VultureHound - Issue 22

HALLOWEEN 2018: THE REBOOT WE NEED AND DESERVE | BOHEMIAN RHAPSODY

VULTUREHOUND VULTUREHOUND.CO.UK

DECEMBER 2018 | ISSUE 22 | £4.99

PANOS COSMATOS

CHARLOTTE FLAIR

STEPHEN MOYER NATALIE ALYN LIND

GREG SESTERO

LONDON FILM FESTIVAL | DOCTOR WHOS RATED | ARCTANGENT

Scan to order in print

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elcome to the latest issue of VultureHound Magazine. This issue, The Room’s Tommy Wiseau graces our

cover. He brought along Best F(r) iend Greg Sestero to talk about their latest project.

Former True Blood star Stephen Moyer discusses the second series of his latest show The Gifted, alongside co-star Natalie Alyn Lind.

Member of wrestling royalty, WWE’s Charlotte Flair, spoke to us about what it took to become the elite athlete she is today.

VULTUREHOUND

WELCOME FROM EDITOR

Horror fans are in for a (trick or) treat as we look at the returning Halloween, Predator and speak to ‘Mandy’ director Panos Cosmatos.

Plus we’ve got loads more in film, TV

THIS ISSUE: Stephen Moyer discusses The Gifted

and music. Enjoy!

David Garlick (@davidgarlick)

EDITORIAL Daily updates from VultureHound.co.uk Copyright 2018 VultureHound Magazine. All rights reserved. No part of this magazine may be reproduced without the written consent of VultureHound Magazine.

Requests for permission should be directed to: info@vulturehound.com.

@V ulture H ound M ag

David Garlick Editor / Design david.garlick@vulturehound.com

Michael Dickinson Film Editor

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michael.dickinson@vulturehound.com

Helen Messenger Music Editor dan.withey@vulturehound.com

@V ulture H ound M ag

DEC 2018 VULTUREHOUND 03

LFF

PHOTOS:JEFF SPICER/GETTY IMAGES FOR BFI) SORRY TO BOTHER YOU

BOOTS RILEY ATTENDS THE UK PREMIERE OF “SORRY TO BOTHER YOU” AT THE 62ND BFI LONDON FILM FESTIVAL

BFI

LONDON FILM FESTIVAL THE FIGHT

DAVID WADE, NOEL CLARKE AND JASON MAZA ATTEND THE WORLD PREMIERE OF “THE FIGHT” 04 VULTUREHOUND DEC 2018

IF BEALE STREET COULD TALK

HAPPY NEW YEAR, COLIN BURSTEAD

RAFFEY CASSIDY, BRADY CORBET AND JUDE LAW ATTEND THE UK PREMIERE OF “VOX LUX”

VOX LUX

very October, the BFI

a conscious decision to feature more

festival, the film awards were announced

London Film Festival

work from women in film, there was a

in front of a live audience. Sudabeh

descends upon the

spotlight on female directors, with 38%

Mortezai’s film about the exploitation

capital and some of

of the programme featuring their work,

of women forced into prostitution, ‘Joy’

our film writers were

such as actress/writer Jessica Hynes,

won the Best Film Award. Lukas Dhont’s

present for the entire festival. Screening

directorial debut, ‘The Fight’ and New

‘Girl’, story about a transgender ballet

over 200 features and shorts, with

Zealand comedians Madeleine Sami

dancer won First Feature competition

75 countries being represented, the

and Jackie van Beek’s ‘The Breaker

and ‘What You Going To Do When The

message of this year’s festival was to

Upperers’ were definite highlights.

World’s On Fire’ documentary about

celebrate talent across the globe. British

Viewing films from around the world,

a community in Louisiana in the

talent was proudly being showcased

across 11 strands from stories of love

aftermath of brutal police shootings of

with the opening and closing gala films,

and those that spark debate to the

black men by Roberto Minervini won

‘Widows’ directed by Steve McQueen

restored treasures from the world’s

the Documentary Competition (Grierson

and a world premiere of ‘Stan and

archives, there were so many amazing

Award). WORDS: KATIE HOGAN

Ollie’ directed by Jon S.Baird. With

films to be seen. To round up the

E

DEC 2018 VULTUREHOUND 05

QUEEN

WORDS: TOM BEASLEY | PHOTO: 20TH CENTURY FOX

BOHEMIAN RHAPSODY, ROCKETMAN AND WHY MOVIE FANS NEED TO STOP CREATING FALSE DICHOTOMIES exter Fletcher has somehow become the maestro of the charming British musical. A couple of years after Sunshine on Leith enticed even the most ardent Proclaimers sceptics, two of the biggest song and dance spectaculars of the next 12 months will have his fingerprints all over them. He’s the man behind the Elton John biopic Rocketman, in which Taron Egerton plays the legendary pop icon, and he was parachuted in at the last minute to finish Bohemian Rhapsody – Bryan Singer’s take on the story of Queen frontman Freddie Mercury.

DGA rules mean that Fletcher won’t get a directing credit for the

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latter movie, but without him, the project might not have ever got over the finishing line.

The Fletcher factor, along with their near-simultaneous releases, means that these two films will be indelibly linked in the minds of critics and audiences. But should they be compared?

They are certainly two very different projects. Based on the trailers and content that has been released to date, Bohemian Rhapsody seems to be a very conventional biopic of a musical star, using recordings of Mercury’s vocals to accompany Rami Malek’s impressive physical transformation into the legendary singer. It has the sort of glossy surface and showy performance that could translate into awards season

READ OUR REVIEW AT VULTUREHOUND.CO.UK

success if the movie is of a high quality.

Fletcher is taking a very different approach with Rocketman. Its teaser trailer declares that the film is “based on a true fantasy” with a shot of Egerton levitating while playing the piano that recalls the delightfully fanciful observatory scene from La La Land. Far from the rather conventional world in which Bohemian Rhapsody appears to take place, this looks as if it may be a more unorthodox take on the musician biopic.

Comparisons between these two movies are destined to be thoroughly and sadly unhelpful. They are set to be different films attempting entirely different styles, connected only by their positions of homage for British music legends and the dude behind the camera. Both movies are likely to do very solid jobs within their own wheelhouse, and that’s fine.

Modern film discourse often becomes so tribal, in a way that makes it impossible to have meaningful discussions of these movies. We’re about to move into Oscar season, at which point factions form around the films that will be competing. There’s already a straight fight forming between the people who believe A Star is Born should win everything and the people who think that there are other movies in contention.

Lady Gaga’s devotees are already

inscribing her name on the Best Actress gong, while fans of Toni Collette’s performance in Hereditary are vigorously lobbying for her inclusion in the race.

Awards season discussion is almost always reduced to binary factionalism. There’s no room for people who like A Star is Born and Hereditary equally, or people who wouldn’t begrudge Bradley Cooper’s musical its prize, but prefer Damien Chazelle’s biopic of Neil Armstrong in First Man. Nuance is not something that has much of a place in movie discussion, despite the fact it should. Liking one film doesn’t mean you have to dislike all of the others.

In that situation, it seems clear that there’s going to be a lot of straight comparison at play between Bohemian Rhapsody and Rocketman.

The reality of it, though, is that it’s entirely possible to love both of these movies and, for many people, it will simply come down to what it is they’re looking for from their musical biopics. For crowd-pleasing musical numbers and straightforward sentiment, Bohemian Rhapsody looks the place to go. For fantasy and symbolism, Rocketman could be more up your street.

BOHEMIAN RHAPSODY IS OUT NOW

DEC 2018 VULTUREHOUND 07

HORROR

WORDS:TOM BEASLEY

WHY HORROR MOVIES HAVE NO TIME FOR HEROES hen you leave the cinema after a superhero movie, you talk about the likes of Captain America and Iron Man. When you watch a classic 1980s action picture, the characters that stick in the mind are the heroic figures played by the likes of Sylvester Stallone and Bruce Willis. Regardless of the prominence of Thanos in Avengers: Infinity War, it’s still the good guys who have the name of their group in big, bold type on the poster.

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This is absolutely not true in the horror genre. This is a world that’s all about the villains. If you take the three most iconic slasher movie franchises as a starting point and look at the titles, this becomes abundantly clear. Freddy Krueger’s name is on the poster for three of his films, Michael Myers also got three spots in his movies’ titles and Jason Voorhees is in five titles, despite not appearing until the final scene of the first film in the Friday the 13th franchise. In horror, bad guys are big business.

Almost all of the most memorable characters in horror are villains, from the ‘Big Three’ aforementioned serial killers to Jack Torrance in The Shining

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and Victor Crowley in the Hatchet franchise. It’s the bad guys who recur across multiple films, long after their victims have been hacked, slashed and disposed of. Death is something these guys can just shake off for the sequels, remaining alive to terrorise a whole other collection of anonymous, faceless teenagers with loose sexual morals.

But why does horror have so little interest in heroes?

The primary purpose of a horror movie is to get under the skin of its audience and terrify them. The best way to do that is by crafting a genuinely memorable beastie, whether it’s Freddy Krueger and his razor gloves or the demons of the Further in the Insidious series. A horror movie lives and dies on whether its threat is believable, evil and ultimately scary, so this is where much of the effort is placed.

In comparison to the villains, the heroes in horror films tend to be quite bland from a character point of view.

The trailers for the new Halloween reboot seem to suggest that Jamie Lee Curtis’s Laurie Strode is going to be a more complex protagonist than the basic ‘Final Girl’ archetype she came to embody after John Carpenter’s 1978 original film, but

HORROR CATERS TO THE DARKER SIDE OF MOVIE AUDIENCES – AUDIENCES THAT DON’T CARE MUCH FOR KNIGHTS IN SHINING ARMOUR OR GOOD COPS EXERCISING PROPER POLICE WORK. it’s tough for the average movie viewer to identify the character played by Heather Langenkamp in A Nightmare on Elm Street or name the ‘Final Girl’ portrayed by Marilyn Burns in The Texas Chainsaw Massacre.

Quite simply, these characters aren’t well-developed enough to be as memorable as the idiosyncratic killers against whom they’re pitted.

And this phenomenon did not begin with the slashers of the 1970s and 1980s. As far back as 1920 silent classic The Cabinet of Dr Caligari and the subsequent wave of monster

THIS IS A WORLD THAT'S ALL ABOUT THE VILLAINS. movies released by Universal, it was the baddies of horror that defined the film. Many of the creatures on the Universal slate, from Frankenstein’s Monster to Dracula and The Mummy, were spun off into lucrative franchises that introduced brides, cross-over battles and Abbott & Costello into the mix.

