Showing posts with label lists. Show all posts
Showing posts with label lists. Show all posts

6 Things the new Jack Ryan lost from the old Jack Ryan

Harrison Ford and Chris Pine as Jack Ryan
Outsmarted, out-directed and, more importantly, out-chinned.

'Loyalty, cleanliness and knot tying'


Described by Ritter (Henry Czerny) in Clear And Present Danger as a 'boy scout' with the above attributes, Ryan in the two Ford films represents America as America wants to be, whilst the film recognises that the actual situation is not really that rosy. That film is an extremely interesting liberal diatribe against US intelligence policy, which casts US bad guys on at least equal terms to the supposed threat in the film: the Colombian drug cartels. Shadow Recruit meanwhile has little to say about the US politically, at a time when there couldn't be more to comment on. Instead, the bad guy is Russian, the power behind him is Russian and the end vehicle to destruction is Russian. Even if we were still in the Cold War, that period has already given us The Hunt For Red October.

Anne Archer and/or a good Cathy Ryan


Cathy in Shadow Recruit (Keira Knightley) is a terrible character, who at one point shows up in Ryan's life for no earthly plot reason before the film reveals why she's there: yet again, she's a female character who exists to be kidnapped. Patriot Games and Clear And Present Danger might exist further into the Ryan's relationship than Shadow Recruit but just because the latest film focuses on the start of their union doesn't mean Cathy has to go back to being stupid. There is little doubt in the two Ford films that Cathy - there played brilliantly by Anne Archer - is the power at home (at one point she is referred to as 'making more money than the president') and, though she is targeted at one point during Patriot Games, she generally fulfils a much stronger and more significant supporting role. At one point during Clear And Present Danger our hero, the square-jawed Ford, reaches out for Cathy's hand, almost in tears.

Action by accident


Jack Ryan is not an action hero. In Patriot Games he gets involved in Action only because he happens to witness an assassination attempt, before he attempts to spend the rest of the film avoiding action of any sort. In Clear And Present Danger he stays out of the action for well over an hour and when he does get involved it's clear that he shouldn't be there and that people like Clark (Willem Dafoe), should. Shadow Recruit throws all that out of the window and puts Ryan on a motorbike, chasing a terrorist. If you want an Action hero pick a better James Bond clone: Jack Ryan isn't one.

Tense moments involving printers


The best 'action' scene in Clear And Present Danger involves Ritter, Ryan and two printers. This is indicative of the above (Ryan does not do action) and a sneaky sign of why Shadow Recruit is such a disappointing Jack Ryan film: there's next to no intrigue. Despite the marketing campaign suggesting otherwise Ryan never has any doubts about who's on what side. 'You have to pick someone to trust Jack' says Harper (Kevin Costner) at one point. Other than Harper, what exactly is the other choice presented to Ryan in that film?

Sitting behind desks


His family targeted on US soil, his own life clearly at threat, where does Jack Ryan go in Patriot Games? Behind a desk, where he spends all night reading files, figuring out what needs to happen. Though the new Jack Ryan is meant to be a clever bod, there is rarely anything of this level of patience and intelligence in Shadow Recruit.

A cast of characters


Whilst Jack Ryan might be the hero of Jack Ryan films, the cast around him represent the parts of the films approach to American politics and culture that he cannot. Again, Clark in Clear And Present Danger is the action Ryan cannot fulfil but there are other equally important elements. Marty in Patriot Games represents a healthy amount of cynicism that wouldn't be very becoming of 'boy scout' Ryan. Ritter, Cutter and the President are political corruption writ large. James Earl Jones fulfils the mentor and friend role of Kevin Costner in Shadow Recruit but crucially isn't required to do anything else, like training Ryan: being a mentor is enough. Shadow Recruit has a good guy, a bad guy, Costner and Knightley and that really is it. It relies far too much on a meagre cast. Jack Ryan may be only one man, but the good films are about much more.



By Sam Turner. Sam is editor of Film Intel, and can usually be found behind a keyboard with a cup of tea. He likes entertaining films and dislikes the other kind. He's on , Twitter and several places even he doesn't yet know about.

Eight Highlights To See At The 19th Bradford International Film Festival



Tues 16th - 17.35, Thurs 18th - 15.10

How often do we know the full story behind any given piece of music? Arlo Guthrie sets out to find out the truth behind his father's song about the deaths of 73 people in Calumet, Michigan and the lasting legacy the song and the event has had on the location.



Sun 14th - 15.30, Tue 16th - 17.45

After a successful retrospective at the festival last year, Olivier Assayas is back again with his new film (also known as Après mai), the trailer for which promises revolution and copious amounts of very European nudity.



Sun 14th - 21.00

A great piece of programming, this stand-up show about film watching was well reviewed at Edinburgh's fringe festival and now gets to close out BIFF's first weekend. BIFF has excelled at 'events' over the last few years, so this could prove to be something special.



Sun 14th - 18.15, Tues 16th - 20.30

Carrying the tag of being the 'Colombian Mean Streets' might prove too much weight to handle for this tale from Bogota but it comes with a great trailer featuring a snappy soundtrack, plus a positive showing at Cannes.




Sun 14th - 20.30, Thurs 18th - 19.45

Joss Whedon's take on the Bard is sure to attract an audience but there's more reasons than just the director to see this. Much Ado can make for a very friendly film adaptation, just take a look at the riotous 1993 Kenneth Branagh version for proof.



Sun 21st - 17.00

The Dodge Brothers return to the festival in an increased capacity this year, here accompanying a little-seen Soviet-era silent from 1929. The addition to their lineup of pianist Neil Brand, a specialist in silent film accompaniment, makes this unmissable.



Thus 18th - 12.55

Showing as part of the festival's excellently programmed Uncharted States Of America strand, this promises atmospheric small town mystery by the bucket load and features the promising Liam Aiken, who was great in last year's Electrick Children and, before that, Lemony Snicket.



