on that with me, called Alistair Siddons, and he was very young then, and he was incredibly clever and sharp, and had brilliant taste.

You know when you know someone’s going to do really well!? [laughs] I sort of sensed this. The production company then wanted to do another series of documentaries based in the country, and he was researching for them, and as part of his research he came across this family called the Johnsons, who were accused of all the crimes in the Gloucestershire area and he approached them and went on their site, and befriended them and got them to agree to do some interviews. So he was showing me these interview saying “you have got to do this documentary” and party of me really wanted to do it, and part of me regrets not doing it – it ended up being a documentary called ‘A Summer with the Johnsons’ – but at that point, 12 years ago, I had just done a documentary, I was just starting to work with Mike Skinner from The Streets on making short films that were masquerading as music videos, so I wanted to work [on]

narrative [films]. So I said “Write all these stories down” and let’s make a film about it one day.

How did it go from a documentary into a narrative film?

When [‘A Summer with the Johnsons’] had finished, [Alistair stayed] friends with them, and I would go up with him, and because I was friends with him they were very welcoming to me. We would get given a caravan to stay in and we would just get told stories over so much tea you wouldn’t believe! Plastic pints full of tea that, as soon as you finished one, another one would come. I love a cup of tea, but that much is just like “Oof!”. We started getting all of these stories together. Alistair and I tried to write it together and that didn’t work, then we tried to get a writer called Dennis Kelly, he’s a playwright who has also written some screenplays; he’s an amazing writer. We got quite close with him and then he felt he couldn’t find the voice.

How did it come about that Alistair wrote the screenplay?

It was actually Lyndsey Marshall who plays Kelly, who said to Alistair “Why don’t you write it? You know it, you know this stuff better than anyone, write it”. I was really unsupportive, I got it totally wrong. I should have realised really, because his treatments for music videos always used to be very good; with hindsight, yeah he can write, but at

the time I was like “What are you doing?

We need to get a writer”, and I was awful really. He went on tenaciously and wrote it because he wanted to write it. It wasn’t like he had a commission, it wasn’t like he was getting paid; he just kept going and he wrote this brilliant script.

The cast have very thick Gloucestershire accents in the film. Were you ever apprehensive about using such a strong dialect?

No, we belligerently weren’t. It hasn’t done us any favours in America, but that was the truth. We were trying to take people into a world they hadn’t been in before and I think if we had compromised on that we wouldn’t have been making a truthful, authentic film, and that’s what we wee trying to do. They say that if a film is made well you should be able to turn the sound off, and still understand what’s happening; I’m not sure if that’s true.

Chad feels like a very different role for Michael Fassbender, how did he get involved?

Michael [Fassbender] came to mind and I knew his agent quite well because he had always supported my music videos, so we were able to get the script to Michael quite quickly; his agent read it and said “I like

this, and Michael will really like this” and Michael, who had hundreds of scripts piled up that he was supposed to read, read ours really quickly, and two days said “Yeah, let’s do this”. He just understood who Chad was, and he had this same charisma that the real Chad had, and he likes driving fast cars, he’s not afraid of a tear up or a fight. There are not that many actors of that age range to choose from that you would believe would do that. He just understood Chad on a deeply profound level and we seemed to be on the same page. He liked my approach of telling the story from the inside out and doing it truthfully and authentically. Once we had him, it made the rest of the casting very [easy], this amazing script coupled with this amazing film star.

How did you go from working on music videos to working on TV on shows like ‘Doctor Who’ and Skins’ to jumping to the big screen with ‘Trespass Against Us?’ I always wanted to make films, from when I was about 15 or 16, just the journey took a few different tracks. What I loved about that first episode of ‘Doctor Who’ – ‘The Eleventh Hour’ – was that it was like a fairytale story.

It was like Father Christmas coming down to this little girl. It was beautiful, and we tried to make it more cinematic than the episodes before.

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S G N I TH TO W K N O T GH O ST I N THE S H ELL U ABO

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GHOST IN THE WHAT ?

Ghost in the Shell (originally titled ‘Mobile Armoured Riot Police’ in Japan) is a media franchise originally released as manga by Masamune Shirow. Its popularity has seen it translated into animated films, anime, novels, TV spinoffs, video games and after years of influencing countless other Hollywood sci-fi movies, this month it receives it’s own a big budget adaptation starring Scarlett Johansson.