Horror caters to the darker side of movie audiences – audiences that don’t care much for knights in shining armour or good cops exercising proper police work. When someone walks into a horror film, they’re embracing something dark, something uncomfortable and something that will hopefully prevent them from sleeping for the next week or so. That’s not something that Laurie Strode can pull off. You need Michael Myers a whole lot more.

This is perhaps, in hindsight, why the third Halloween movie proved to be such a disappointment.

Eschewing the slasher formula to tell a standalone story without Michael

Myers, Season of the Witch is a decent enough chiller in hindsight, but isn’t all that memorable.

Certainly, for fans expecting another hacking and slashing outing for Michael, it was always going to fall short. Horror stories without a strong evil presence can work for one-off tales and individual tales of dread but, in order to launch a franchise, an iconic villain or two is the way to go.

The only reason The Conjuring is now a blockbuster universe is because of James Wan’s ability to create monster after monster, from creepy dolls to significantly less terrifying nuns.

Sorry, Corin Hardy.

It helps that these horror bad guys are seldom played by actors that are well-known outside of their terrifying roles. In many ways, these characters are indistinguishable from the actors who play them, in stark contrast to the recognisable movie stars who play superheroes or action men. There’s always a part of an audience that’s seeing Tom Cruise rather than Ethan Hunt or Robert Downey Jr instead of

Tony Stark. However, Robert Englund will always be Freddy Krueger first, Gunnar Hansen was Leatherface through and through and Kane Hodder’s most famous role outside of the Friday the 13th franchise is that of another horror icon – Victor Crowley. These guys are scary movie villains above all else.

This focus on villains is just one of the many things that makes the horror genre unique and brilliant.

These aren’t movies that love perfect, elegant heroes and simply pit a series of disposable bad guys against them, but films that prize the weird and the obscure. They present their villainous icons as unstoppable, malevolent forces who can often only be bested by the most imperfect of heroes. It doesn’t take a pretty boy with a sixpack and an enhanced skeleton to beat a horror foe; it could be you, or the guy next door that comes out on top in a scrap with the ultimate evil.

And that’s a pretty positive message all round.

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HORROR

WORDS:CALLUM COOMBE

IT’S IMPOSSIBLE TO OVERSTATE OR FORGET THE IMPORTANCE IN CINEMATIC HISTORY THAT JOHN CARPENTER’S ‘LITTLE’ INDEPENDENT HORROR FILM HALLOWEEN HAD 40 YEARS AGO

HALLOWEEN 2018: THE REBOOT WE NEED AND DESERVE 10 VULTUREHOUND DEC 2018

t’s impossible to overstate or forget the importance in cinematic history that John Carpenter’s ‘little’ independent horror film Halloween had 40 years ago in 1978; it fused and synthesized a barely recognizable sub-genre of horror movie into the juggernaut of 1980s and 90s popular culture, gave a name to this sub-genre (the slasher), and most importantly, showed that low-budget shockers like Carpenter’s could be easily replicated and mined for millions of dollars with minimum effort (sadly an attitude that produced mostly dreck in terms of plot and character, but for the advancement of gore and shock in films, it was an indispensable sub-genre; boundaries could be pushed - and in most cases, smashed). But there is another concept and culture that has arisen thanks to the slasher film: the remake/reboot.

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Because most slasher films produced after Halloween were lacking in the same talents that made that film so successful and tightly wrought - even by today’s standards - it seemed clear that they were inferior copies, ways of living off the success of Carpenter’s film, and, even more, were simply simulating the same events in a different setting or location, and with different groups of people. While not directly, they share many markers that today’s remake culture clings to: familiar situations and villains, and cameos from former cast members. It’s a staple of any remake nowadays.

Even The Force Awakens (2015) embraced some of this formula.

And if it’s good enough for Star Wars, then it’s certainly good enough for smaller, less successful franchises to try.

I’ll cut to the chase with my argument, as lingering on the subject could fill entire studies.

My point is this: the idea behind production company Blumhouse’s and David Gordon Green’s revival

of Halloween-scheduled this year for October release-is utter genius. When I first heard that there was to be a reboot/remake of Halloween (I honestly didn’t know what distinction they were making between the two, nor did I care at first) I was sceptical.

And rightfully so; I’d seen so many of my favourite horror, and specifically slasher, films go down the toilet with awful remakes or reboots or prequels or whatever type of ‘_quel’ you can think of.

Friday the 13th (2009) was an awfully dull and predictable shade of its original; Texas Chainsaw 3D (2013), while attempting something quite promising (ironically, the same as the new Halloween: a sequel taking place after the original as if none of the other previous sequels happened), ultimately turned into a parody of what was being attempted; Prom Night (2008) is literally one of the worst remakes I’ve ever laid eyes on, channelling nothing of its original, and slapping on a 15 certificate? Please! And the 2010 Nightmare on Elm Street remake?

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HORROR Two words: don’t bother.

There do exist, however, good even great - remakes out there.

Zack Snyder’s 2004 remake of Dawn of the Dead was an enjoyable, if action-oriented zombie film for the new hyper-kinetic generation, that thanks to its location and subject matter, managed to maintain the spirit of the original; Dennis Iliadis’ 2009 remake of Wes Craven’s original 1972 torture porn (I maintain it is the first of its kind, and the only one to do it right) nightmare, The Last House on the Left was a more than passable reimagining, hitting all the right notes to disgust and repulse; and, if you want a real knock-out-ofthe-park remake, then surely the most famous example of a remake better than its original lies in John Carpenter’s mesmerising and terrifying 1982 film The Thing (a remake of Christian Nyby’s The Thing From Another World (1952)) is unsurpassable.

The recurrent pattern here, the formula, if you like, is that each successful remake, in some way or another, channels and disseminates the spirit of its original, and maintains what made that original so special (or, in cases like The Thing, improve upon the elements that dragged the original down) and timeless. It’s also, on the flipside, what makes the weaknesses of the bad ones stand out so much: they simply capitalize on the original’s success; steal its name and package it as a part of that series in name only. They stifle the material of the original, using it as either their only plot, or as a diluted and compressed concoction that evokes none of the enjoyment, wit, intelligence, or foresight of the original.

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As an illustration, look at the ground-breaking Dead trilogy of the wonderful and frighteningly persuasive George A. Romero: each self-contained part of that trilogy serves as a filter for social commentary on aspects Romero either finds undesirable or downright unacceptable in real life.

Night of the Living Dead (1968) represents the outrage at both Vietnam and for the Civil Rights movement; Dawn of the Dead (1978) takes a savage blow at the rampant and almost cannibalistic (they’re not zombies for no reason, you know!) attitude we hold towards capitalism; and Day of the Dead (1986), arguably his most scathing vision, holds a stern view towards the institutions of the military, and their irresponsible conducts during times of crisis.

But…here’s the opposite view, coming from their remakes: Tom Savini’s 1990 remake of Night had none of its original cut-and-thrust.

Indeed, it served more as a vehicle for Savini’s career; Dawn, as we mentioned earlier, was a highly enjoyable film, but there’s barely any subtext, simply the shopping mall to identify it as related; and the remake of Day (2008) is barely

worth mentioning, holding none of the wit and intelligence of its original, and not even achieving release in theatres. All three simply utilized the locations of their original, and it’s not enough to carry the narrative or the characters if there is no direction apart from where they exist.

It’s like an empty room with no furniture; you can inhabit it, but you can’t do anything with it.

And don’t for a second think I’m suggesting that Halloween hasn’t experienced this affliction. Rob Zombie’s 2008 remake of the same name and it’s 2009 sequel, Halloween II, hold nothing up to their originals; simply because they employ the empty room analogy again: they have Michael Myers in them…and that’s about it. They do nothing to improve or expand upon the original. To be honest, I am one of few who thinks his first effort is at least trying to do something different; seeing Myers’ childhood and his development into the monster we know was an interesting idea, but one that ultimately went nowhere when the last 40 minutes of the film are a straight carbon copy of Carpenter’s original.

But there is an example in the franchise of what I hope Green will achieve with this one: a reboot, or more specifically, what geekdom calls a retcon. For those of you unfamiliar with this term: it stands for retroactive continuity, and is used when writers feel they can take the ideas of the original no further without either noticeably altering them, or irrevocably changing them. For those familiar with the franchise, this describes the seventh incarnation of the series, Halloween H20: 20 Years Later (1998), which did away with every sequel after 1981’s Halloween II, and simply took place twenty years after its original, in which Laurie Strode (played, as ever, perfectly by the legendary Jamie Lee Curtis) is trying to get on with her life with her son John (Josh Hartnett) when Michael Myers once again comes to destroy her. I felt this direction was the right one, excising the chaff that had built up over the years in the series (Michael’s psychic connection with his niece; the revelation that his immortality comes from his manipulation by the stupidly-named Cult of the Thorn; and the mercurial change in Dr Loomis’s (Donald Pleasance) attitudes, to name a few) and establishing a new jumping-off point from which to carry on. It worked, for the most part, and apart from some pacing issues, H20 was a valuable and original concept in horror.

And now we come to Blumhouse and David Gordon Green.

Blumhouse’s successes are almost divine in occurrence: Paranormal Activity (2009), Insidious (2010), Sinister (2012), The Purge (2013), and the spellbinding hit of 2017, Get Out, all represent the image of successful (whether you like them or not) and marketable property.

And on the other hand, Green has shown his adeptness at handling different types of stories with equal success; George Washington (2000) was a heart-felt exploration of childhood a la Stand By Me (1986); Pineapple Express (2008) was a decent comedy; and 2013’s Joe was a brilliant experiment in thriller and crime drama. Hearing that these two forces had teamed up to make the latest Michael Myers vehicle had me excited, to

NOW MICHAEL IS BACK IN HIS ORIGINAL FORM: AS A FORCE. OF NATURE OR EVIL IS UP TO YOU; THAT’S THE BEAUTY OF THE ORIGINAL: ITS RAW SIMPLICITY. say the least, and the real crux of this attractiveness came from their retcon premise: that 2018’s Halloween would go even further in paring back its narrative in imagining that only the 1978 original existed, and none of the others. Now it is 40 years later, with Laurie as a grandmother, hell-bent on revenge on Michael, who once again manages to escape. There was one part of this refinement, however, that had me from the start: Michael was no longer Laurie’s brother. This was a plot contrivance that bothered me even in the original sequel; it seemed too convenient, too blueprintey, if you will.

