Although a big budget studio production, it is a major disappointment for a variety of reasons although that won’t stop British audiences from powering it to a healthy opening weekend despite mixed reviews. [Odeon Leicester Square & Nationwide / PG]
Legion (Sony Pictures): A fantasy-horror about a group of strangers stranded in a remote diner in the Southwest who unwittingly become humanity’s last line of defense a terrifying biblical apocalypse descends upon the world. [Nationwide / 15]
Chloe (Optimum Releasing): A remake of the 2003 French film Nathalie… about a doctor (Julianne Moore) who hires an escort (Amanda Seyfried) to seduce her husband (Liam Neeson) whom she suspects of cheating, which leads to unforeseen consequences. [Odeon Covent Garden, Showcases Bluewater, Newham & Nationwide / 15]
Case 39 (Paramount): A horror about a social worker (Renee Zellweger) who fights to save a girl from her abusive parents, only to discover that the situation is more dangerous than she thought. [Empire Leicester Square & Nationwide / 15]
Ondine (Paramount): The latest film from director Neil Jordan about an Irish fisherman (Colin Farrell) who discovers a woman (Alicja Bachleda) in his fishing net who he believes to be a mermaid. [Nationwide/ 12A]
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1234 (Soda Pictures): British film about a wannabe musician and his band members trying to make it big. [Key Cities]
Exit Through The Gift Shop (Revolver Entertainment): A faux documentary about guerilla street artist Banksy and his collaborators. [Clapham Picturehouse, Curzon Soho, Everyman, Gate & Key Cities / 15]
Father Of My Children (Artificial Eye): A French film about a family who’s life is turned upside down when the father, a film producer, faces a crisis. [Curzons Mayfair & Richmond, Odeon Swiss Cottage, Renoir & Key Cities / 12A]
Motherhood (Metrodome Distribution): A comedy starring Uma Thurman, Anthony Edwards and Minnie Driver, set in New York’s West Village, about the dilemmas of motherhood. [Apollo Piccadilly Circus / 15]
The Shouting Men (Kaleidoscope Entertainment): Low budget British comedy about a bunch of Gillingham football supporters as they head north towards Newcastle. [Key Cities / 15]
Alice (Mia Wasikowska) is older than usual and the story follows her as she ventures into the fantastical Underland (or ‘Wonderland’ as some inhabitants call it).
Many children around the world have grown up with this story and the characters are fairly iconic to people of a certain age, so it was a no-brainer to make a live action feature film, especially given the success of Burton’s Charlie and the Chocolate Factory (2005).
But Burton has made a deeply average film which only contains fleeting glimpses of magic and too much that is pedestrian and uninspired.
Major problems begin with the casting of Alice, who is played by an actress who seems like she has just fallen out of bed rather than down a rabbit hole.
Newcomer Wasikowska just doesn’t have the spirit the role demands, especially given all the mind-bending experiences the protagonist goes through.
The idea of making her older doesn’t add anything substantial and her journey towards an armoured warrior towards the climax is unconvincing.
The production design and visual look of the film – one of Burton’s big selling points as a director – is also badly handled, much too reliant on green-screen trickery, to the point where it all blurs into an ugly CGI mess with little craft or imagination.
This is no more apparent than in the famous supporting characters.
The likes of the Cheshire Cat, Tweedledum and Tweedledee and the White Rabbit are wonderfully visual on the page, but on screen there are wafer-thin digital creations lacking charm and generally passing by without any consequence.
The two exceptions are Depp and Bonham-Carter, who do bring some zest to their roles, with the former tapping into the surreal charm of his character whilst the latter conveys the aristocratic impatience of hers with nice comic timing.
But this is little relief in a film which is a chore to sit through.
To make matters worse, the 3D has not been thought through properly and as the first major studio film to be released in the format after Avatar, this could prove to be a big let down.
I suspect, though could be wrong, that it wasn’t designed as a 3D film from the beginning, but when the 3D bandwagon gathered steam last year, someone decided to tick a box in the hope of boosting the box office.
When you think of the events in the story – falling down holes, characters growing in size etc – it is a massive missed opportunity, whether 3D was originally planned or not.
In fact, the film itself is one big missed opportunity that fails to translate the material effectively and a sign of a director who seems to have lost his way.
You may notice that the poster you saw in your local cinema (on the above left) is notably different from the cover of the disc you will buy or rent (on the above right).
The cinema poster – designed by BLT Associates – is fairly conceptual. It depicts the three main characters of the film (Clooney in the middle, flanked by Anna Kendrick on the left and Vera Farmiga on the right) but they are distant, in silhouette and made to look small by the airport glass and plane outside.
The Helvetica font and colour scheme (cool blues, mixed with whites and blacks) are very reminiscent of an airport and the overall effect is neat as it captures both the bittersweet mood and basic themes of the film.