Fri 12th - 15.55, Wed 17th - 20.20

Already featured on the site, the trailer for this reminded me at least partially of uber Euro-success Headhunters. Grim and grisly Polish assassins? I'm in.

The Film Intel Bradford International Film Festival Schedule

Presented here so you don't have to work out your own schedules. Or if you want to follow me. For six days. I don't recommend it.




Friday 12th April

12.00 - Cursed be the Phosphate - Pictureville
13.55 - Mumbai’s King - Pictureville
15.55 - To Kill a Beaver - Pictureville
18.25 - Somebody Up There Likes Me - Cubby Broccoli
20.25 - Me and You - Pictureville

Saturday 13th April

11.20 - Master Plan - Cubby Broccoli
13.15 - The Last Dogs of Winter - Pictureville
15.30 - A Night Too Young - Pictureville
17.25 - Love is All You Need - Pictureville
20.00 - Screentalk: Sir Tom Courtenay + One Day in the Life of Ivan Denisovich - Pictureville

Sunday 14th April

10.50 - Billy Liar - Pictureville
12.25 - An Anthropological Television Myth and Citadel - Cubby Broccoli
15.15 - I Have Always Been a Dreamer - Cubby Broccoli
18.15 - La Playa DC - Pictureville
21.00 - Aidan Goatley: Ten films with my Dad - Cubby Broccoli

Thursday 18th April

10.55 - Little World - Cubby Broccoli
12.55 - Nor’Easter - Cubby Broccoli
15.10 - Travelling Light and 1913 Massacre - Pictureville
19.45 - Much Ado About Nothing - Hebden Bridge

Saturday 20th April

10.10 - Babylon - Pictureville
13.00 - Magpie - Cubby Broccoli
15.55 - Cargo 200 - Pictureville
18.15 - This Ain’t California - IMAX
20.30 - Pincus - Cubby Broccoli

Sunday 21st April

10.10 - Beware Of Mr. Baker - Pictureville
12.30 - Fata Morgana - Cubby Broccoli
17.00 - The Dodge Brothers & Neil Brand and The Ghost that Never Returns - Pictureville
20.00 - The Reluctant Fundamentalist - Pictureville


The 19th Bradford International Film Festival runs from 11th to 21st April 2013 at the National Media Museum and other venues near to the city.

The Film Intel 2013 Oscar Predictions

I predict that I will be absolutely inept at this but at least we can all have a good laugh the morning after, which is more than can be said for most ill-advised ventures involving a late night broadcast.




Best Picture - Argo

Best Director - Ang Lee

Best Actress - Jennifer Lawrence

Best Actor - Daniel Day-Lewis

Best Supporting Actress - Anne Hathaway

Best Supporting Actor - Christoph Waltz

Best Adapted Screenplay - Argo

Best Original Screenplay - Amour


Best Animated Film - Brave

Best Film Not In The English Language - Amour

Best Documentary - Searching For Sugar Man


Best Cinematography - Claudio Miranda (Life Of Pi)

Best Costume Design - Paco Delgado (Les Miserables)

Best Film Editing - William Goldenberg (Argo)

Best Makeup and Hair Styling - Lisa Westcott and Julie Dartnell (Les Miserables)

Best Music - Mychael Danna (Life Of Pi)

Best Original Song - Adele Adkins and Paul Epworth (Skyfall)

Best Production Design - Eve Stewart (Production Design); Anna Lynch-Robinson (Set Decoration) (Les Miserables)

Best Sound Editing - Erik Aadahl and Ethan Van der Ryn (Argo)

Best Sound Mixing - Andy Nelson, Mark Paterson and Simon Hayes (Les Miserables)

Best Visual Effects - Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott (Life Of Pi)


Best Documentary Short - Mondays At Racine

Best Animated Short - Paperman

Best Live Action Short - Death Of A Shadow

The Film Intel Ballot for The 6th Annual LIONs for LAMBs Awards

Normal provisos that I haven't seen everything, have probably forgotten something, didn't like Les Miserables as much as the rest of the world, I struggle with 'best of' lists, The Hunt hasn't yet been released in the US, etc, etc. All that aside, here's my ballot for The LAMB awards, which more-or-less also represents my Best Of 2012, scored using the '1st place = 10 points' method.




Best Film

1 - Holy Motors
2 - The Perks Of Being A Wallflower
3 - Django Unchained
4 - The Hunt
5 - Magic Mike
6 - Woody Allen: A Documentary
7 - The Woman In Black
8 - The Innkeepers
9 - Zero Dark Thirty
10 - 21 Jump Street


Best Director

1 - Leos Carax (Holy Motors)
2 - Rian Johnson (Looper)
3 - Robert B. Weide (Woody Allen: A Documentary)
4 - Stephen Chbosky (The Perks Of Being A Wallflower)
5 - Thomas Vinterberg (The Hunt)


Actor in a Leading Role

1 - Denis Lavant (Holy Motors)
2 - Logan Lerman (The Perks Of Being A Wallflower)
3 - Mads Mikkelsen (The Hunt)
4 - Daniel Craig (Skyfall)
5 - Steve Oram (Sightseers)


Actress in a Leading Role

1 - Jessica Chastain (Zero Dark Thirty)
2 - Alice Lowe (Sightseers)
3 - Julia Garner (Electrick Children)
4 - Helen Hunt (The Sessions)
5 - Sara Paxton (The Innkeepers)




Actor in a Supporting Role

1 - Christoph Waltz (Django Unchained)
2 - Ezra Miller (The Perks Of Being A Wallflower)
3 - Javier Bardem (Skyfall)
4 - Matthew McConaughey (Magic Mike)
5 - Ciaran Hinds (The Woman In Black)


Actress in a Supporting Role

1 - Cody Horn (Magic Mike)
2 - Emma Watson (The Perks Of Being A Wallflower)
3 - Anne Hathaway (The Dark Knight Rises)
4 - Eva Green (Dark Shadows)
5 - Jessica Chastain (Lawless)


Best Screenplay

1 - The Perks Of Being A Wallflower (Stephen Chbosky)
2 - Django Unchained (Quentin Tarantino)
3 - 21 Jump Street (Michael Bacall)
4 - Sightseers (Alice Lowe, Steve Oram)
5 - Zero Dark Thirty (Mark Boal)


Best Documentary

1 - Woody Allen: A Documentary
2 - Searching For Sugar Man
3 - Mission To Lars
4 - Chasing Ice
5 - Something From Nothing: The Art Of Rap


Best Film Not In The English Language

1 - Holy Motors
2 - The Hunt
3 - Ernest & Celestine
4 - War Witch
5 - A Royal Affair


Worst Film

1 - Wanderlust (worst)
2 - Cosmopolis
3 - Red Lights
4 - The Cold Light Of Day
5 - Contraband ('best')

Film Intel's 2012 Retrospective: Part 2 - The Statistics

Your annual dose of maths. And boredom.