Now Michael is back in his original form: as a force. Of nature or evil is up to you; that’s the beauty of the original: its raw simplicity. Michael had minimal backstory, zero motive, and absolutely no limits to his capabilities, and we got the time to know the girls before they were terrorized. Their pain and fear was ours, lived as they lived it. The truth was Michael could be anyone, and that’s the point behind his character: those “blackest eyes” that Dr Loomis mentions are just that, black and lifeless and cold, like a shark’s eyes - eyes which hold the blackness of evil within them, but which are so vague and dark that no explanation can be given for that evil. That’s what made all those endless slasher variations throughout the 80s and 90s so banal and vapid: they had motive, and, what’s more, they had bad motives (revenge, pettiness, past traumas etc). Michael has none of these - even the murder of his sister was passed off as random exhilaration, not contrived killing. He simply was, and nothing anyone could do was enough.

After seeing the trailer for this new instalment, I can honestly say that I think these criteria have been met and exceeded. Even the mask looks perfectly dark and aged. I think this is indeed the reboot we all needed in a culture and a genre that has become just a little stale with incessant copies and shadows of itself, and if it pulls this off, it could be the restart all our favourite horror franchises need.

In Blumhouse we trust. Long live Michael!

HALLOWEEN SLASHES INTO CINEMAS ON OCTOBER 19TH 2018.

DEC 2018 VULTUREHOUND 13

THE GIFTED

“When I found out about one of the things that was going to happen, I was slightly concerned about the why’s and where’s and how’s ” WO RD S:H UM ZA HU SS AIN

+ R E Y O M N E H P E T S NATALIE ALYN LIND WE SPOKE TO THE STARS OF THE GIFTED DEC 2018 VULTUREHOUND 15

THE GIFTED

“WELL, OBVIOUSLY, COME TO OUR SIDE. WE’RE THE BEST.” tephen Moyer said jokingly at the beginning of a recent interview alongside his co-star Natalie Alyn Lind in London. “Our side” is, of course, referencing the split that occurred at the end of season one of The Gifted. The Mutant Underground was once one big team of mutants battling humans, and looking for a better world. However, with various characters growing frustrated, the team split into two groups.

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Stephen’s character Reed Strucker and his daughter in the show, Natalie’s character Laura Strucker

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stay together alongside some of the “good guys” of The Mutant Underground. But Reed’s other child Andy leaves to join the supposed darker side of this new mutant world shown in The Gifted.

In the build-up to season two, VultureHound joined Stephen and Natalie to discuss the upcoming season of The Gifted, and whether the theory of superhero fatigue is real.

They both sat with smiles on their faces, but it is safe to assume their characters in the show will not be smiling. Not only did the split at the end of season one create great intrigue for fans, but it also created great pain for a lot of the characters in The Gifted, including the Strucker family. So, with all the

possibilities available for season two, we asked them what the most exciting part was about returning to the sets.

“When I found out about one of the things that was going to happen, I was slightly concerned about the why’s and where’s and how’s,” Stephen explained. “Not because I was not excited about how it was going to manifest, but because I wanted to make sure we nailed down the science. I come from a genre TV show [True Blood] where Alan Ball nailed down every single question, so we always had an answer for every question that comes our way. So Matt Nixon and I worked out exactly what happened, and made sure there was a real throughline.”

both Natalie and Stephen found out on a step by step basis. They revealed that the scripts for every episode were not handed out in one go, which presented some interesting challenges for the actors.

One of the big things fans get a glimpse of in the trailer for the new season is Reed Strucker unlocking his powers, which were taken away from him by his father at a young age. And Stephen discussed the struggle his character will face because of this.

“If you had been forced at age 15 to stop being who you felt like you were destined to be, and then you found out 30 years later what had happened. Would you be happy or do you wonder who you would have been if you were just allowed to be?” he said. “So that’s the thing Reed’s been wrestling with over the hiatus between the two seasons.”

For Natalie, she told us that the most exciting part for her was the evolution of her character Laura.

“Last season my character always had her stuff together. I think this season, she’s not just trying to get her mind right, but she’s also trying to help her family as much as possible. She also has a constant uncomfortable feeling about this darkness inside of her, and how much it takes over.”

Laura Strucker’s darkness comes from her great-grandparents, who were viewed as terrorists because they used their power for evil.

This story continues to play out in season two, and it’s something

“If you look at someone like Ken Loach, who only gives his actors the pages that they are doing that day, so you don’t know what you’re shooting the next day because you’ve never even read the script. It’s interesting, isn’t it?”

Stephen said. “Because you are actually just working in the moment with what you’ve got, and that’s amazing. Is it nice to know what the goal is at the end of it? Yeah.

But if you don’t know it, it makes you pick apart what you do know more intensely.”

Natalie also explained how it leads them to ask a lot more questions. “It’s also questioning our writers because sometimes they’ll have us do a subtle look, and you’re like, ‘why am I doing that?’ (laughs) because that’s not a natural thing that happens to me.”

The Gifted’s second season is also a reminder of how this current landscape of film and television continues to be dominated by the superhero genre. Some members of the media believe audiences have had enough, and superhero fatigue has set in.

Not only has Natalie not tired of the superhero genre, but she finds the way the stories are told to be very “cool.” “The thing I find interesting about superhero

movies is that everybody is different. No two superheroes are the same. There’s a huge world surrounding it, but I’m not bored with it, and I’ve seen every single Marvel movie there is to see.

“In the future, it [superhero fatigue] could be a thing, but what I feel like Marvel is doing well right now is taking different stories and putting them all together. I think that’s fucking cool. Will that run out? Possibly. But I’m still super into it.”

For Stephen, it comes down to taste. “I like them, and I think there is a place for them, and I do not believe they will go away.

Personally, if a big superhero movie was playing over there and a one million dollar black and white movie in Swahili with subtitles, which was four hours long, over here, I’d go for the latter. It’s just what I’m interested in. I’m far more interested in independent filmmaking and storytelling about the real world.”

WELL, THIS SUPERHERO CRAZE WILL CONTINUE AS THE GIFTED RETURNS FOR A SECOND SEASON ON SUNDAY 14TH OCTOBER AT 9PM ON FOX.

DEC 2018 VULTUREHOUND 17

2000TREES

PHOTO: HELEN MESSENGER | WORDS: BEN ADSETT

2000TREES

ith two headline sets in two years it is clear 2000Trees have a lot of confidence in the Scottish alt rockers. With a set full of energ y and showmanship they wowed a packed crowd from start to finish.

Before ‘Hear t and Soul’ became a welcome and infatuating encore.

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PHOTO: VICKI BAILEY | WORDS: COLIN LOMAS

ARCTANGENT

ARCTANGENT A

ugust saw the return of the best, yet most impossible to find, small festival in the UK; ArcTanGent. Spread over four stages for 3 days, the festy most attuned to the bearded, the leftfield, the geeks and the ones least likely to make the school football team once again

coalesced the heavy, the complex and the downright mental bands that make up the fringe of rock. Highlights were most definitely the about-to-be-massive Rolo Tomassi, the Salvador Dali of post-punk Jamie Lenman and cinematic newcomers Seven Colour Drive. Add to that Polymath, who make At the Drive In look like an acoustic Keane, ‘4/4 is for fat-asses’ Strobes and Mono side-project Behind the Shadow Drops, 2018 was not one to miss. And that’s not even mentioning Mr Marcaille, an incoherent naked Frenchman playing thrash metal on a cello. We love you ATG. See you next year.

G L A S S JAW PIAN OS BEC OME THE TEE TH

OR CH AR DS

MY RK UR TEL EPATH Y

R O L O TO M A S S I DEC 2018 VULTUREHOUND 19

BEST FRIENDS here are many folks in the film industry known for their originality for better or for worse.

There’s something about these folks whether it’s James Gunn, Harmony Korine, Orson Welles or other notable people that arguably makes us remember and become more attached to their work more than some standard filmmakers. This argument could be made for Greg Sestero and Tommy Wiseau. You may remember them as Johnny and Mark from best known So Bad It’s Good movie The Room.

Wiseau also wrote, directed and produced it. Fifteen years later they have come together to make Best F(r) iends inspired somewhat by their twenty plus years of friendship. Like them or loathe them, they’re uniqueness and approachable ways are reasons why their fans attend special screenings across the world time and time again. I managed to interview them ahead of the release of Best F(r)iends to find out more.

T

You’re in London for the screening of Best F(r)iends at the Prince Charles Cinema in London. How are you enjoying your trip?

TW: I enjoy it very much so. I’ve said this many times: there’s a lot here that has impressed me. There’s always something new I find on my vacation (laughs.)

GS: It’s always great to come to London. It’s amazing how the fans here really get the humour. They get these movies. Coming to London is always a great time.

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INTERVIEW

TOMMY WISEAU + GREG SESTERO

WORDS: JENNIFER DREWETT

Speaking of the fans, how much do you enjoy meeting the fans at events such as screenings?

TW: It’s a lot of fun. I enjoy it.

It’s great. The reaction is fun.

How did the idea for Best F(r)iends come about?

“IF YOU DON’T HAVE VISION DON’T COPY THE ROOM OR CITIZEN KANE”

GS: Well it’s been 15 years since we made The Room. I’d written the book The Disaster Artist and I realised after all these years Tommy hasn’t really been given a chance to play a role that really fit him. Twenty years ago we met at an acting class I thought that in the right part there could be something really dynamic about Tommy as an actor. I came up with this idea. It was based on a true story.

Years ago Tommy and I took this road trip up the California coast to go visit Bodega Bay where Hitchcock shot The Birds and we were going to go to this weird mortuary that was supposedly abandoned and haunted. It was this really strange road trip that Tommy thought I was out to do something

very dangerous which I wasn’t. Anyway I took that idea and kind of meshed it with the movies & shows I’ve loved as of late like Nightcrawler and Breaking Bad. I just went out and wrote this noir story with Tommy playing this mortician character I thought would really fit him. The goal was to do a film that was different from The Room and to have it taken seriously. I thought it would be a great challenge all these years later.