Reitman recently said that he got the basic idea for the poster by taking a similar photo whilst filming on location at an airport but that some folks at Paramount marketing (the studio that funded the film) were keen on getting a little more of Clooney in the image.
After all, if you have paid a considerable amount for a star, you want to get your money’s worth even if he’s working at a reduced rate on a prestige, Oscar-candidate project like this.
But now the DVD and Blu-ray has come out in the US (that would be on the above right), you can see the difference.
Althought they have inverted the colour scheme of the theatrical poster, the main image features a much more prominent Clooney (laughing) alongside Vera Farmiga, with them both laughing at a bar.
The combined effect emphasises the comedy/feel-good aspect of the film alongside the romance and downplays the more serious themes of recession, job firings and isolation that crop up eslewhere in the story.
Personally, I think it looks horrible and doesn’t do justice to the quality of the film, but – even for a home entertainment release – it also looks pretty ropey, as if an intern was asked to do it on Photoshop on his lunch break.
So, what to make of all this?
Firstly, movie posters come out of a tradition where they are seen at cinemas, bus stops and various outdoor displays which mean they have to be larger in size. In comparison, DVD and Blu-rays are smaller so they have less space to grab your attention, often resulting in a face shot of the actors.
Secondly, one of the time honoured traditions in Hollywood is for everyone to blame the marketing if a film doesn’t do well at the box office. Although Up in the Air was by no means a flop – especially given its relatively lean budget – maybe Paramount felt they could dupe new audiences into thinking it is some kind of romantic comedy.
Thirdly, given that the (literal) shelf life of a film is longer in the shop than it is at cinemas, you would think that more time and effort would be spent on getting it right, rather than just reacting to what happened on the theatrical release.
Finally, it seems that the UK DVD & Blu-ray release of Up in the Air has exactly the same design as the theatrical poster, which could mean that: a) We have better taste over here b) Paramount UK couldn’t be bothered to change it or c) None of the above applies.
Fantastic Mr Fox (Fox): Wes Anderson‘s animated adaptation of the Roald Dahl children’s book was pleasingly off beat and featured an all-star voice cast in telling the tale of a fox (George Clooney) who lives underground with his wife (Meryl Streep) and family (which includes Jason Schwartzman) whilst attracting the ire of local farmers (Michael Gambon, Adrien Brody and Brian Cox). The stop motion animation is artfully realised and the witty script is complemented by some nicely deadpan voice-over work from the cast. [Buy it on DVD | Buy it on Blu-ray]
Dawn of the Dead (Arrow Films): George A Romero‘s classic 1978 horror film finally comes to Blu-ray and his follow-up to Night of the Living Dead still stands up after 32 years which have seen countless imitators, remakes and homages (most notably Shaun of the Dead). The story revolves around four people trapped inside a shopping mall after the rest of society has turned in to flesh eating zombies and the satirical jabs at Western consumerism have a new relevance in the modern era. This version is the 128 minute theatrical cut and features extras including audio commentaries, trailers, still gallery and an 85 minute documentary. [Buy it on Blu-ray]
Jacob’s Ladder (Optimum): A creepy psychological 1990 horror from director Adrian Lyne, this is the tale of a Vietnam veteran (Tim Robbins) who thinks he is going insane after his nightmares begin spilling into his waking life and he comes to think it has something to do with a powerful drug tested on him during the war. Written by Bruce Joel Rubin, it features solid supporting performances from Elizabeth Peña, Ving Rhames and Danny Aiello. It remains a powerful film even if the ending will probably prove divisive among viewers. [Buy it on Blu-ray]
Everybody’s Fine (Walt Disney): A comedy about a widower (Robert De Niro) setting off on an impromptu trip ride to reunite with each of his grown children.
Extraordinary Measures (Sony Pictures): A drama about a biotechnology executive (Brendan Fraser) whose two young children are afflicted with Pompe disease (acid maltase deficiency) and the research scientist (Harrison Ford) who might have a cure for their rare genetic disorder.
From Paris With Love (Warner Bros.): A thriller set in Paris, involving a young employee in the office of the US Ambassador (Jonathan Rhys-Myers) who hooks up with an American spy (John Travolta) looking to stop a terrorist attack in the city.
Directed by Pierre Morel (who had an unexpected hit last year with Taken) and produced by Luc Besson, it seems likely to have the same formula of mindless action, cheesy dialogue and decent box office. [Nationwide / 15]
Leap Year (Optimum Releasing): A romantic comedy about an American woman (Amy Adams) who travels to Ireland to propose to her boyfriend only to fall for an earthy local (Matthew Goode).