Total films or complete TV series watched in 2012: 257

First film of the year: Road To Perdition

Last film of the year: The Imposter

Film watched with the highest IMDb average rating: Game Of Thrones (9.4), The Dark Knight (9.0)

Film watched with the lowest IMDb average rating: Storage 24 (4.2)

Film watched with highest number of IMDb votes: The Dark Knight (864,152)

Film watched with lowest number of IMDb votes: Girl Shaped Love Drug (0), Day Of The Flowers (18)

Top three genres watched: Drama (126), Thriller (80), Crime (59)

Bottom three genres watched: Western (1), Film-Noir (1), War (5)

Earliest produced film watched: Die Nibelungen (1924)

Average rating given to films watched in 2011 (to 2dp, out of 10): 6.25

Film Intel's 2012 Retrospective: Part 1 - The Awards

The Film Intel run-down of everything good (and one thing bad) from 2012.





Best Poster

The Hunt

Not sure about the tagline but love the wooden-pastel shades and the imagery, both of which reflect the film well.





Trailer of The Year

Seeking A Friend For The End Of The World

Achieves that special, but not entirely uncommon feat of taking all of the best jokes in the film and actually making them better. The timings are different (better), the lines are often cut (better), the visuals are snappier (better) and the music features (better) tracks I don't remember being in the film. A genuinely great example of how to do a trailer.




Film Of 2012


As usual, huge disclaimer that I haven't seen everything but Leos Carax' film blew me away, not only with how enthralling I found it but how much it had to say about everything to do with film-making, acting, living life and loving. I thought, and still think, that it's a spectacular film.



Best 'Oh My God! You Slapped Me!' Reaction of The Year

Rolf Lassgård in False Trail

Someone needs to make a .gif of this. Until then, you'll just have to take my word for it.



Best Contribution of The Year


The site, for the first time really, ran a limited number of pieces from some people who wanted to write for us this year, and they were all great, with lots to say, in a variety of ways, in very individual voices. Jeff's piece though is truly excellent. Witty, developed and really insightful, this was an absolute pleasure to read and run.




Best Rewatch


Limited this year, although I did manage to catch favourites Tinker Tailor Soldier Spy, Monsters, The Big Lebowski and The Road To Perdition again. Winner though has to be The Shining, which I saw on the big screen for the first time, in the balcony of Leeds Town Hall, during LIFF26. It was stunning.



Film I Wish I Hadn't Seen


Faust was dreadful, nauseating, convoluted, meaningless, pretentious cinema of the worst kind. Venice appears to have been a bit of a mess this year. Last year, they gave Best Film to this. Venice is not high on my list of 'must visit' festivals.



Comment On A Post Of The Year


Does this count as a tip? I'm not sure, but either way, the realisation that there's actually a script (somewhere) for this amazing book was a very pleasant discovery. Very many thanks, Mr/Mrs Anonymous!




HD Release Of The Year


A close run thing but surely there are few who can look past the importance of a pristine restoration of The Passion Of Joan Of Arc, presented in sumptuous packaging and with oodles of extra material. A tremendous blu-ray.



Festival Film Of The Year


It's tempting to say The Shining again but in terms of new things at festivals, it was a pleasure to sit through something that managed to be both worthy and fun. The Ambassador was a revelation, deeply shocking, but a film that also made me and the rest of the audience laugh aloud on several occasions. A really tremendous film. An honourable mention to The Innkeepers, which achieved the feat of meeting my very high expectations.

Part 2 - The Statistics, follows shortly.

Film Intel's Top 10 from Universal's 100th Anniversary Selection

As part of their 100th Anniversary celebrations, Universal have collected together a selection of 100 films and reissued many of them on DVD or Blu-ray, complete with new packaging, marking the milestone. 100 films is a lot to choose from, so Film Intel have whittled down the list to a selection of ten highlights. Yes, Universal did include Hop in their 100. No, it did not make our list.




10 - Back To The Future (1985)

I'm not a complete Back To The Future convert, but you can't deny how much fun it is, or how much of a lasting legacy it has managed to create. Not only has Robert Zemeckis' film stood the course of time, it has gained a huge fan base to boot. Watching this should be compulsory for anyone attempting to produce a stuffy time travel offering.




9 - Hellboy 2 (2008)

Perhaps not everyone's first choice to make it as high as the Top 10 but every list needs a surprise entry and Guillermo Del Toro's second Hellboy film is that rarest of things: a sequel to a so-so first film that learns from the mistakes of its predecessor. The Golden Army looks better, is more exciting and has a better developed plot. Even amongst more recent stellar superhero offerings (The Avengers, The Dark Knight Rises) it still holds up as a really entertaining piece of fantasy.




8 - The American (2010)

Did I say every list needs one surprise entry? Make that two. There was a time when The American was one of the favourites for the 2010 Oscar season but then, somewhere along the way, it lost its buzz and its supporters and gained something of a negative reputation. This is a real shame. Anton Corbijn shows off a really smart director's eye and Clooney shows he can do just about anything. The finale is poignant and the whole thing feels deliciously wrapped in musings on faith and lives lost. I enjoyed it at the time and continue to do so now.