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SCANTLY CLAD SCARLETT

Scarlett Johansson plays the role of Major Motoko Kusanagi, a feminine but not necessarily female cyborg. Previous versions of the character are depicted fully naked at times, and while Scarlett appeared nude in 2015’s ‘Under The Skin’ she gets around the nudity this time with a flesh-toned silicone camouflage suit. “I don’t wear that too often, thankfully” revealed Johansson, “It’s hot where you don’t want it to be and cold where you don’t want it to be”.

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ANIME GOES GLOBAL

The 1995 anime film was the first to be released at the same time in cinemas across Japan, Britain, and the United States, to help bring anime to a more mainstream audience world wide. This ground breaking visual masterpiece is still one of the most expensive anime movies ever made.

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HAND-PICKED DIRECTOR

The Director Rupert Sanders who previously gave us ‘Snow White And The Huntsman’ was handpicked to make ‘Ghost In The Shell’ by Steven Spielberg, who had been bowled over

by Sander’s 2009 advert for ‘Halo 3: ODST’ video game. Spielberg isn’t the only big name director to worship ‘Ghost In The Shell’, James Cameron called it “The first truly adult animation film to reach a level of literary and visual excellence” and the Wachowski’s have been very honest about adapting parts of it into ‘The Matrix’ trilogy.

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CLOCKWORK CYBORGS The robotic geishas

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went viral online after the film’s eye-catching Super Bowl trailer. Instead of using digital effects, makeup or prosthetics, a team of 150 special effects gurus at WETA created clockwork masks that sit over actors heads.

Based on “clock makers of the 17th century” the character design is a mix between the latest technology and hand-crafted, beautiful, skill-based work.

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CAST OF THRONES

The cast of ‘Game Of Thrones’ are popping up outside Westeros a lot lately. ‘Ghost In The Shell’ features 3 of them including Pilou Asbæk (Euron Greyjoy), Joseph Naufahu (Khai Moro) and Rila Fukushima (Red Priestess).

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VILLAIN SWAP

The film's villain was originally intended to be the Laughing Man, the antagonist hacker of the first season of ‘Ghost in the Shell: Stand Alone Complex’, but has been changed to the second season's antagonist, Hideo Kuze, to help make the story more personal for the Major, as they both had a past together on the series.

JAPANESE ACTORS

Scarlett Johansson's casting as the infamous Japanese cyborg was originally a controversial choice amongst fans who expected an Asian actress in the role but Johansson addressed the concerns saying “I certainly would never presume to play another race of a person. Diversity is important in Hollywood, and I would never want to feel like I was playing a character that was offensive. Having a franchise with a female protagonist driving it is such a rare opportunity… I think when you have a character that’s so beloved…People have a lot of opinions about these characters that they love and grew up with and are inspired by and so forth. I try to kind of clean the slate and really follow my instincts with the character and hope that I give the character as much integrity as people expect".

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BLACK WIDOW

Even though the next Avengers movie is over a year away, Scarlett Johansson can’t escape questions about her Marvel heroine Black Widow. Speaking to Total Film recently Johansson spilled the beans on a possible solo movie. “I think we agree that the character is right for a standalone, it’s just a case of timing at this point for both Marvel and myself. If I did it, I would dedicate myself completely to making it amazing. It would have to be the best version that movie could possibly be. Otherwise, I would never do it. It needs its own style and its own story, and there’s a lot of great stuff that you could do with it.” Where do we sign up?

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SHARLTO COPLEY

ARMIE HAMMER

BRIE LARSON

CILLIAN MURPHY

JACK REYNOR

“EXPLOSIVE & ADRENALINE-PACKED” SHORTLIST

★★★★ ★★★★ ★★★★ ★★★★ ★★★★ TIME OUT

TOTAL FILM

METRO

THE TELEGRAPH

EMPIRE

“HILARIOUS”

★★★★

“UNBEATABLE”

COLLIDER

LITTLE WHITE LIES

METRO

“WICKEDLY FUNNY” LITTLE WHITE LIES

A Film by BEN WHEATLEY

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FREE FIRE From Executive Producer MARTIN SCORSESE

IN CINEMAS MARCH 31 FreeFireUK

FreeFireFilm FreeFireFilm.co.uk #FreeFire

FROM ACCLAIMED DIRECTOR

JAMES GRAY AND THE ACADEMY AWARD ® –WINNING PRODUCERS OF

12 Y EARS A SLAVE

“ AN INSTANT CLASSIC”

Daily Telegraph

CHARLIE

HUNNAM ROBERT

PATTINSON SIENNA

MILLER TOM

HOLLAND