The above trailer is one of the most hideous in recent memory and it looks like all concerned (especially director Anand Tucker, who recently directed the third part of The Red Riding Trilogy) are doing this for commercial rather than creative reasons. Hollywood films set in Ireland usually contain the following cliches: Celtic flutes all over the soundtrack; earthy-but-charming locals who drink Guinness and red headed girls who are persuaded to dance in a pub. This looks like it could tick all those boxes. [Odeon Covent Garden, Vue West End & Nationwide / PG]
The Crazies (Paramount/Momentum): A remake of George A Romero’s 1973 horror about a town which goes crazy (or should that be crazie?) after the water supply has been poisoned by an unknown toxin.
Starring Timothy Olyphant and Radha Mitchell, it looks like it will attract poor reviews but decent initial box office. [Vues Finchley Rd, Fulham Broadway, Cineworld Shaftesbury Ave., & Nationwide / 15]
Although the buzz on this film was mixed when it premiered at Venice and Toronto back in the Autumn, it is a more thoughtful film than some critics have given it credit for. The title is misleading as it’s more of a critique against the winner-takes-all capitalism ushered in by the Reagan administration and how the policies under Clinton and Bush have contributed to the current financial crisis. There are some sequences that drag a little, but for the most part it is a thought provoking examination of how we’ve got to where we are as a society. Strangely, it could actually win Moore audiences amongst the right-wing ‘Teabaggers‘ as well as his core liberal audience as his criticisms of the TARP scheme chime in with theirs. [Curzon Soho & Key Cities / PG]
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Micmacs (E1 Entertainment): The latest film from Jean Pierre-Jeunet is a charming and highly inventive caper about a man (Dany Boon) who hooks up with an eccentric group of activists in order to get revenge on two unscrupulous arms dealers.
Despie being a fixture on the festival circuit, I’m surprised there isn’t more buzz about this film because it is one of the most inventive and pleasurable I’ve seen in the last year. It bears more similarities to Jeunet’s earlier work like Delicatessen and The City of Lost Children, but also manages to mix in a powerful social message without being preachy. The technical aspects of the film are a treat to watch and most of the actors (including Jeunet regulars like Dominique Pinon) are excellent in roles which require a great deal of physicality, sometime reminiscent of a Buster Keaton comedy. [C’World Haymarket, Curzons Mayfair, Soho & Nationwide / 12A]
Gentlemen Prefer Blondes (Park Circus): A BFI reissue for one of the most overrated comedies of all time. [BFI Southbank & Key Cities/ 12A]
Freestyle (Revolver Entertainment): A British film about a poor basketball player (Arinze Kene) who falls for rich girl (Lucy Stanhope) when he coaches her in the art of freestyle (basketball set to music). [London & Key Cities / 12A]
She, A Chinese (Optimum Releasing): Directed by London-based Chinese novelist Xiaolu Guofrom her own book, it is the tale of a young woman (Lu Huang), who travels from a remote Chinese village to London, finding that the West is a tougher place than she expected. [ICA Cinema]
Karthik Calling Karthik (Eros); A Bollywood film about a loser whose life is changed with a phone call.
A little bit of background: Jobs bought the animation division of ILM from George Lucas in 1986, renamed it Pixar and in 1995 their first feature length movie Toy Story began an incredible run of acclaimed animated blockbusters; Lasseter was the creative chief who directed A Bug’s Life (1998), Toy Story 2 (1999) and Cars (2006) whilst also serving as executive producer on Monsters, Inc. (2001), Finding Nemo(2003) and The Incredibles (2004), Ratatouille (2007) and WALL-E (2008).
The interview is fascinating in retrospect because it was only a few months before Jobs returned to Apple (the computer company he had co-founded in 1976) and began the great renaissance that gave the world the iMac, the iPod and the iPhone.
Just a decade after the following interview was recorded, Pixar was bought by Disney in early 2006 for $7.4 billion – Jobs became the largest individual shareholder and Lasseter was appointed Chief Creative Officer of Walt Disney Feature Animation.
The inventor of the web Tim Berners-Lee was interviewed for the series and in a neat touch the BBC has made available the raw interviews (or ‘rushes’ in film and TV speak) on their website.
Here is some of the interview which covers how people think when using the web; the ‘spirit of the web’; the impact of the web on nation states and web censorship.
After a spell making films in the U.S., director Wim Wenders returned to his native Germany for Wings of Desire (1987), a beautiful meditation on existence in a Berlin that was heading towards the end of the Cold War.
The story follows two angels, Damiel (Bruno Ganz) and Cassiel (Otto Sander) as they observe and listen in on the lives of Berlin’s citizens, most notably a trapeze artist, Marion (Solveig Dommartin) and Peter Falk (playing himself) who is in the city making a film.