How did you find working with each other again after all these years?

GS: I really enjoyed it, especially this time around. I feel like a lot of time has passed. I think we’ve both probably, speaking for myself, feel more grounded. It was about getting together and making a movie just for the passion of storytelling and movie making. I think it was a lot of fun to get back and to work together again.

TW: Definitely! For me it was a challenge but at the same time we’d been best friends for many years so I noticed his talent. I said just do your story as soon as you can and don’t copy The Room. It has to be original. He came up with this idea based on a real story. I really enjoyed it. I noticed, and I’ve said before, that the audience really embrace Best F(r)iends. It’s somehing different and I think that’s the reason why. We’ve had a great reaction so far, let’s put it this way.

How much of your real life friendship inspired Best F(r)iends?

GS: Well after being friends for twenty years there’s such a wealth of

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BEST FRIENDS GS: Best F(r)iends Volume 1 is out on the 25th September then volume 2 is out in January. The next thing is a horror film. Hopefully that’ll come by soon.

What kind of advice would you give to people who are trying to get into the film industry?

experiences, strange encounters and so on. A lot of the scenes are very much pulled from those events or thoughts that have occurred over this period of time. It’s almost a continuation of the stories of The Disaster Artist. It’s a fictional take on our friendship.

I noticed that Best F(r)iends covers themes surrounding friendship and emotional development. Do you prefer making films that focus on character development as opposed to standard genre plots? If so, why?

TW: For me I like to deal with realism. The more real, the better.

Less special effects. I’m not one for movies just with special effects, animation etc. according to the script or whatever we have. I like Best F(r)iends because of the realism.

It’s based on our lives. Some of

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the reflection was what transpired.

What is behind the words? This is the thing I think people realised.

It’s not clear what the friendship means but at the same time certain people understand it’s our lives. We are connected. I like that. I like the connection in The Room and in Best F(r)iends. I don’t have a particular preference. I did a commercial and all sorts of weird stuff as an actor but I do lean towards the emotional stuff. Why? Because I like to deal with real things e.g. why we are who we are. By doing so I’m learning something new.

GS: I would say get out there and make your film. I think a lot of times we expect to be cast or get given a part that’s going to make us. I think being proactive, getting involved with storytelling or acting really allows you to learn more about yourself. You may have a great story and a great film. You never know unless you try. We live in a time where it’s a lot easier to make stuff. Find the right team, go out and making something.

Most importantly, be original.

GS: I know for me I enjoy writing characters based off of people. I think it gives you a much deeper grasp of who your character is. That happens with both Best F(r)iends Volume 1 & 2. For me I prefer to follow a character based story and see where that goes.

TW: First of all you have to have the vision. If you don’t have vision don’t copy The Room or Citizen Kane or Best F(r)iends. The second thing is respect. Wherever you have respect whether it’s with coworkers, friends or wherever is important. You should also be original as Greg said. We are all creative people. When you get these people together you may find you’ll have something original.

Don’t give up. If you don’t make it it’s another day and another thinking process. Don’t expect to be another Tommy Wisseau or Greg Sestero but you can succeed if you try hard.

Nothing comes for free in the world.

Another bit of advice I have for everyone is don’t believe too much internet. You’re better as a person than the internet.

What is next for you both in terms of future projects?

BEST F(R)IENDS: VOL 1 IS AVAILABLE ON DIGITAL AND ONDEMAND NOW

STAN LEE WORDS: EMRYS MOUNGABIO to become the company’s publisher in 1972. As part of his stint as editor and publisher of the company, Lee made sure everyone got the credit they

1922 - 2018

deserved, highlighting not only the writers and artists on splash pages

R.I.P. STAN ‘THE MAN’ LEE

PHOTO BY CHARLEY GALLAY/GETTY IMAGES FOR DISNEY

of his comics, but also the inkers and letterers too. In this time, Lee also made efforts to further develop communication with the fans, claiming that he wanted the readers to think of him and others at the company not as writers, artists and editors, but as ‘friends’.

I

t was a moment

more general works in the genres of

To this end, he developed the ‘Marvel

that movie and

horror, romance and comedy, Lee began

Method’ of comic-book writing, where

comic-book fans

writing super-hero fiction, and it was

he would brainstorm a comic-book with

alike long expected,

with the debut issue of Fantastic Four

the artist, let them draw the magazine,

but the reality of

that Timely, having transitioned to be

and then come back in and add in the

the situation still

called Atlas, and then Marvel Comics,

script at a later date. This allowed him

was changed forever.

to manage his huge workload and still

hurts all the same. Stan Lee, creator of

dedicate time to his fans.

beloved characters like Spider-Man and the X-Men, has passed away today at

Super-heroes had undergone somewhat

the age of 95.

of a renaissance in the 1950s, but Stan

It was through these various practices

Lee added a unique twist that made

that Lee essentially became the face of

Stan Lee is a name synonymous not just

these characters capable of enduring

Marvel Comics, and although after 1996

with Marvel Comics, but the comic-book

the decades. Prior to this point, many

he no longer ran Marvel, he retained a

industry as a whole.

heroes had been bastions of truth and

strong relationship with the company,

justice, concerned only with saving the

the characters and the fan-base, as

Originally starting out as a assistant in

world and living a righteous life. Lee’s

evidenced by his cameo appearances in

1939, Lee joined a comic-book industry

heroes however, were so much more

multiple Marvel movies; one of the film

vastly different from the one present

human. They saved the world, yes,

series’ most iconic features outside of

today. Back then, Marvel was known as

but they also struggled with everyday

its shared universe.

Timely Comics, and while it did feature

problems like dating, jobs, family

well-known super-heroes like Captain

matters and even getting sick.

270 words

It’s through these cameos that, despite his death, we will not have seen the

America and the original Human Torch, it was a very different company. The

It was from here that Lee went on

last of Stan Lee, as he will revisit our

Marvel we know today; the one that

to create a whole slew of dynamic

screens at least a few more times over

dominates the comic-book industry

characters that are the most well-

the coming years.

and has spawned the highest grossing

known amongst Marvel’s pantheon of

film franchise of all time, is in many

heroes. 1962 saw Lee debut Spider-Man

This familiarity will last a lot longer on

ways the child of Stan Lee’s long and

in Amazing Fantasty #15, and in the

the print side of Marvel. It is the nature

amazing career.

following years he continued his hot

of comic-books that no matter what

streak with characters like Thor, Doctor

changes, the characters will always

While Lee considered quitting the

Strange, the Hulk, Daredevil, the Silver

revert to the status quo. At their core,

industry after a stint in the army during

Surfer and of course, the Avengers.

they will always be the very same characters Lee created in the sixties. It’s

World War II, at a suggestion from his wife, Joan, he instead began to

By this time, Lee wrote and edited the

thanks to this that while Lee may have

experiment with writing stories that he

majority of comics that Marvel put

passed on, his legacy will outlive us all.

liked. Turning away from his previous,

out, eventually giving up that position

DEC 2018 VULTUREHOUND 23

DR. WHO

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PHOTO: BBC

EVERY MODERN DOCTOR WHO SERIES RANKED FROM WORST TO BEST

W

ith series 11 returning tonight, I looked back on every Doctor Who since its revival in 2005. It has had many ups and downs, with episodes I completely forgot existed and some I’ll remember until I die. This list is only based on my enjoyment of each series but I’m aware this is the internet and someone will always be angry if I don’t love a show the same way they do. So, allons-y…

10. SERIES 9 Peter Capaldi deserved better. He deserved every episode to be the quality of ‘Heaven Sent’, instead they tended to be the level of ‘Hell Bent’an adventure best left forgotten and ignored by absolutely everybody. Capaldi does not get enough credit for holding together a series which had become bleary-eyed, smashing through plotlines rather than stepping back to let things focus. I say that while well-aware he gets credit.

It does not come close to the right amount.

9. SERIES 7

WORDS: ZOE WILLIAMSON

It started off so strong with ‘Asylum of the Daleks’. Clara Oswald was quirky and fun in that story, leaving me curious how she would come back as a full-time companion and even looking forward to it. If she had remained that interesting, fun character this series would rank higher but her presence almost polluted episodes for me. Prior to her reappearance, ‘The Power of Three’ was just dull, concerning given it was written by Chris Chibnall, and the Doctor straight-up murdered someone in ‘Dinosaurs on a Spaceship’. Nope.

DEC 2018 VULTUREHOUND 25

DR. WHO was an effective exploration of Amy and Rory’s relationship and ‘The Rebel Flesh’ was a decent idea given the kind of execution better ideas should have been awarded.

5. SERIES 2

O H W R O T C O D 8. SERIES 8 The beginning of Capaldi deserving better. I nearly stopped watching at ‘Kill the Moon’, an episode which felt like an insult to every single viewer. I could handle the plot, having seen worse in this show, the child character was irritating but it’s a family show, but then an alien laid an egg bigger than itself.

Basing this too much on just one episode? Fine. ‘In the Forest of the Night’ was also in this series.

Appalling. Bonus points for Missy, though. She was great.

I

7. SERIES 5 I have tried to see what people love about series 5. When the Steven Moffatt era is criticised, it is often rebutted with “But series 5 was

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some of the finest Who I’ve seen”.

For the most part, it didn’t land with me. While others were happy to see the Weeping Angels return, I felt they were ruined by the idea you can survive if you “walk like you can see” (do they not realise they’re alive just because someone hasn’t tripped over?). This also set the precedent for River Song being a recurring character and she, like Clara, went from interesting and fun to an irritating friend who refuses to accept you don’t want to hang out anymore. Disagree all you like, this is my list. Deal with it.

6. SERIES 6 An improvement on the previous series. ‘The God Complex’ is one of the most underrated episodes of the modern era. As a whole, it’s not amazing, but as one-off episodes it works well. ‘The Girl Who Waited’

Some terrible episodes are in this series but they’re offset by ‘The Girl in the Fireplace’, ‘The Army of Ghosts’ and ‘The Impossible Planet’. The Doctor met the actual devil and it was feasible within this universe. For some reason, Billie Piper forgot how to act in this series and that held it back, particularly when she was supposed to be in love and could not quite get her facial expressions above ‘fond’. Series 2 at least remembered something which later ones ignored- casual viewers are still a thing and they want things simple.