7 - Schindler's List (1993)

Yes, it's drastically long and yes it is stuffy at points but IMDb's 7th best film of all time has a majestic performance by Liam Neeson at its centre, an amazing script from Steven Zaillian and Spielberg on top form in the director's chair. It looks fantastic, it is as over-filled with emotion as your average Adele song and, yes, it is Important to boot. Sadly feels, like another film later in the list, like it is in the process of being somewhat marginalised.




6 - The Thing (1982)

Perhaps the laughable remake/prequel has diminished the effect of this somewhat, especially for a generation only able to discover it now. Regardless though, this is brilliant genre film-making, of the like you still see far too rarely. Whereas the remake was a film about a monster, this, very clearly, is a film about identity and tension. It does not need to rely on creatures and blood because it has quiet creepiness and oodles of atmosphere. Simply one of the best Horror films around. Still.




5 - Citizen Kane (1941)

Kane can leave some cold, and the effect of its finale has certainly diminished over time, but its influence is hard to dispute. Camera angles, directing style, cinematography; Orson Welles' film is both a magnificent piece of drama and a technical marvel.




4 - Gladiator (2000)

It feels like (and don't ask me why it feels like this, it just does) Gladiator has lost some of the euphoric sheen that accompanied Ridley Scott's film wherever it went, not so long ago. Maybe it's because Swords and Sandals stuff is back 'in', and very much in our faces on a regular basis (Spartacus, Game Of Thrones). When this came out it wasn't 'in'. Far from it. Scott crafts an amazing technical achievement, anchored by a performance Russell Crowe will never repeat. It's bravura, grandiose, film-making, on an epic level, with ambition and an actual plot and characters anchoring the vast amounts of money spent on special effects. Oh, and Joaquin Phoenix's villain? Evil is rarely presented in such a chilly matter-of-fact way.




3 - Rear Window (1954)

Hitchcock's best film (start the argument now!), Rear Window is a perfect example of the director's mastery of location, tension and drama. Since aped by numerous films (and even more individual scenes in films) this proved both influential and eminently more satisfying than a number of the director's other offerings. Like several films on the list, this succeeds because of technical nous, entertaining execution and an ability to secure for itself a legacy. Sterling stuff.




2 - Children Of Men (2006)

One of the many reasons Alfonso Cuarón's film is so high on this list is that it hits so many of the items on the tick list of components that make great Science-Fiction films great. Invention? Just look at the long take shots, complex, beautiful and unexpected. Vision? The world is well conceived and realised, its grim and gorgeous at the same time. Emotion? This isn't a cold wilderness of metallic beasts hitting each other, look at the relationships between Clive Owen's protagonist and both Julianne Moore and Michael Caine's characters. This is, probably, the best Sci-Fi film since The Matrix, and arguably just as good as The Wachowski's magnum opus.




1 - The Big Lebowski (1998)

The Coen Brother's best film, and a leading candidate for best film of the 1990s, remains, to this day, a fascinating, funny, inventive piece of movie making, from minds that understand why White Russians and rugs and the use of the word 'Swiss watch' are humorous. It is both a perfect film, in and of itself, with a satisfying plot and wonderful character arcs, and a surprisingly timely portrayal of 90s slacker culture and the public's ability to be ambivalent towards the most grandiose of things, yet set off by small personal losses. Does Dude care about Vietnam? Hell, no. But he wants his rug back. It tied the room together. Defines the concept of 'modern classic', arguably better than any other film.

Legacy Franchises: the New Reboot? And Five Franchises That Could See it Happen


When is a remake not a remake? When you put the word Legacy in the title, change the main characters and have at least part of your film happening at the same time as the last one. The Bourne Legacy is an interesting film in that it shows yet another way in which studios are attempting to extend franchises. Whether its splitting The Hobbit in two or rebooting Spider-Man after just five years, there's desperation out there to squeeze every penny from a proven property. Enter the Legacy film and five more 'franchises' that could get Legacy-ised. Legacyed. Lega... needs work.


Collateral

Those familiar with Michael Mann's 2004 effort might see where this is going straight away but for those who don't remember, it features one of the best cameos going, in any film, ever. Vincent receives his case from none other than Jason Statham, who walks on, says, 'yeah, I'm fine mate, don't worry about it' and walks off again. Who is he? What is he doing? Does he drop cases off all the time? These questions must be answered! A legacy film must be made!

Bridesmaids

There's plenty of legacy-friendly material here but here's a niche one: Terry Crews' fitness instructor. Our legacy film would start with the scene where Annie and Lillian try to sneakily take advantage of his rather vociferous training and then leave them to follow Crews and his exploits. Does he have a client he falls in love with? Is he the target of a Globo Gym style takeover? Who knows! Perfect legacy material.


Fast

At some point, Universal will run out of ways to make Fast films in their current guise and some members of the cast will finally find other gainful employment elsewhere. Those two concepts may seem highly unlikely currently but hey, no franchise can last forever (unless you're Bond, which this, erm, isn't). There are several options for a legacy franchise though and the series has kind of already tried it once with Tokyo Drift. How about following a policeman assigned to a task force with the task of researching the crimes linked to street racing, having been alerted to them by Toretto and O'Conner's gang... which sounds an awful lot like the first film. Perfect legacy material!

Mission: Impossible

It's yet to be confirmed but the handover on this may have already happened, with Jeremy Renner's Brandt all set up to take over from Ethan Hunt, if they decide to go that way. A legacy-type plot wouldn't be too difficult to concoct on this basis either. Perhaps Hunt under investigation for some sort of event, perhaps something that cropped up in one of the previous films. Hunt has gone missing and its down to Brandt to find out the facts and clear the name of his former team-mate. Hunt cameo at the end, waving to Brandt with his wife from a distance? You bet. Jeremy Renner to star in two legacy franchises? You'd have to say that one makes this less likely.

The Departed

Come on... who doesn't want to see the extended adventures of very-sweary Dignam!