Co-written with frequent collaborator Peter Handke, Wenders manages to contrast the poetic ruminations of the angels with the doubts and anxieties of the humans to stunning effect: monochrome is contrasted with colour, the camera goes from the skies above to the streets below and the journey of one of the angels is a touching reversal of what usually happens in these kinds of stories.
Wenders the Best Director prize at the Cannes Film Festival and the film spawned a decent – though inferior – sequel in 1993 with Faraway, So Close! and a Hollywood remake (City of Angels) which is best left forgotten.
An instant art house hit when it was originally released, the film has gained an extra layer of poignancy given the seismic changes the Berlin it so lovingly documents was about to undergo when the Wall fell in 1989.
This Blu-ray release is a massive improvement on existing DVDs and is a restored high-definition digital transfer, supervised and approved by Wenders and the 1080p rendering looks fantastic, with the details and black and white being rendered more faithfully than ever before.
Extra features include:
1080/23.98p 1.66:1 Widescreen (extras in SD PAL format)
German 5.1 DTS-HD MA with optional English subtitles
Feature-length commentary with Wim Wenders and Peter Falk
Wings of Desire (Axiom): One of the classic European films of the 1980s is Wim Wenders‘ classic tale of a guardian angel (Bruno Ganz) listening to the thoughts of mortals living in West Berlin only to find himself entranced by a trapeze artist (Solveig Dommartin) who makes him yearn to be human. Co-written with Peter Handke and beautifully shot in monochrome and colour by Henri Alekan, it won Wenders the Best Director prize at the 1987 Cannes Film Festival and remains his most celebrated film. This is the first time it has been available on Blu-ray in the UK and has a newly restored picture and sound mix supervised by the director. [Read the full review here]
M (Eureka/MOC): Fritz Lang’s classic early talkie is a crime drama set in 1930s Berlin which involves an elusive serial killer (Peter Lorre) who preys on children – based on the real life Düsseldorf killings – and the efforts of the police and the criminal underworld to catch him. Filmed in Germany, M established Fritz Lang’s reputation in America and was massively influential on other films with its innovative use of sound and visuals.
Here are some official backstage interviews with tonight’s BAFTA winners including Kathryn Bigelow, Colin Firth, Carey Mulligan, Mark Boal, Pete Docter and the Avatar effects team (Joe Letteri, Stephen Rosenbaum, Richard Baneham, Andrew R. Jones).
When director Peter Jackson was first attached to this project (originally developed by Film4 in the UK) it seemed like he would be returning to the mix of real life horror and fantasy that made Heavenly Creatures (1994) so powerful. Alas, that wasn’t to be and it seems like Jackson and regular scriptwriters Fran Walsh and Philippa Boyens had a hard time dialling down the emotion from their more recent big budget work (The Lord of the Rings, King Kong). Despite a stellar cast, the characters feel wildly overwrought and the ‘in-between world’ is essentially one empty CGI workout after another, with little emotion or genuine link to the drama.
Ronan and Tucci actually do very well in trying circumstances – they are easily the best thing about the film – but it is sad to see actors like Wahlberg, Weisz and Sarandon wasted on wafer thin roles. One can only assume that the tricky nature of the book led Jackson into a creative vortex he couldn’t ultimately get out of, but whatever the reason it ranks as one of the most disappointing films of the year given all the talent involved. Paramount held this back for several months because they felt it could be an Oscar front-runner, but its chances died when people finally got to see it. It might still do OK business given the fan base of the book, but this is only likely to be remembered as a creative misfire. [Vue West End & Nationwide / 12A]
Directed by Michael Hoffman, this is exactly the kind of period Oscar-bait that ageing Academy members drool over: distinguished actors, a historical-literary subject matter and a period setting. But it feels wildly out of date, something which Miramax might have put out in the late 90s, and is actually tedious to watch. Part of the problem is the cosy complacency of the script which doesn’t allow for anything other than the most cursory and clichéd look at Tolstoy’s life and ideas. The embarrassing dialogue he has given great actors (Mirren has two cringe-inducing scenes). Another problem in this post-Downfall age is the difficulty to suspend disbelief for the English accents in period Russia, which just make it feel like a stodgy BBC literary adaptation from the 1970s. [Picturehouse Clapham, The Gate & Nationwide / 15]
Crazy Heart (20th Century Fox): This drama about a veteran country singer (Jeff Bridges) who finds love and redemption is a charming and easygoing tale that seems likely to win Bridges his first Oscar.
On the face of it, this appears a well worn kind of film. For example, it bears remarkable similarities last year’s The Wrestler, but manages to become something more than the sum of its parts. When we first meet Bad Blake (Jeff Bridges), he seems like just another washed up country singer, touring the backwaters of the US country circuit.