4. SERIES 3 I’m going to have to start by defending Martha Jones here. She was clever and did not solve all of her problems by shouting the Doctor’s name louder than the noise generated by the threat.

Series 3 includes ‘Blink’ (the standard “here, watch this to see if you like it” episode), the Doctor becoming human and the return of the Master. As an older series, it benefits from its weaker efforts now being seen as not so bad when compared to the ‘filler’ ones of more recent years. Like series 2, it was accessible for any kind of viewer and fun even when it was clunky.

3. SERIES 10 This is what Capaldi deserved. Series 10 sometimes gets slated because it was “too much social justice” and “forcing an agenda”. Okay, Bill Potts was gay and it was mentioned a fair few times. Amy Pond took her husband along, Rose fawned over the Doctor and Martha left the Tardis because she realised her love was unrequited. Bill’s relationships were no more in your face than any other and she was granted engaging stories without needing to be the most important woman in the universe. I was excited about new episodes for the first time in years and was keen to rewatch most of them.

2. SERIES 4 My love for this series may be aided by the Doctorcompanion relationship, which is the best of the modern era. Donna Noble was deeply in love. Deeply, but platonically. Her tragic character arc highlighted her development. As she reverted back to how she was at the start, it was a blunt force trauma for the audience to realise just how much she’d grown and a testament to the writing. During this series, we were given River Song before she was overused, a monster we never saw yet provided a real sense of unease, and an admittedly self-aggrandising nod to how screwed the world would be without the Doctor.

The 2009 specials are included in series 4.

1. SERIES 1 Without the high-calibre episodes in this series, there would be no list. Christopher Eccleston was the perfect actor to bring this series back, hiding guilt and loneliness behind an exterior which looked like it could take you in a fight. Rose Tyler was the ideal companion, a girl who had not seen anything spectacular in her life and was suddenly enamoured- but not soppy- with this marvellous man who could show her the stars. He was then able to see the universe as she did; wonderful. Very few episodes have come close to the brilliance of ‘Dalek’ and, for me at least, nothing has topped the emotion of ‘Father’s Day’.

FIRST THOUGHTS: THE NEW DOCTOR

A

lmost as quickly as she fell from her exploding TARDIS, Jodie Whittaker totally convinces as the Doctor in her debut episode of Doctor Who, ‘The Woman Who Fell to Earth’. In keeping with her predecessors, she instantly captures the character’s ever-present eccentricities and wide-eyed wonder, whilst maintaining the character’s more authoritative, straight-faced attributes with aplomb.

That her character isn’t too far-removed from previous incarnations of the 2000-year old Time Lord may irk some fans, but for many, it’s a reassuring sign that the change of gender doesn’t necessarily have to mean massive change for the show itself. If anything, the real buzz of seeing her explore the character and finding out exactly what makes Doctor Thirteen tick has been the highlight in an already enjoyable season of adventures.

No doubt, there are plenty more interesting dramatic avenues to take the character and there remains a hope at the time of writing this that we’ll see Whittaker’s acting skills tested even further than they have been so far. But there remains little doubt that she’s perfect casting for the role – an intuitive and captivating performer with a fine line in both comedy and drama, who ably delivers a wonderfully upbeat and wonderstruck take on the famous Time Lord character.

The Doctor is in. And she’s brilliant.

Matt Dennis DEC 2018 VULTUREHOUND 27

WWE

WORDS: JAMES TOAL | PHOTOS:WWE

INTERVIEW:

CHARLOTTE FLAIR

omen’s wrestling in the WWE has come a long way, and now its next step will be its own PPV dedicated to celebrating the past, the present, and the future of women when Evolution kicks off on the 28th October. There have been many individuals that have built the foundations for this eventual moment in history, and no one else has closer ties to the history of wrestling than the Queen, Charlotte Flair.

W

We were fortunate enough to grab some time with the multi-time Women’s champion to chat about the upcoming PPV, her feelings towards one noteworthy addition to the locker room, and what she wants to say to young and upcoming women in this business. Let’s take a look at what she had to say as we have Our Chat With… Charlotte Flair.

The conversation got started with the mention of the biggest signings of the year for the WWE. UFC star Ronda Rousey has been making mega waves in WWE and her performance hasn’t gone unnoticed,

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Charlotte commented on her fellow locker room member with a positive attitude towards Ronda’s work ethic.

“Honestly, she has surpassed my expectations already. I truly believe that she legitimises what we do because of her background but just because you’re an amazing athlete doesn’t mean that you’re going to be able to take that and translate it to our audience. But she has and she’s doing a phenomenal job. That’s just credit to her and her dedication in order to pick this up, I know she has an acting background but the ring is much different and to me, she gets better with every outing.”

The talk then shifted to the big PPV Evolution, the reaction to being told about such an event especially after working hard to achieve great strides for women must have left quite an impact. Lucky for us, Charlotte had quite a bit to say regarding such a moment.

“I thought it was something that would happen, I just didn’t know when so I was pretty surprised when they made the announcement. But in terms of what I think it’s going to do, I think it’s going to change the landscape of women’s wrestling

“I TOOK EVERY SECOND, EVERY MINUTE, EVERY DAY, EVERY WEEK, EVERY YEAR TO BECOME WHAT I AM TODAY” DEC 2018 VULTUREHOUND 29

WWE

"I understand my dad is one the greatest of all time but I didn’t grow up knowing what I wanted to be or that I even wanted to wrestle." forever. Having the world have the opportunity to see past legends comeback, for the newer audiences have the future come up from NXT and the current roster, it’s almost like a dream show for everyone that’s ever had dream matches and a fan of women wrestling.”

She continued by elaborating on what she feels people are going to take away once the show has been broadcast.

“I really think the message is going to resonate with a lot of people, Women are not just women. There will never be a time when they

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watch women wrestling and think ’Oh that’s just a women match’.

The women will show that their storytelling ability, athleticism, the star power is just like watching a men’s match and you’re going to see an entire show of it.”

Whatever you can do, they can do too and can do it even better. That sentiment is what Evolution will try to present, and it’s a sentiment that seems to provide motivation for Charlotte as her career went forward. There have been claims from some that Charlotte has been given an easy ride career wise thanks to being the daughter of a wrestling legend, Ric Flair.

While being connected to a famous wrestler isn’t a guarantee for success (just look at all the third generation superstars that floundered thinking the link to the past was enough) there are still inklings of criticism based on this connection. Charlotte addressed this in the final point of our conversation and if you aren’t convinced, then I don’t know what will to be frank.

“My story is super easy, I understand my dad is one the

greatest of all time but I didn’t grow up knowing what I wanted to be or that I even wanted to wrestle, so I’ve played catch up for the last five years. That’s the only time I’ve had in this industry and I took those five years, I took every second, every minute, every day, every week, every year to become what I am today. I hope the message to anyone watching is that you can do anything you put your mind to. That’s what I did.

For me, being strong and confident and independent are what it’s all about to be empowering and I think that’s what I hope people take away from my character.”

Empowerment is necessary for this industry, we need that one person we can look to know that it’s important to work towards your goal. There may be obstacles, it may even seem impossible.

But, keep working for what you believe in and you’ll find what you are looking for. Our Chat with Charlotte may have inspired some to keep persevering, it’s my hope that if anyone reading takes anything away from this it’s that there is always something worth trying your hardest for.

MCM COMIC CON WORDS, PHOTOS AND MODEL: TONY QUANT

O

Special guests included Paul Bettany from Avengers Infinity War fame, Starsky and Hutch’s Paul Michael Glaser, David Soul and Antonio Vargas.

A huge part of these shows though isn’t just the big named guests, but the growing

STEELCHAIR.CO.UK Find us on social media by searching for SteelChair Magazine or

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ver the weekend of October 26th28th, MCM Comic Con descended on the ExCel Exhibition Centre in London and we were lucky enough to attend the event.

This huge gathering of fanboys and girls was a celebration of the comic industry, television, film and gaming formats and saw thousands of fans attend across the three days. MCM is the biggest UK based pop culture event of the year.

Enjoyed the list? Get more from STEELCHAIR Magazine at:

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cosplay scene in the UK. Cosplay is huge in America and Japan but is certainly a growing strength in the UK and this expo did not fail to deliver with droves of people dressed as their favourite film, TV, game and animé characters.

Our highlights included the villain Thanos, Groot from Guardians of the Galaxy and Kevin Owen’s from WWE. The cosplay scene is a fullon community with everyone taking photos with each other, gathering costume tips and just generally being massively supportive of the hobby.

Check out our YouTube page for coverage of the event and some interviews with Veronica Taylor, Nolan North and Richard McGonagle.

DEC 2018 VULTUREHOUND 31

PERIOD

WORDS:JENNIFER DREWETT | PHOTO: BBC

STUCK IN THE PAST?: THE BBC’S OBSESSION WITH PERIOD DRAMAS eriod dramas are somewhat timeless. They’re snapshots of characters confined to certain periods of time sometimes facing issues that affect us today and other issues that are now confined to the annals of history. Period dramas are as popular today when adapted for the screen as they were in book form. That is perhaps why the BBC, in particular, is quite keen to make period dramas

P

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repeatedly, including remakes. At the same time, fictional shows that focus on contemporary issues that go beyond a white, heterosexual, cisgender, middle-class, able-bodied caricature seem to be few and far between.

Now, I know what some folks reading this might think: “Jen, the BBC can’t possibly be making that many period dramas?” I did some research into period dramas made by the BBC between 1995 and the present day not including anything that is currently in some stage of production. I managed

to find 48 period drama films and TV shows that involved the BBC in that time period. 14 of them, including Bleak House, Tipping the Velvet and the 1995 version of Pride and Prejudice, were made and released between 1995 – 2005. Twenty-seven of them, including Call the Midwife, Lark Rise to Candleford and the 2006 version of Jane Eyre, were made and released between 2006 – 2016. Since 2017 there have been six period dramas including a remake of Howard’s End, The Woman in White and Taboo.

Three of the 27 productions started between 2006 – 2016 have continued

into 2017: Peaky Blinders, Ripper Street and Poldark. That is a whole lot of period dramas! Mansfield Park and Jane Eyre were made twice in that 23-year time frame. Considering how some people criticise period dramas for being very similar to each other in content, it would perhaps behoove some producers at the BBC to explore more original stories set in the modern times looking at issues that affect the population today.