Four Kickstarter Projects That Need Your Money More Than Charlie Kaufman


Last week Charlie Kaufman took to Kickstarter to crowdsource the funding required for his new film, a stop-motion animation called Anomalisa. Now, the merits of using Kickstarter extend far beyond just using it to rake in dosh - the page states that Kaufman specifically wants to make this film outside of the studio system - but still, you can't help but think that there might be better recipients of a few of your hard earned dollars than a pretty famous Oscar-winning screenwriter. Here's four Kickstarter film projects, just as desperate for your cash as Charlie is.



Starlet

Notable for going down the route of 'this-cute-little-dog-can't-hurt-our-efforts-to-get-money-out-of-you' in its promo video, Starlet nevertheless looks like a quality offering and therefore a worthy cause for those looking to contribute to something for similar reasons why they might get behind Kaufman's project. Like Anomalisa, there's little doubt that, with or without Kickstarter, Starlet will get finished but hey, if you're a fan of director Sean Baker or any of the stars then this offers you a way in to something that might have some quality. A successful SXSW showing and a 7.3 average on IMDb (though only off nineteen votes) attest that this might be something worth backing. It's also the only non-fiction film on the list and a cut above some of the more amateur narrative offerings on the site.


American Mugshot

An intriguing looking documentary piece which takes a simple subject (the titular mug shot) and weaves out a tale of culture and identity. There looks to be elements of personal interest and countrywide history inherent in the film and the effective promo piece sells the elegiac nature of the musing on lives lost to still pictures very well. An interesting looking documentary springing from an already intriguing subject matter.


Yankee Restraint

It's difficult to pinpoint quite what the selling point of this will be but the idea of looking at the US recession through the window of the effect it has on a single couple's life is a good one and the couple chosen unique. Craig and Phillip seem to be the type of people from whom infinitely watchable documentary footage can be captured and if director Harry Mavromichalis can weave this in to something which has a wider comment on the state of the economy then this could end up being very special.



Who Cares About Kelsey?

Another documentary which uses a single entity to look at a wider issue, Who Cares About Kelsey? looks at the treatment of children with special needs within the school system and how this treatment might help combat or hinder their development. The footage in the promo piece isn't particularly well edited (there seems to be little of Kelsey's bad times visible) but the story seems worth telling and, once again, Kelsey looks like a pleasant subject to spend time with.

Four Plot Points Prometheus Left Unexplained

Warning: The following contains discussion covering numerous Prometheus plot points - including the final scene - and is only intended to be read by people who have seen the film.



I'll prefix this by saying that I fully accept that some people may find the answers to the below questions fully, without a shadow of a doubt, in the film and as clear as daylight but, for me, Prometheus did a good job of glossing over plot points and ignoring obvious ideas it spent time setting up. Great film, but not without its pitfalls. Here are four of them and their possible answers. Less definite more postulated guesses. Contributions of the suggested answer variety, 'you idiot, didn't you realise that...' and further 'holes' are all very welcome.


The man on the waterfall.

When: The very first scene.
What: An alien man walks to the top of a waterfall where a spaceship appears ominously. He drinks an inky black substance (are we back in The X-Files?) and proceeds to decompose, ending up falling into the water. The spaceship departs.
Why: This has been read as a sacrifice but if it is then why is it and who is it to? The spaceship is never seen again and, although the man is later revealed to be one of The Engineers, there's no reference made to the sacrificial (if that's what it was) ritual for the rest of the film. Also: why does he use the black stuff - presumably the same black stuff held in The Engineers' vases - to kill himself, as opposed to something else?
Possibilities: The spaceship is the vessel of a race superior even to The Engineers, possibly the destination of Shaw in Prometheus 2 or perhaps more likely, the man is proving to his race - from a safe distance - that the small group of researchers on that planet - mentioned to be the case by one of Prometheus' team - have created a successful WMD, although quite why he needs to do it in this dramatic way isn't clear or this is actually Scott's creation moment - all life on Earth started from The Engineer drinking the goo. But still, the question remains, why does he do it?!
Problems: Why include this in this film - particularly at the start - if you're never going to hint at it for the rest of the runtime?

The final scene.

When: The, erm... the bit at the end. Not that bit. The other bit.
What: Shaw jets off with headless Dave to seek out new life.
Why: Where are they going? How do they know how to get there? Why, at no point during the film, did anyone not refer to the other ships? How can Shaw survive on the alien ship? Who's going to put Dave's head back on?!
Possibilities: Well, surely just a case of Scott wanting an ambiguous end. I wouldn't be surprised if we never see David and Shaw ever again or, at the very least, we don't see them until the next squad find them on that film's planet.
Problems: Its a bit too floaty, isn't it?

Where does the Space Jockey fit in?

When: During Alien.
What: The so-called Space Jockey (a member of the now renamed The Engineers) is shown with a chest-burster protruding from his chest.
Why: Prometheus was loosely based on the unexplored premise of who the Space Jockey was... so why don't we get to see 'him' (the individual one in Alien)? Scott has talked about this film needing 'two sequels' until we get to the events of Alien but still, it feels a little like we've been oversold Prometheus. Plot wise: given the final, final, scene of the film, at what point does Alien meet the Space Jockey?
Possibilities: There are other Engineers in hyper-sleep on the planet Prometheus takes place on. One of those wakes up (somehow) and is faced with the new Alien menace or there are other Engineers in hyper sleep on Shaw and David's ship, but if one of them wakes up, how does it meet the Alien?
Problems: Scott has already said that the planet Prometheus takes place on is not the same planet Alien takes place on, apparently ruling out the first theory.

What were The Engineers running from?

When: Perhaps forty minutes in.
What: A hologram of a group of Engineers running from something is triggered by David.
Why: They run in to the 'Head Chamber' and the hologram stops. That's it. It's never referred to again. What were they running from?
Possibilities: The cargo appears to be a temperature-controlled biological weapon. An accident on the ship could have released it, forcing The Engineers to flee.
Problems: They're fleeing into a room with more of the weapon in it!

Look further...

The Guardian have a similar strand up and running here (thanks to Lee Clements for the link).