But as the story progresses, we meet characters who affect him in different ways: a journalist (Maggie Gyllenhaal, in her best role in some time) who he falls for; a former protege turned superstar singer (Colin Farrell) and an old bar owning friend (Robert Duvall).
Writer-director Scott Cooper manages to juggle familiar themes of redemption and loss, whilst avoiding contrived twists and sentimental claptrap. Bad’s alcoholism, regret and attempts to establish a lasting relationship are just the simple struggles of life. By presenting them with little fuss, they gain a power and richness some filmmakers might have missed.
The music by T-Bone Burnett adds a wonderful musical texture to the drama and Bridges does an excellent job in performing them convincingly. Of course, the central talking point for most audiences will be his captivating central performance. It distills everything great about his distinguished career into one role: his easy charm, screen presence and intense like-ability are delivered here in one neat and memorable role.
This is a film with mostly good people. The ‘villains’, if one can call them that, are simply the grinding challenges of everyday existence. Much of the pleasure comes from seeing how the characters deal with what we all face: old age, disappointment and our own nagging doubts. [Vue West End / Nationwide from March 5th / 15]
A Closed Book (Eyeline Ent/Atlantic Film): Chilean director Raoul Ruiz is behind this story about a blind art critic (Tom Conti) and his personal assistant (Daryl Hannah). [Selected cinemas / 15]
The Headless Woman (New Wave Films): An acclaimed Argentinian film directed by Luis César Amadori and starring Niní Marshall. [Key Cities / 12A]
The Unloved (ICA Films): Samantha Morton’s directorial debut feature is drama about a young girl growing up in a children’s home. [ICA Cinema & Selected Key Cities]
Celine: Through The Eyes Of The World (Sony Pictures): Yes, a live concert film of Celine Dion is being unleashed at cinemas up and down the land. Christ. [Selected Cinemas Nationwide / PG]
The New York Times recently asked a bunch of high profile actors (including Sandra Bullock, Colin Firth, Julianne Moore, Woody Harrelson and George Clooney) to discuss their favourite performances of the last decade.
One of the key films of the French new wave, Pierrot le fou (1965) is Jean-Luc Godard‘s landmark drama about two lovers who go on the run.
Based on Lionel White‘s novel Obsession, it is the story of Ferdinand (Jean-Paul Belmondo), a young intellectual married to a rich Italian, who is utterly disillusioned with his luxurious bourgeois existence. When his new babysitter for his young daughter turns out to be his former lover, Marianne (Anna Karina) he sees a chance to escape.
When he and Marianne leave for the south of France, they confront criminals, petrol attendants, and American tourists as they discover more about themselves and become a kind of existential Bonnie & Clyde.
Godard here returned to the territory of A bout de souffle (1959), but this is arguably a more complex and challenging work which features musical numbers, as well as allusions to painting, literature and cinema itself.
The striking use of colour is just one of the many visual treats, as is the breaking of the fourth wall with characters looking into the camera and some innovative editing.
The Blu-ray comes with the following extras:
Introduction by Colin McCabe, Godard expert
Godard, Love and Poetry: Documentary on Godard (53 mins)
Documentary film analysis by Jean-Bernard Pouy (106 mins)
Trailer
German TV Advertisement
Posters (5)
BD Live
Booklet: Analysis of the movie by Roland-Francois Lack, Senior Lecturer in French and Film at University College London.
The technical specs are:
Cert: 15
Region B
Feature Running time: 105 mins approx
Blu-ray Feature Aspect ratio: 2.35:1
Colour PAL
Feature Audio: DTS Master Audio Dual Mono
English language
Video: 24p 1080
Disc Type: BD50
Cat no: OPTBD0826
RRP: £24.99
Pierrot le fou is out on Blu-ray now from Optimum Home Entertainment as part of The Studio Canal Collection
One of the classic comedies produced by Ealing Studios, The Ladykillers (1955) sees a criminal mastermind (Alec Guinness) and his gang rent a London flat from a sweet old lady (Katie Johnson) only to find that things don’t go as planned.
It features an excellent supporting cast that includes Peter Sellers, Herbert Lom and Danny Green, although it is the two leads of Guinness and Johnson who really shine with pitch perfect performances.
There is a restrained classiness to Alexander Mackendrick‘s direction whilst William Rose‘s screenplay has a marvellous blend of wit and economy.
Look out too for the effective use of London locations and the sparring between Lom and Sellars, which anticipates their roles in the Pink Panther films a decade later.