The demographics of who watches television create an interesting angle on both sides of the argument. The BBC Trust released figures about their viewing demographics in 2017. The average age of BBC One viewers is 61, whilst the average age for BBC Two is 62. Only 66% of 16 – 34-yearolds watch the BBC on television. In contrast, the average age of an ITV viewer is 60, Channel 4’s viewers have the average age of 55, Channel Five viewers have an average age of 58 and the “yoof” oriented E4 have an average viewer age of 42. This all indicates that the baby boomers and Generation X make up the majority of viewers of BBC content.

BBC content is only available on the television and through BBC iPlayer, both only available with a TV licence.

Considering that a TV licence costs between £150 – £420, BBC content isn’t always accessible for those not within the middle-class. With all these facts in mind, it can be argued that baby boomers and Gen X would rather watch period dramas that provide a sense of nostalgia for “the good old days”, where more civility supposedly existed. As a generally more conservative viewer group than generations that came after them, they may not be as interested in watching issues that affect the younger generations.

There is a more controversial point

that is worth exploring. The BBC is publicly funded via TV licence fees set out by the government regardless of who is in power at that time. There is an argument that due to this, the BBC is more biased in favour of the government side than any opposing view. Commissioning dramas that look at the issues facing society today may involve looking at the damage caused by the ruling party, not looking good for the establishment.

Period dramas work two-fold: not only does it avoid contemporary issues but it also reinforces a class structure and reverence for the wealthy. The wealthy aren’t depicted as the most flawless folk in these pieces but they are routinely romanticised and made as goals for ideal marriages and ideal lives.

If on the absolute off chance that a BBC decision maker, executive or producer reads this article they may be keen to point out that they do try to appeal to the modern times and younger adult audiences. How? By hiring celebrities from our favourite shows such as Game of Thrones and Doctor Who to appear in them. This in of itself isn’t a totally terrible idea: a well-liked, bankable actor is bound to bring more financial success to a project and get viewers to tune in. The problem with that logic is that ultimately folks aren’t going to sit through a show or film they’re bored by just because their favourite actor is in it unless they’re a diehard fan. Millennials, in particular, are statistically less well off now than their parents were at their age.

They’re not going to fork out up to £420 for a TV licence just to see their favourite celebrity when they already have access to them via much cheaper online streaming services and social media.

I DON’T WANT TO SEE ANOTHER ADAPTATION OF SENSE AND SENSIBILITY WHEN THE 1995 FILM VERSION CAN’T BE BEATEN. who is against period dramas. I do enjoy them to the point that I’m subjecting my partner to watching all the ones I own so he can join in on something I enjoy. That doesn’t mean I don’t yearn for change. I don’t want to see another Jane Eyre when four versions have been made in the last 22 years. I don’t want to see another adaptation of Sense and Sensibility when the 1995 film version can’t be beaten. I feel it would greatly benefit the BBC and other broadcasters to start selecting programmes and films that focus on the genuine issues that are facing marginalised and vulnerable groups in the UK today from those who belong to them. A production exploring the lives of disabled folk would be something I’d love to see a group like Bristol’s Stepping Out be a part of. A show exploring LGBTQ+ stories without resorting to tired, cliched tropes produced by those in the community would be a complete joy. A film that highlights the true devastation faced by those who’ve had services taken away since 2010 due to budget cuts a la I, Daniel Blake is something I’d get really excited for. All I’m asking for is original and inclusive programming from one of the greatest broadcasters in the world.

I don’t write these words as someone

DEC 2018 VULTUREHOUND 33

PREDATOR

WORDS: COLIN LOMAS

NOW CONSIDERED ONE OF THE DEFINING FILMS OF ITS TIME...

LOOKING BACK ON THE PREDATOR FRANCHISE t’s easy to forget just how much of a star Arnold Schwarzenegger was in the 80s.

Coming off the back of the two Conan films, The Terminator and Commando, the big Austrian was the epitome of action film heroes. An exMr Universe man-mountain who wracked up body-counts in the hundreds with awkwardly delivered corny one-liners, this was a man whose time came before men had salon beard products and the word metrosexual meant something done illegally on the tube. It’s also easy to forget how completely panned his 1987 movie Predator was by critics. The New York Times said, ‘Alternately grisly and dull, with few surprises’, with the LA Times going one further; ‘It’s arguably one of the emptiest,

I

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feeblest, most derivative scripts ever made as a major studio movie’.

Now considered one of the defining films of its time, John McTiernan’s story of an elite Commando squad being tracked down by an armourclad, semi-invisible alien trophy hunter was a box office smash.

Anyone of a certain age will forever remember their first time seeing Bill Duke’s terrifying bulging eyes fill the screen as he first spots the blurry image of the camouflaged Predator – “I see you” – or the destruction of an acre of forest with some of the most insane ever guns caught on camera.

It’s fair to say however that the Predator brand has been diluted somewhat over the years. Although Danny Glover and the everwonderful Gary Busey do their

best to drag Predator 2 through the run-time, the busy scenes of downtown LA and a Predator whose mystery has completely diminished make for a dull, lazy follow up. From there, it doesn’t improve. Alien vs. Predator wasn’t quite as bad as you remember but is still a straight-to-video shop outing at best. The explanations of the origins of the Xenomorph are also at odds with what was eventually depicted in the later Alien films; Prometheus and Covenant, though of course we’re slipping into ‘comic-book guy’ territory by going down that route. Alien vs. Predator: Requiem slipped the franchise even further down the food-chain in 2007 and most thought that would be it for the crab-faced ultra-maniac.

But Hollywood has a tendency to wring the last stubborn stains

out of a once shiny dishcloth. In 2010, Predators returned us to the jungle, albeit on a different planet, fixing at least some of the problems Predator 2 had created, and last year 20th Century Fox announced that Shane Black would write and direct a new entry in the Predator family to attempt to get the franchise back on track. Black, who also starred in the original, was once one of the highest paid writers in Hollywood, raking in millions for The Last Boy Scout after huge successes with Lethal Weapon and its sequel. As director, his CV is limited and mixed; 2016’s daft crime caper The Nice Guys was a moderate hit and Iron Man 3, although the least enjoyable of the series, was a solid directorial effort.

Black is certainly making all the right noises; his criticisms of the sequels are all valid points; Predator 2 didn’t have the isolation; all of them lost the impact and mystery of a barely seen hunter. The problem with

any sequel however, is that once you’ve revealed the monster, seen the monster and killed the monster, the impact is always going to be a little muted. Black has promised to amp up the Predator with new-found alien technology, but that sounds a risky way of bringing back the original terror. The plot brings some worries too; a child accidentally recalling the Predators and a response team made up of a crack group of elite commandos and a disillusioned scientist set the stockcharacter warning lights a’flashing. Even lead actor Boyd Holbrook’s character’s name – Quinn McKenna – sounds worrying, as does his casting in the first place.

So take a step back to 1987 and re-watch Dutch and his small army of action figures do battle with one of the best enemies ever put to the silver screen in preparation for the new instalment. And remember, if it bleeds, we can kill it.

The Predator is out now

WORDS: CHRISTIAN LYNN

THE PREDATOR FILM REVIEW ohn McTiernan’s 1987 film is a science-fiction/action classic, a rumble in the jungle that pitted man’s finest specimens – with Arnold Schwarzenegger standing in as the pinnacle of human engineering – against outer space’s very own Ali: The Predator. This new incarnation? Think a big-budget brainstorm splurge without an iota of the IQ on display in McTiernan’s filmmaking masterclass: writer/ director Shane Black has ripped the spine out of the Predator franchise and hung it out to dry.

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Quinn McKenna (Boyd Holbrook) and his ragtag team of mercenaries – including Trevante Rhodes’ Nebraska and Keegan-Michael Key’s Coyle – are put on a collision course with the eponymous creature, following a disastrous operation that leads Predator technology into the hands of McKenna’s autistic son, Rory (Jacob Tremblay). Mania ensues as the Predator comes to reclaim its weaponry, followed in turn by a badder, more advanced Predator out to destroy it and all those involved in the incident.

While one would expect clever writing and exciting set-pieces from the man behind The Nice Guys, Shane Black instead presents us with a ludicrous plot that flits between motivations and story points like a game of ping pong. From a silly sub-plot focusing on Sterling K. Brown and his long-term investigation of the Predators, to an even sillier plot point involving the weaponization of Rory’s autism (I kid you not), The Predator has no clear vision: it’s simply a Frankenstein’s Monster of a motion picture, scrappily knitted together without any coherence. The jokes fail to land, the characters poorly written. The Predator, in other words, needs to rest in the further reaches of cinematic space.

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WORDS: CHRIS SHORTT | PHOTOS FROM 'MANDY'

PANOS COSMATOS

R TO C E IR D ' Y D N A 'M H IT W W IE V R INTE

S O T A M S O C S O N A P

t’s unlikely you’ll see another film like Mandy this year.

Or even next year.

Hell, maybe not for the next 8 years – the time that director Panos Cosmatos took between his first feature, Beyond the Black Rainbow, and Mandy. That’s because there’s not really anyone making films quite like Panos – whose latest film owes as much to Iron Maiden as it does to John Carpenter and David Cronenberg.

Having finally seen Mandy, we can confirm that it’s everything you’d hope from something with roots as idiosyncratic as this.

I

We spoke with Panos ahead of its UK release and premiere at the London Film Festival…

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WAS THERE A SINGLE CONCEPT OR SEED THAT GREW INTO EVERYTHING ELSE, OR WAS IT A MUCH MORE GENERAL APPROACH? The original seed was basically the idea of making a revenge movie that kinda revolved around the person that was being avenged, and their absence in the world… how that absence is felt by the person that was avenging them, you know. I watched a whole bunch of revenge movies in a row, and when you watch a bunch of stuff from one genre Exactly. I just really wanted the audience to be lulled into a sense of warmth and comfort, so people get a sense of what it’s like to be around them [Mandy and Red] as a presence in the world. So when she’s gone, you really miss her.

IT’S THAT TRANSITION FROM THIS ETHEREAL, ALMOST IDYLLIC WORLD, INTO WHAT THEN BECOMES THIS NIGHTMARISH DESCENT. IT COULD SEEM INCONGRUOUS, BUT IT’S A CREDIT TO YOU THAT IT WORKS SO WELL. I think of that whole scene where the cult shows up to the house as almost like the ‘house party from hell’ in a way. Right down to forcing you to listen to a shitty record you don’t wanna hear (laughs).