Eight Highlights At Bradford International Film Festival 2012


The Bradford International Film Festival announced its lineup for 2012 last week, with a host of highlights, screenings and guests to rival the best of what UK film festivals have to offer. If you're thinking of going or, if you've already booked your tickets, here are eight of the best screenings to try to force on to your schedule.


Saturday 21st, 16.30
Monday 23rd, 21.00

Somewhat of a festival darling for Horror fans, The Inkeepers had made it onto the bill of twelve different Indie-fests at last count. Director Ti West, who is starting to enjoy something of a cult following, will hope Bradford isn't the film's unlucky thirteenth outing, ahead of its UK release in June. The two screenings currently slated for BIFF look as though they're already sold out but keep your eyes peeled; late tickets or extra screenings could be a real possibility. Side note: The Inkeepers has 2011's best poster.


Monday 23rd, 20.50
Tuesday 24th, 18.20

Showing in the European Film Competition, Avé is another film arriving on the back of festival success; this time with the awards to prove it. Taking gongs at Sarajevo, Warsaw and Hamburg will never hurt a film's reputation and Konstantin Bojanov's is growing, riding on the back of his star's, Angela Nedialkova, who takes the title role. An unknown quantity, but certainly an intriguing one.


Sunday 22nd, 15.00
Tuesday 24th, 20.30

A third festival fixture from the 2011/2012 circuit, Icelandic feature Volcano will go up against Avé in the competition. The evocative title, especially given recent events in the country, bubbles with subtext surrounding retiree Hannes. The largely positive Variety review for Rúnar Rúnarsson's film marks it out as a force to be reckoned with when the awards come around.


Monday 23rd, 12.30
Tuesday 24th, 18.05

Coming along at just the right/wrong time, depending on your point of view, Polish feature Flying Pigs will undoubtedly have the tourist board of Anna Kazejak-Dawid's home country worried, ahead of the European Championships this Summer. Depicting a group of Poland's sadly notorious football fans, the film deals with what happens when a club goes into liquidation - a sadly routine occurrence in recent times. Vital viewing for football fans, particularly those planning on travelling with England in the Summer.




Tuesday 24th, 18.00
Wednesday 25th, 20.15

A film not lacking in big-name European talent, Free Men features performances from both a reliable veteran in Michael Lonsdale and a hot up-and-comer in the form of A Prophet's Tahar Rahim. Throw in the fact that it's set in 1942 occupied Paris and you've got a recipe which should make for a compelling piece of cinema. UK distribution has already been secured for May.


Sunday 22nd, 21.00
Saturday 28th, 20.40

An Indonesian film with a Welsh-born director and backing from The States, The Raid has pulled in some great publicity for itself based on its reception at several US-based festivals, even appearing in a smattering of end-of-year lists at the turn of 2011. Like The Inkeepers, screenings seem to be selling well already, with the Sunday already showing as sold out. Book now or be forced to hedge your bets on late ticket releases.


Saturday 21st, 17.45
Sunday 22nd, 18.20

The Hollywood Reporter and Screencrave have both bestowed praise on David Nordstrom's indie-drama, set amongst the frozen locales of Winter-time Wisconsin over one Thanksgiving evening. American indies set in small towns have a history of impressing at festivals and Nordstrom will be hoping his directorial debut can follow in their footsteps.


Wednesday 25th, 15.00
Friday 27th, 16.15

Another in a seemingly long line of films dealing with isolation and lost lives, Without is said to feature a pre-star making turn from Joslyn Jensen as a young women who takes care of an elderly man in an isolated location. The film marks the debut feature for writer/director Mark Jackson.


Look further...

Big hitters and classics have been purposefully left off this list but those looking to explore these should note that Oscar-nominee Albert Nobbs forms part of the lineup and is arguably Bradford's biggest coup this year. Elsewhere, the new, Golden Lion-winning, version of Faust gets a screening, epic Carlos forms part of an Olivier Assayas retrospective and Ridley Scott's Black Rain is shown on 70mm as part of Widescreen Weekend. Special events include appearances by Barbara Windor and Ray Winstone and a screening of Beggars Of Life with live musical accompaniment by pianist Neil Brand and Mark Kermode's Dodge Brothers.

Film Intel's 2011 Retrospective: Part 2 - The Stats

Possibly only of interest to those with severe OCD, these are the Film Intel film-watching stats for 2011. Look upon them in amazement. Or bewilderment. Or boredom.



Total films watched in 2011: 221

First film of the year: The King's Speech

Last film of the year: Paul

Film watched with the highest IMDb average rating: Inception (8.9)

Film watched with the lowest IMDb average rating: Age Of The Dragons (3.3)

Film watched with highest number of IMDb votes: Inception (472,558)

Film watched with lowest number of IMDb votes: Eliminate: Archie Cookson (not yet elligible) or Mitsuko Delivers (17)

Top three genres watched: Drama (105), Thriller (93), Action (64)

Bottom three genres watched: News (1), Sport (3), Musical (4)

Earliest produced film watched: The Great White Silence (1924)

Average rating given to films watched in 2011 (to 2dp): 6.06/10


Roll on being able to bore you stupid with this feature again in a year's time.

Film Intel's 2011 Retrospective: Part 1 - The Awards

Film Intel's annual retrospective does not contain a 'Best Film' award. It instead contains things like Best Minor Character and Film I Wish I Hadn't Seen awards, which, lets face it, are much more fun. Awards are based on the Film Intel experience of the year, rather than anything inconveniently difficult, like 'release date'.




Best Rewatch


Honourable Mentions; Inception, Three Kings, Dr. No, The Hangover

There is no film I enjoyed revisiting more after a long absence this year than High Fidelity, which is about as perfect a look at modern man and modern relationships as I've yet encountered. It's funny, sweet and depressingly human. I could have watched it again straight afterwards. Inception is a film which obviously improves on repeat viewings and it did again on my third watch. Three Kings remains an under-appreciated favourite and Dr. No a lovely slice of very good nostalgia. I still find The Hangover funny, despite the contrary opinions of many.