The Blu-ray comes with the following extras:
Introduction by Terry Gilliam
Commentary with Phillip Kemp
Forever Ealing: Documentary (49 mins)
Interview with Allan Scott (10 mins)
Interview with Ronald Harwood (7 mins)
Interview with Terence Davies New (14 mins)
Cleaning Up The Ladykillers: featurette
Trailer
BD-Live
Booklet: Analysis by film critic David Parkinson
The technical specs are:
Cert: PG
Region B
Feature Running time: 91 mins approx
Blu-ray Feature
Aspect ratio: 16:9 PB – 1.33:1 (4×3)
Colour PAL
Feature Audio: DTS HD Master 2.0 (Mono)
English Language
Video: 24p 1080
Disc Type: BD50
Cat no: OPTBD0602
RRP: £24.99
The Ladykillers is out on Blu-ray now from Optimum Home Entertainment as part of The Studio Canal Collection
It’s a quirky, complex, beautiful little film, and Ebert loves it. He radiates kid joy. Throughout the screening, he takes excited notes — references to other movies, snatches of dialogue, meditations on Almodóvar’s symbolism and his use of the color red. Ebert scribbles constantly, his pen digging into page after page, and then he tears the pages out of his notebook and drops them to the floor around him.
How his hands now do the talking, after losing his lower jaw and the ability to speak:
Now his hands do the talking. They are delicate, long-fingered, wrapped in skin as thin and translucent as silk. He wears his wedding ring on the middle finger of his left hand; he’s lost so much weight since he and Chaz were married in 1992 that it won’t stay where it belongs, especially now that his hands are so busy. There is almost always a pen in one and a spiral notebook or a pad of Post-it notes in the other — unless he’s at home, in which case his fingers are feverishly banging the keys of his MacBook Pro.
His narrow brush with death when his cancer resurfaced in 2006:
In 2006, the cancer surfaced yet again, this time in his jaw. A section of his lower jaw was removed; Ebert listened to Leonard Cohen. Two weeks later, he was in his hospital room packing his bags, the doctors and nurses paying one last visit, listening to a few last songs. That’s when his carotid artery, invisibly damaged by the earlier radiation and the most recent jaw surgery, burst. Blood began pouring out of Ebert’s mouth and formed a great pool on the polished floor. The doctors and nurses leapt up to stop the bleeding and barely saved his life. Had he made it out of his hospital room and been on his way home — had his artery waited just a few more songs to burst — Ebert would have bled to death on Lake Shore Drive.
How his online journal started in 2008:
At first, it’s just a vessel for him to apologize to his fans for not being downstate. The original entries are short updates about his life and health and a few of his heart’s wishes. Postcards and pebbles. They’re followed by a smattering of Welcomes to Cyberspace. But slowly the journal picks up steam, as Ebert’s strength and confidence and audience grow. You are the readers I have dreamed of, he writes. He is emboldened. He begins to write about more than movies; in fact, it sometimes seems as though he’d rather write about anything other than movies. The existence of an afterlife, the beauty of a full bookshelf, his liberalism and atheism and alcoholism, the health-care debate, Darwin, memories of departed friends and fights won and lost — more than five hundred thousand words of inner monologue have poured out of him, five hundred thousand words that probably wouldn’t exist had he kept his other voice.
How writing is ‘saving’ him:
He calls up a journal entry to elaborate, because it’s more efficient and time is precious: “When I am writing my problems become invisible and I am the same person I always was. All is well. I am as I should be”.
It is a powerful portrait filled with sadness at his condition and yet one can only admire Roger’s dedication to his craft.
In the midst of a terrible illness he is still being sustained by doing the thing he loves. A lesson for us all.
Read the profile in full here and check out his journal here.
Continuing their exploration of class and desire, it explores a middle-aged man (Michael Redgrave) recalling a childhood summer at a country estate when, as a boy (Dominic Guard), he became a messenger between an aristocratic woman (Julie Christie) an a local farm worker (Alan Bates).
Beautifully filmed in the Norfolk countryside, it transcends the period setting to become a powerful meditation on human relationships and the social rules which govern them.
It is also a meditation on memory and the tricks it may or may not play on us, as the clever narrative gradually makes clear.
Christie and Bates had previously starred together in Far From the Madding Crowd, and there is a definite sense of melancholy here that can be found it the works of Thomas Hardy, alongside the sharp jabs at the cruelties of the British class system.
The period details and costumes are all excellent and the memorable, driving score by Michael LeGrand adds an extra layer of emotion to the story.
It won several BAFTAs, including one for Pinter’s screenplay, and was one of four films awarded a grand prize at the 1971 Cannes Film Festival.
The Blu-ray comes with the following extras:
SD: Interviews with Joshua Losey (10 mins) / Michael Billington (8 mins) / Patricia Losey (12 mins) / Gerry Fisher (21 mins) / John Heyman (7 mins)
Horlicks Advert directed by Joseph Losey / Audio recording of Joseph Losey interviewed by Dilys Powell in 1973 (100 mins)
HD: Trailer / BD Live
Booklet: Piece by Gavrik Losey, Reprint of essays by Nick James, Editor of Sight & Sound and Dylan Cave, contributor, from Sight & Sound June 2009.