I’VE SEEN IT DESCRIBED AS “JOHN WICK ON ACID”, IS THAT A TAKE YOU’RE AWARE OF? I’ve not seen that. I’ve seen the first

YOUR NEW FAVOURITE VISIONARY

IT BROUGHT ME ONTO THINKING ABOUT YOUR CASTING OF NICOLAS CAGE – YOU’VE SAID BEFORE HE WASN’T INITIALLY ENVISAGED FOR RED, PARTLY DUE TO HIS AGE. Yeah it was weird because I just couldn’t see it at all [Cage as Red]. Then I had a dream, a while after I’d met him, where I was watching the movie Mandy with him in it. Then it became clear to me that we could do something very interesting.

THE BATHROOM SCENE HAS

GOT SO MUCH ATTENTION. HOW MUCH FUN WAS THAT TO SHOOT? It was actually three takes. It was enjoyable to shoot, but maybe not for Nick cause he really worked himself into a really emotional, crazy place. But it was a simple scene to shoot, in the sense that it was one set-up, which tends to make filming a lot more pleasurable. I kinda thought of that scene as a bizarre, offBroadway, one-act play that we just stumble into and see some guy performing his play that he wrote himself. Which I thought could be a great way to present someone feeling completely dislocated from reality.

THE FILM’S PRACTICAL EFFECTS, BOTH WITH THE BLACK SKULLS AND THE DRIVING SHOTS,

“

I HAD A NIGHTMARE WHERE I WAS IN THIS STRANGE, OLD, ABANDONED FARMHOUSE WITH THESE MEN THAT WERE COVERED IN BLACK TAR THAT JUST OOZED… I COULD JUST SENSE THEIR CRUELTY AND MALEVOLENCE.

“

one [John Wick], and to be honest it didn’t appeal to me that much – but I really liked the set-up, I thought the concept was brilliant.

After a while it started to seem to me like a… Ed Hardy t-shirt of a movie, you know (laughs).

DEC 2018 VULTUREHOUND 37

PANOS COSMATOS

SEEMED REALLY DISTINCT. HOW IMPORTANT WAS THIS TANGIBILITY FOR YOU? Absolutely. With this and Beyond the Black Rainbow, I wanted to do as much as humanly possible practical.

Speaking of fun, one of the funnest things that there is to shoot on is driving rigs. It was almost like a Xanax experience being out at night, riding around on cars – so I think I automatically wrote a lot more of it just for that reason (laughs).

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THE COSTUME DESIGN FOR THE BLACK SKULLS IS REALLY STRIKING. THE HELLRAISER INFLUENCE HAS BEEN MENTIONED A LOT, BUT IS THERE ANYTHING ELSE THAT HELPED CREATE THEM? This actually also came from a dream. I had a nightmare where I was in this strange, old, abandoned farmhouse with these men that were covered in black tar that just oozed… I could just sense their cruelty and malevolence.

MANDY AND RED’S BEDROOM

– THE WAY IT’S DESIGNED WITH THESE BIG OPEN GLASS WALLS. IT’S INITIALLY BEAUTIFUL, BUT AS SOON AS THE HOME INVASION BEGINS THE BEDROOM IS COMPLETELY TERRIFYING. Well you always see in these architectural magazines that show these amazing houses in the middle of the woods. They have no curtains, they’re just giant, glass fishbowls. And the first thing I think when I see something like that is not ‘what a beautiful house in the forest’ – I think ‘murderers’ and ‘just get some fucking curtains’ (laughs).

I WANTED TO ASK ABOUT MASCULINITY IN THE FILM, THAT ‘MACHISMO’ WHICH IT PUTS ON SHOW. THE SCENE I KEEP GOING BACK TO IS WHERE

that he wanted to work on the film, to be honest, but it turned out that he’d really loved Beyond the Black Rainbow. He also grew up as an Icelandic metalhead.

could possibly do to him. Trump and Pence became President and VicePresident shortly before we started going into production, and at that point I started to realise that there was some real resonance. Something that I felt more compelled than ever to magnify. I actually started to think of Jeremiah as if you put Trump and Pence into the Brundle telepod, and they came out the other side as the one merged creature, Jeremiah Sand (laughs).

MANDY’S TAUNTING JEREMIAH AS HE’S MASTURBATING, AND HE’S SCREAMING AT HER, “DON’T FUCKING LAUGH AT ME!”. GIVEN THE CURRENT CLIMATE, I COULDN’T HELP BUT BE REMINDED OF LOUIS C.K… WHICH MADE IT INCREDIBLY UNCOMFORTABLE, BUT WHAT I THINK MANDY DID A GREAT JOB OF WAS FOREGROUNDING THIS AND DRESSING IT DOWN. THIS ENTITLEMENT IS SHOWN UP AS PATHETIC, RIDICULOUS. You know, I worked on that scene for a long time, and it was finally my wife that helped me realise how to do it. I wanted Mandy to defy Jeremiah in some way that really shattered his ego. We realised that laughter in the face of this man was the most damaging thing she

WELL, THERE’S THAT SCENE AT THE START OF THE FILM WHEN RED’S DRIVING HOME FROM WORK. ON THE RADIO THEY’RE TALKING ABOUT “THE BEDROCK OF AMERICAN VALUES” BEING UNDER THREAT, WHICH RED TELLINGLY SWITCHES OFF. Yeah, that was definitely something chosen after the election. I felt reinvigorated by those aspects of the film, because of the strange, I think virulent, resurgence of fundamentalist religion, you know.

YOU WORKED WITH JÓHANN JÓHANNSSON ON THIS FILM. COULD YOU TELL ME ABOUT YOUR EXPERIENCES TOGETHER?

I’VE LISTENED TO A LOT OF HIS AVANT-GARDE SOLO WORK, WHICH IS WAY MORE IN TUNE WITH THIS FILM AS WITH HIS OTHER SCORES, PERHAPS. He was very interested in exploring these weird textures and sonics that I wanted to explore myself. We talked a lot about the synthesiser sound on Van Halen’s “Sunday Afternoon in the Park” (laughs). There’s a moment I’ll never forget – we were having a long conversation about a scene, I wish I could remember which one it was, and he asked “well, how do you want this to feel?”. And I said I want this to feel like you’re 13, and you’re sitting in the backseat of your big brother’s Camaro, and he’s smoking weed – and it’s kinda scary but it’s also exhilarating. There was a short pause, and he said “I know exactly what you mean” (laughs).

HAVE YOU GOT ANY PLANS FOR WHAT’S NEXT? THERE WAS AN 8 YEAR GAP BETWEEN YOUR LAST FILMS, SHOULD WE EXPECT A SIMILARLY GRUELLING WAIT? I’m always working on a bunch of weird, new ideas from notebooks.

But right now, I just wanna hang out with my wife and my cat.

Mandy will is out now on DVD, Blu Ray and Digital Download

I felt like the minute I started talking to him on the phone, I felt an instant connection with him. I was surprised

DEC 2018 VULTUREHOUND 39

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WORDS+PHOTOS: DANI WILLGRESS ullet For My Valentine began their set by playing behind a curtain which dropped down part way through the first verse of Leap Of Faith exposing the band and a ridiculously massive lighting rig. The band brought everything you could want from them, they were powerful and full of unrelenting energy. Their set was full of insuppressible guitar solos

STEELCHAIRMAG.BIGCARTEL.COM

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and an impressive drum solo that maybe went on for a little too long. Ending with an excellent encore of Don’t Need You and Tears Don’t Fall, Bullet For My Valentine brought out the crowds inner Emo for the last epic song.

alloween is a holiday that has become associated with horror movies, whether it was the Pennywise craze we all witnessed in 2017 or the Halloween franchise that uses the name of the holiday. While the horror genre, in general, is connected to October 31st, there is arguably no better franchise that represents the history and themes of Halloween than Evil Dead.

Today, the October holiday is known to the world as a day where we can channel our inner crazy, and it’s acceptable to emulate the psychotic characters we see in horror

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films by dressing up as them. It’s also a day where children dress up and knock on the doors of strangers to ask for sweets (while ideally accompanied by parents). The dark and scary holiday has become a day of fun for adults and children as they can escape the realities of life by embracing the supernatural world.

The Evil Dead franchise, which recently came to everyone’s screens in the form of a TV show called Ash vs Evil Dead, is now known for a comedic approach to horror. Ash Williams, the franchises hero, is a beer swilling, lackadaisical simpleton who happens to be very good at killing

DEC 2018 VULTUREHOUND 41

THE SOULS OF THE DEAD WOULD ROAM THE EARTH WITH THE LIVING, AND PEOPLE WOULD LEAVE FOOD AND CANDIES FOR THE DEAD SO THEY WOULD NOT COME AFTER THEM. evil. So for every drop of blood and guts that splashes on the screen, there is a quick quirk from Ash such as “The other first thing I gotta do is some cardio because my heart is jackhammering like a quarterback on prom night.” Like Halloween, it’s scary and fun.

But before Evil Dead became a laugh riot filled with monsters and blood, it was a straight horror film. The 1981 release was about a group of friends who go to a cabin and unintentionally release evil by playing a tape that recites passages from the book of the dead. And just like Evil Dead, Halloween was once a serious day that people feared.

This now commercialized holiday reportedly dates back to the Celtic culture in Ireland. What was once known as “All Hallows” Eve was a day people believed the veil between the living and dead was thin. The souls of the dead would roam the earth with the living, and people would leave food and candies for

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the dead so they would not come after them.

So not only did Ash Williams’ first story relate to the original idea of Halloween because he resurrects evil so it lives with everyday humans. But the film also has traditional horror movie conventions such as an abandoned location, a spooky forest, and evil monsters.

These things help create terrifying moments like when Cheryl runs through the forest back to the cabin, and as she tries to open the cabin door, Evil is catching up to her. The moment generates a dose of fear which people believe is a necessity on Halloween.

However, over time both the film franchise and the October 31st holiday have taken a turn towards fun. The idea of the souls of the dead roaming the earth became children wearing bed sheets pretending to be ghosts. Also, food and candies became gifts for children instead of treats for the dead.

The second Evil Dead also embraces the evil with a fun spirit.

Iconic scenes such as Ash cutting off his hand and replacing it with a chainsaw came to life. But comments like “groovy” were added at pivotal moments to lighten the mood.