Best Film Watched Not Released In 2011


Honourable mentions; Bullitt, Waiting For Superman, The Secret In Their Eyes, Monsters

Very few films that shoot for powerful profundity achieve it, instead hitting smugness or unintentionally appearing glib in the face of a serious issue. Rabbit Hole is not one of those films. It's moving and well composed and tackles the state of grief with great honesty and care. If I had have seen it last year, it would have troubled my Top 3. The discovery of the presence inherent to the success of Bullitt for the first time was an action joy. Waiting For Superman is a documentary with many detractors but a powerfully argued one nonetheless. The Secret In Their Eyes is a fantastically well-told mystery and a deserved 2010 Oscar winner. Monsters is a wonderfully original take on the Alien Invasion genre, with plenty to say and some fantastic camera work.




Best Blu-ray Transfer/Best Example Of HD In Action

TT3D: Closer To The Edge

Honourable Mentions; Chico And Rita, Submarine, Tron: Legacy

All four of these films were gorgeous but TT3D especially stood out from the rest of the home market crowd due to its use of ultra-motion and incredibly high-quality 3D cameras. Even in non-3D, the images pop off the screen and in the ultra-mo sections the bikes and riders are shown to near fibre-level detail. A remarkable feat of well-used HD and outstanding cinematography.




Best Poster

The Inkeepers


Quite simply, nothing has come within many many miles of this wonderful poster for Ti West's The Inkeepers by The Dude Designs. Its retro, well assembled, has a nifty tagline and a delicious colour scheme. It walked the category. The Human Centipede II and The Rum Diary are both good examples of high concept art work taken, at least in the case of the former, to the extreme. The Tree Of Life similarly takes the amalgamation poster to new levels of beauty, whilst the Shame poster typifies how brave that film's marketing campaign has been.





Best Trailer

The Woman In Black

Honourable Mentions; Moneyball, Shame, Drive, The Guard

The Woman In Black trailer wins this category on account of it actually being significantly more chilling than most full length horror films. The use of the poem instead of screenplay dialogue and the incredible payoff it delivers come the end is significant, marking it out as a real benchmark for trailers everywhere. The Moneyball trailer brought hair-raising atmosphere without spoiling anything, the Shame trailer is perfectly pitched, looks fantastic and is structurally brilliant, the Drive trailer sold the film to many, whilst The Guard trailer brings admirable levels of fun.



Best Minor Character

The Monsters in Monsters

Honourable mentions; Princess Elizabeth (Freya Wilson) in The King's Speech, Graham Purvis (Paddy Considine) in Submarine, The Colonel (Jason Isaacs) in Skeletons, Barry Brown (Joel Edgerton) in Animal Kingdom

The use of The Monsters, and of their eventual genesis come the end, in Gareth Edwards' film is something born partially out of budgetary necessity but also out of a film with so much to say about so many things, including the over-saturated genre it moves in. One of the films of last year for several reasons. The honourable mentions are all great but the only one that threatened to nick top spot is Joel Edgerton's Baz, for obvious reasons if you've seen the film.



Film I Wish I Hadn't Seen

Rapt

Honourable mentions; Pathfinder, Age Of Dragons, Did You Hear About The Morgans?

There were a number of contenders here and for sheer ineptness of film-making, Pathfinder deserved to take the gong but this isn't a 'Worst' award it's a 'Film I Didn't Get Anything From' award. Pathfinder at least taught me how not to edit a movie. Rapt on the other hand is over-long, stale and one-dimensional. It's a kidnap thriller with no thrills. It challenges the fact that you need a likable character in the lead and then fails to overcome that very challenge. Dull, dull, dull, zzz. Age Of Dragons operates on similar lines as Pathfinder whilst Did You Hear About The Morgans? is offensively materialistic, xenophobic of the American mid-West and, generally, a pretty bad egg all round. Black Dynamite could have made this list but I'm struggling to build up the eagerness for that argument again.



Comment (on a post) Of The Year



Whilst it's tempting to pick the passive aggressive insults ladled out in amongst some justifiable points in the two Honourable Mentions, it's much more satisfying to go for a comment which gave a whole new reading to a film. John's comment suggested that the photographs on display in Let Me In hint at a different sort of history for the Richard Jenkins' character, and a different sort of future for Kodi Smit-McPhee's Owen.




Best Film Still

Harry Potter And The Deathly Hallows: Part 2

Honourable Mentions; TT3D, Submarine, The Great White Silence, Buried

I haven't always 'got' Harry Potter and I'm certainly not a Harry Potter 'fan', but the last film was dramatic and well composed and rather beautiful. This long shot, of the climactic battle between Harry and Voldemort won out over the other candidates because of what it represents; the end of a story and the end of a stupefyingly massive franchise, which did very good business for the British film industry.



Surprise Of The Year

Submarine

There are no honourable mentions because nothing comes close to how much this film surprised me. It should have been hipster garbage, it is actually one of the best films of the year.



Oh, go on then, if you're going to push me, the best 2011 film I've seen so far is probably Take Shelter, closely followed by Submarine, with The King's Speech in there somewhere if you're doing it on UK release date.



Look out for Part 2 - The Statistics next week.

Movie Marathon: The Top Three Films For A Subversive Christmas Movie Day

The ladies and gentlemen over at Most Wanted, the blog section of VoucherCodes.co.uk, asked a selection of film sites to come up with their top three films for a Movie Marathon day over the Christmas holidays. You know the sort, they're normally the days that happen because everyone has eaten too much pudding and going out after that and five whiskeys doesn't seem so appealing. Seeing as they asked very nicely and were offering cake, Film Intel put a thinking cap on and went to work.


There's definitely a risk over Christmas that everything gets, well, a little too 'Christmassy'. For Film Intel's list, therefore, we went in search of three films set at or around Christmas time, that deal with Christmas a bit subversively. They're a little bit nasty, they're not going to save you any Christmas cake and if they come down the chimney, it'll be because they're breaking into your house. This lot are perfect to start watching just after the kids have gone to bed, or are in the other room, playing with that dubiously-crafted doll-house.