The technical specifications are as follows:
Cert: PG
Region B
Feature Running time: 116 mins approx
Blu-ray Feature Aspect ratio: 1.85:1
Colour PAL
Feature Audio: DTS Master Audio Dual Mono
English Language
Video: 24p 1080
Disc Type: BD50
Cat no: OPTBD1195
The Go-Between is out on Blu-ray now from Optimum Home Entertainment as part of The Studio Canal Collection
Up(Disney): The latest animated film from Pixar continues their extraordinary run of success with a superbly crafted odd-couple adventure which deservedly reaped huge critical acclaim and box office success.
Carl Fredricksen (Ed Asner) is a widowed ex-balloon salesman who, at the age of 78 and threatened with eviction, decides to go on an adventure by tying hundreds of balloons to his house and flying off to South America.
When he discovers mid-flight that a persistent young Junior Wilderness Explorer named Russell (Jordan Nagai) is on board, they embark on a journey which takes them to the jungle, where they encounter various creatures and a mysterious explorer (Christopher Plummer) from the past.
Pixar have become so good at feature length animation that it’s easy to take their brilliance for granted: the visuals are vibrant, imaginative and beautifully rendered; the characters are wonderfully crafted – from the contrasting leads to the supporting cast of exotic birds and talking dogs – and the expert pacing makes the 89-minute running time fly by.
Directed by Pete Docter, who was also behind ‘Monsters, Inc.’ (2001) as well as co-writing ‘Toy Story’ (1995) and ‘WALL-E’ (2008), it is the second highest grossing Pixar film (after Finding Nemo).
Much of the appeal was almost certainly cross-generational, with much of the comedy coming from the clash between grumpy old Carl and the naively innocent Russell.
The use of colour, from the balloons to the creatures and plants in the jungle, is as good as any Pixar film and gave it a captivating quality well suited both to 3D in the cinema and Blu-ray in the home.
The physical comedy, especially scenes involving a bird named Kevin and a talking golden retriever called Dug, is also a real treat, providing a lot of laughs and charm.
There is also a wordless sequence near the beginning which is among the most perfect I’ve ever seen in a mainstream film: over just five minutes, a whole marriage is portrayed with incredible economy and deep reserves of emotion.
Michael Giacchino’s score is his best yet for Pixar, with the melodies and instrumentation managing to complement the energetic set pieces and quieter moments with considerable skill and class.
If I had one complaint, it would be that when the film enters into the final act, it evokes a feeling of deja vu with the action seeming a little formulaic (e.g. characters fighting, getting out of scrapes in the nick of time).
The transfer for the Blu-ray is also a marvel to behold. Animated films benefit from coming from a digital source, which means unlike some of their celluloid counterparts, there is no digital noise, grain or flaws to speak of.
Gary Tooze at DVD Beaver has posted some screen grabs here.
Disney are releasing it on DVD and Blu-ray in the following packages:
The crop dusting sequence from Hitchcock’s North By Northwest is one of the most iconic in all of cinema and the real life location can be seen above on Google Maps.
Up (Disney): Pixar’s latest animated film is the tale of a retired balloon salesman named Carl (Ed Asner) who, at age 78, decides to use his balloons to finally go on a trip down to South America along with an unexpected young stowaway named Russell (Jordan Nagai). [Read the full review here]
The Go-Between (Optimum): A Blu-ray only release for this 1970 adaptation of L.P Hartley’s novel, directed by Joseph Losey and adapted by Harold Pinter. Set over a Norfolk summer in 1900, it sees a young boy become a pawn in the illicit relationship between an aristocratic woman (Julie Christie) and a local farmer (Alan Bates). [Read the full review here]
Pierrot Le Fou (Optimum): A Blu-ray only release for one of the iconic films of the French New Wave, which is Jean-Luc Godard’s 1965 film about a couple – Ferdinand (Jean-Paul Belmondo) and Marianne (Anna Karina) – who get caught up in a mysterious gun-running scheme involving Marianne’s brother (Dirk Sanders). [Read the full review here]
The Ladykillers (Optimum): A Blu-ray only release for this classic 1955 Ealing comedy directed by Alexander Mackendrick. It stars Alec Guinness stars as criminal mastermind who leads a group of thieves about to commit the perfect crime and rents a room from sweet and harmless old lady (Katie Davies) in her crooked London house. [Read the full review here]
The Leopard (BFI): Luchino Visconti’s classic 1963 adaptation of Giuseppe Tomasi di Lampedusa’s best-selling novel, which stars Burt Lancaster as the head of an ageing Sicilian family coming to terms with the emerging unified Italy in the 1800s. Finally released on Blu-ray – a fitting format for one of the most sumptuous epics ever made. This is the complete and uncut version released by the BFI in collaboration with Twentieth Century Fox Home Entertainment, Inc.