Horror elements like cutting off a possessed hand with a chainsaw still existed in the film. But so did Ash’s hand attacking him with objects as he lay on the floor unconscious. It’s more of an entertaining visual as opposed to a horrific one, and it shows the franchise embracing the ridiculousness of the story.

The third film, Army of Darkness, is perhaps the one that inspires fans the most when it comes to people dressing up as their favourite characters from the horror genre.

Not only does it have monsters that give the more creative fans something to copy, but it has one of the most iconic visuals of the

EVIL DEAD IS THE PERFECT HALLOWEEN

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franchises near forty year history. Ash Williams in a torn shirt with his chainsaw hand, and a shotgun in the other hand, it’s on the Army of Darkness poster, comic, and there is even a Funko Pop based on that image.

If you didn’t know, dressing up is very important for Halloween.

However, while providing inspiration for fan costumes, the third film also represents a change that we are experiencing now as it relates to Halloween. Not only is it a fun holiday, but instead of being strictly based on horror and supernatural characters, it has become a free for all. Anything goes now, as it’s just as likely to see a Buzz Lightyear costume on October 31st as it is to see someone dressed as a zombie.

Army of Darkness is not only a horror/comedy, but it’s

also a medieval adventure film. Ash is transported back in time and has to find the book of the dead to get back home. It’s an absurd blend of genres that should not go together, but somehow mesh to make a fun experience.

That same description could be used to describe Halloween today.

The Evil Dead films have gone on a unique journey, and in a strange way, have mirrored the changes in the “horror” holiday. Starting off as a serious film to make people cover their eyes in fear has turned into a franchise that prioritises fun as much as fear, mirroring the changes the holiday has experienced from the time it was known as “All Hallows” Eve.

WORDS: ELIZABETH BIRT

THE STRUTS

YOUNG&DANGEROUS The Struts are continuing to show just why they are one of the most exciting rock bands to emerge! The quartet followed a four date soldout Los Angeles residency at the legendary The Roxy venue with the highly anticipated release of their sophomore album YOUNG & DANGEROUS, four years after critically acclaimed debut Everybody Wants.

Opening with hit single Body Talks, an insanely catchy chorus, jazzy riff and party vibe continues straight into Primadonna Like Me. In Love With A Camera sees some of the highest vocals on record since The Darkness’ Justin Hawkins and would be a real crowd pleaser live with clap-along sections and some guitar wizardry. Things slow down as Somebody New, the first ballad, kicks in with an atmospheric melody and smooth vocals, complete with old-school ‘80s power ballad vibes. Tatler Magazine and Freak Like You are tongue-in-cheek tracks about humanity. We return to the ballads with Ashes (Part 2)’s piano introduction, a fixture that appears throughout the track, compliments the build into the chorus with soaring vocals and a Brian May-esque guitar solo, imitating the legendary Queen vibes but managing to twist it just enough to bring it into the 21st Century and avoid being a carbon copy.

The album closes out with Body Talks again, this time featuring pop starlet Ke$ha adding her own sass.

The Struts have built on the glam rock masterpiece of their debut with YOUNG & DANGEROUS. YOUNG & DANGEROUS doesn’t stray far from its predecessor, 2014’s Everybody Wants, however, the formula works well so not much extra is needed from them. There are catchy hooks throughout, particularly in Who Am I?, all of which will have you singing them at all times of the day, even after just your first listen.

The quality of guitar work echoes that of some of the best classic rock guitarists and wouldn’t go amiss on a Queen or even a Guns ‘N’ Roses record.

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Reviews

DAILY REVIEWS AT VULTUREHOUND.CO.UK

A STAR IS BORN FILM REVIEW ith three remakes and a number of reimagining’s – The Artist, La La Land– the story behind A Star is Born has stood the test of time: male artist meets talented yet secretive female, whose fame subsequently rises at the expense of the male. However, it may seem a little excessive to remake it a fourth time: what can a director bring to the table that’s at all refreshing and new, particularly when that director – actor Bradley Cooper – is spring-boarding off of said project as his first feature debut? Well, Cooper has achieved something quite astonishing: he’s translated a classic, romantic Hollywood narrative into the modern day, seamlessly interweaving some sensitive commentary on addiction and celebrity into the classical set-

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up and bringing out a revelatory performance from international superstar Lady Gaga in the process.

Bradley Cooper stars as Jackson Maine, a country-rock star whose clouded past and stalled career has forced him into a life of addiction: to alcohol and to drugs. However, one day, stumbling upon a bar in the middle of nowhere, Jackson falls upon the effervescent Ally (Lady Gaga) performing a rendition of Edith Piaf’s ‘La Vie En Rose’.

Captivated by her voice – perhaps in a case of love at first sight – Jackson takes Ally under his wing, inviting her to a number of his concerts to perform alongside him. However, in classic fashion, as Ally’s stardom rises, Jackson’s begins to dwindle further.

As I said earlier, it’s a story that has been told time and time again: the rise of feminine strength at the expense of masculine dominance and the struggle to balance the two.

However, the risk of overfamiliarity is

diminished due to its contemporary relevance: with the increasing and deserved vocalisation of feminist concerns in the many industries, particularly entertainment, A Star is Born’s commentary feels earnt now more than ever. Luckily, Cooper’s handling of this material is truly outstanding for his first feature: it delicately connects a number of key themes, puts the female star front and centre for us to admire yet sensitively engages with the threatened man on a level rarely seen in contemporary cinema.

Ideally, both men and women will see A Star is Born as it speaks to both sexes and their position in this volatile world. While I won’t speak on behalf of any female reader, the way Cooper and fellow writers Eric Roth and Will Fetters develop Ally’s character – her personal relationships, her propulsive stardom, her interactions with key elements of celebrity culture such as

WORDS: CHRISTIAN LYNN | PHOTOS: WARNER are nothing short of breathtaking.

One performance towards the end of the film, will reward you for buying those tissues in advance of the film, fuelled with such raw emotion that it nigh on locks Gaga in for an Oscar nomination.

However, Cooper cannot go unmentioned. Discoursing with a deeper, Southern droll, Cooper taps into a deep-rooted trauma with Jackson that will move many a man. One particular scene at an awards ceremony finds Jackson at his lowest point and Cooper manages to bring out its humorous and tragic sides to thorough effect.

the photoshoot – shows a desire to bring woman’s struggles within the entertainment industry to our direct attention.

However, more surprisingly, A Star is Born also seeks to discuss something rarely televised, a subject unsuitably considered taboo: the man as sensitive, his mental health at risk of crumbling under the pressures of life. Writing as a male reviewer, I must say that the way in which Cooper presents Jackson’s descent into a drunken, depressed stupor is nothing short of astonishing. Quite ingeniously, Cooper has taken a genre – a melodrama – that, in the 1940’s and 50’s, targeted a female audience: consider a film such as All That Heaven Allows, which features a strong masculine figure and a sensitive female stereotype searching for her place in the world. But the roles are reversed in this contemporary edition: A

Star is Born places Ally within the matriarchally secure position, asked to lead and assist Jackson as he, playing the sensitive part, works to find out where he fits in the fabric of our world in flux. As such, the expression of feeling on the side of the male is emphasised, even made necessary to Jackson’s development as a character: Cooper makes it essential that men, represented by Jackson, talk about how they feel.

It’s a valiant project and Cooper succeeds masterfully, operating with a deft touch that evokes the subtle, fantastically humanistic direction of Douglas Sirk.

It helps that the performances enhance the overwhelming screenplay. Gaga is nothing short of a revelation within the film.

Gone is her seemingly monotone register: as Ally, Gaga speaks with conviction, taking her on a journey of self-discovery that we believe to the utmost. It helps that her vocals

A Star is Born is remarkable because of the way that it straddles between the real and the imaginary. Dealing with devastating subjects – depression, addiction, family trauma, the alienation of celebrity – but in a way that isn’t brutally realist such as in a film of Nicolas Ray’s or Ken Loach’s, instead closer to the fantastical, thematic drama of Douglas Sirk and his successor Rainer Werner Fassbinder. Matthew Libatique’s cinematography, making consistent use of intimate closeups augmented by subtle music cues, exemplifies this fact. There is nothing artificial about Cooper’s film, yet nothing so strict and naturalist as to deny any kind of enjoyment. The melodramatic quality of the film engages our emotions above and beyond reality, making the film all the more affecting. As such, its themes hit harder, its tranquillity relaxes us assuredly and its beauty attracts us equally. A Star is Born is pure, personal cinema and the kind of film that lures us to the cinema.

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COMING SOON

WORDS: CHRIS BANKS

COMING SOON

TERMINATOR (UNTITLED) T

erminator fans can look

movie is likely to brush aside the third,

needed grit and ferocity after a muted

forward to next year’s

fourth and fifth movies, along with spin-

slate of increasingly diminishing

new movie with some

off Sarah Connor Chronicles to act as

films. Genisys was intended to act as

trepidation but perhaps,

a direct sequel to James Cameron’s

a soft reboot, launching a new series

for the first time, a sense

Judgement Day.

of movies that were canned by 20th

of hope. Deadpool director Tim Miller

Century Fox following an underwhelming

will helm the latest film in the franchise

Early publicity photos show a returning

box office showing. If nothing else, it

that will, like a naked Michael Biehn,

Linda Hamilton looking like she’s in a

perhaps shows that Fox is willing to

look to travel through time and do a bit

very Sarah Connor-esque frame of mind,

learn from its mistakes and re-focus

of damage control.

which is particularly handy, all things

one of its premier properties when

considered. Arnold Schwarzenegger and

audiences reject the current vision.

Since the first two stellar instalments,

Edward Furlong will also be involved,

subsequent Terminator offerings have

like computer-generated chimeras,

landed with an increasing sense of

to reprise roles with the help of body

Originally slated for a summer release,

disappointment and an unhelpful

doubles. Agents of SH.I.EL.D.’s Gabriel

the as-yet-untitled TERMINATOR movie

muddling of the narrative; culminating

Luna is also onboard, along with

will be released on 1 November 2019.

in 2015’s excruciating Terminator

Mackenzie Davis (Blade Runner 2049).

Genisys, a movie that alienated both science fiction and spelling fans alike.

David S. Goyer has provided a script

Plot details are sparse, but next year’s

that will hopefully provide some much-

46 VULTUREHOUND DEC 2018

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