Start off fairly gently (you'll understand why when we get to the second two films) with a screening of Shane Black's tremendously witty Kiss Kiss Bang Bang. Set around Christmas-time in Los Angeles, Black's black comedy involves parental abuse, Robert Downey Jr. relieving himself on a corpse, an unsolved murder, several shoot-outs and Val Kilmer's best performance since, well... maybe ever. Its hardly family friendly but it is wickedly funny and smartly directed and the Downey Jr./Kilmer/Michelle Monaghan triple threat are all stunningly well-cast.

Film Intel review: look out for it over Christmas
Alternatives; The Long Kiss Goodnight, Die Hard, The Ice Harvest




Film 2 - Santa's Slay

Santa's Slay starts with a cameoing James Caan and quickly goes downhill from there. It may not be very good, but the prospect of seeing Bill Goldberg as a murderous version of Father Christmas is too entertaining to claim this is completely without merit. The plot (something to do with the sport of curling, unbelievably enough) is complete bobbins but its a fairly gentle version of the yuletide horror, which will ease you in to the sub-genre in preparation for that which is to come...

Film Intel review: Two Stars
Alternatives; Gremlins, Rare Exports




Film 3 - Black Christmas (1974)

To round off your subversive night of Christmas, erm, 'fun', pop Bob Clark's 1974 slasher Black Christmas into the player, sit back and don't relax for a second. Clark's film (considered one of the first true slashers) is grim, claustrophobic and full of not-very-nice imagery. Its like Scream, but at Christmas, with occasionally even stupider main characters. Thank us (or not) in the morning. If you get any sleep.

Film Intel review: look out for it over Christmas
Alternatives; Deep Red, Black Christmas (2006)

Top 5 Reasons Why High Fidelity Is One Of The Best Films Of The Noughties

Please note: you should have seen High Fidelity by now. If you haven't, this article may spoil parts of it for you. Which would serve you right.

5 - The List Structure

Lists are comforting. We make them in our everyday life. We make them to do our shopping. We make them of things we need 'to do'. We make them to categorise the films we've seen. High Fidelity is a film built around a list with a substructure of other lists within it. As a starting point, Rob (John Cusack) lists his top 5 break-ups and then works his way back through them, exploring the reasons and revisiting the ex-girlfriends before he inevitably comes full circle, back to current-nearly-ex-partner Laura (Iben Hjejle). In between those points we take in the 'top 5 musical crimes perpetuated by Stevie Wonder in the '80s and '90s' and the 'top 5 songs about death', amongst others. The structural conceit of High Fidelity - completely focused around 'top 5' lists - makes the film organised, comforting and coherent.

4 - The Location

Move a novel from the UK to the US and you've basically got two city choices; New York or Los Angeles. Director Stephen Frears eschews both of these and instead opts for Chicago. It's the perfect choice. Set this in either of the other two cities and this becomes a completely different film. Set it in New York and Rob isn't a near-down-and-out with a job that hardly pays the rent. Instead, he'd be a trendy hipster with an ultra-fashionable boutique store. Set it in LA and you don't get the rain. On it's own merits, Chicago looks alternatively great and suppressed by browns and greys, which only add to the underground vibe the film builds throughout.

3 - The Fourth Wall Breaking Narration

The narration itself, though brilliantly scripted, isn't the key thing here, the key thing is how utterly convincingly Cusack and Frears sell it to you. Case in point: at no stage of the film does anyone in it (apart from Cusack) recognise or acknowledge that what the character is doing is a bit odd. No-one walks in on him talking to himself (us), no one turns round to 'shush' him whilst he's whispering during the funeral scene, no one else attempts to communicate with us directly. The film is an absolute masterclass in directing fourth wall breaking by Frears.

2 - The Musical Moments Of Genius

Being a film that comes very close to making music its subject matter, there are plenty of musical moments. Two approach genius. The first is almost throwaway, glossed over and disappears in an instant: Bruce Springsteen shows up to talk to Rob. In his imagination. Its almost a nothing scene but it's the kind of delicious cameo you can't help but love and it typifies Rob; he's a semi-dreamer, looking for the answer to everything in the songs of his heroes. The second is much more subtle. As Dick (Todd Louiso) starts to chat up Annaugh (Sara Gilbert) over a shared love of Green Day, Rob sidles over, 'I will now sell five copies of The Three EPs by The Beta Band'. Rob puts it on, the shoppers in the store start nodding. Frears doesn't even need to show you the scene where Rob sells his five copies. It nods to the end of the film: it has shown Rob to be the slyly clever, music-obsessed businessman he could be/is come the conclusion. Also: perfect track choice.

1 - The Human Characters

Rob - our hero - cheats on his girlfriend, indirectly causing her to abort their unplanned pregnancy. During the course of their separation, whilst still somewhat attempting to repair their relationship, Rob sleeps with Marie (Lisa Bonet), whilst Laura moves in with (and sleeps with) the odious Ian/Ray (Tim Robbins). Barry (Jack Black), rude and unlikeable throughout, gets throttled by Rob at one point. Dick is so wet he wouldn't be able to light a match. Of Rob's exes, only Penny (Joelle Carter) seems completely corpus mentus. Charlie (Catherine Zeta-Jones) is particularly horrendous. Liz (Joan Cusack) switches sides more often than a glory hunting football fan. Vince (Chris Rehmann) and Justin (Ben Carr) steal stuff. Everyone is flawed but, with the exception of Ian/Ray and, arguably, Charlie, you come to the end of the film liking every single one of them.

Sub-question: what moments just missed out?

Jack Black is still funny and possibly gets another moment of musical genius when Sonic Death Monkey morph into Barry Jive and The Uptown Five. On a similar note, at this point, John Cusack hadn't made 2012 and can still be considered to be channelling the coolness of Say Anything to great effect. The thing that came closest to making the list though? This is a rom-com. For guys. And you don't see a whole load of them.