A bit of background: Canet worked with DiCaprio on The Beach (2000) and is married to Marion Cotillard, who stars with Leo in the upcoming Christopher Nolan thriller Inception.
The Wolfman (Universal): A remake of the 1941 classic horror film of the same name, starring Benicio del Toro as an actor who returns to his English ancestral home owned by his father (Anthony Hopkins), only to come under the curse of a werewolf.
Directed by Joe Johnston, it co-stars Emily Blunt, Hugo Weaving and has seemingly had its own curse: original director Mark Romanek left over creative differences; the script bears all the hallmarks of being rewritten extensively and the release has been put back a couple of times.
After the fiasco of Van Helsing, the 2004 release which made a mockery of the classic Universal horror characters, one might have hoped that the studio would get it right this time. Despite the excellent cast and impressive make-up effects by Rick Baker (famous for American Werewolf in London), the narrative is rushed and it feels like a classic case of too many cooks spoiling the broth.
The English locations are shot with a dull, misty gloom; the gore looks like it has been inserted in at later edit to appeal to teenage horror fanboys; too many comic Northern accents and an unforgivable finale where you cannot distinguish between two key characters.
The presence of ace editors Mark Goldblatt and Walter Murch would suggest that they were hired to re-edit the film into something coherent and respectable, but is a project with deep underlying script and directorial problems.
Universal have spent a fair amount marketing this, so they can expect decent business this weekend in the US and UK, but once word of mouth spreads and people read the mixed reviews, it will die a swift death. [Empire Leicester Square & Nationwide / 15]
Valentine’s Day (Warner Bros.): A patchwork romantic comedy about intertwining couples and singles in Los Angeles who break-up and make-up based on the pressures and expectations of Valentine’s Day.
Ponyo (Optimum Releasing): The latest animated film from Studio Ghibli, written and directed by Hayao Miyazaki is a tale of a goldfish named Ponyo who befriends a five-year-old human boy and wants to become a human girl.
A huge hit in Japan, it has garnered awards and critical acclaim and should do reasonable business before discovering a wider audience on DVD and Blu-ray.[Vue West End & Nationwide / U]
The directorial debut of fashion designer Tom Ford is a tasteful and well acted affair with a nuanced and moving central performance by Firth and some fine supporting turns from Julianne Moore, Nicholas Hoult and Matthew Goode. The production design and period detail are first rate and it depicts the ideas of the book with considerable skill and grace.
There are some drawbacks: a significant plot change is misguided and some of the visuals are a little too mannered, but generally it is a classy affair and finally allows Firth to show audiences what he can do in a lead role. Icon will expect decent arthouse business on the back of critical acclaim and Firth’s Oscar and BAFTA nomination. [Curzons Mayfair, Soho & Nationwide trailer / 12A]
This looks like a shameless Harry Potter clone (Columbus directed the first two Potter films) but it may get family audiences interested, despite the average reviews. [Vue West End & Nationwide / PG]
Battle For Terra (The Works): This 2007 film (yes, three years old) originally called Terra, is a 2007 CGI animated film redone in 3D about a peaceful alien planet facing destruction from colonization by the displaced remainder of the human race.
Food, Inc (Dogwoof): A documentary directed by Robert Kenner about the agricultural food production in the US, which explores how meat and vegetables produced by this system are less-than-healthy and environmentally-harmful.
Narrated by Michael Pollan and Eric Schlosser, it has garnered decent reviews and could make an art-house impact although it might depend heavily on word of mouth. [Curzon Soho, Odeon Panton St., Ritzy & Nationwide / PG]
My Name Is Khan (20th Century Fox): A Bollywood film directed by Karan Johar, with starring Shahrukh Khan and Kajol about a Muslim with Asberger’s Syndrome who emigrates to the United States. [Cineworld Shaftesbury Ave & Nationwide / 12A]
Takeshis’ (Artificial Eye): A 2005 (yes, that’s five years old!) Japanese film directed, written, edited by, and starring Takeshi Kitano in a self-reflexive film about himself. [Curzon Renoir / 15]
Winter In Wartime (Kaleidoscope Entertainment): An adaptation of the novel by Jan Terlouw about a boy who tries to help the resistance during World War II by helping an English pilot stay out of German hands. [Key Cities / 12A]
Anonyma: A Woman In Berlin (Metrodome Distribution): A drama about a woman who tries to survive the invasion of Berlin by the Soviet troops during the last days of World War II. [ICA Cinema]
Beyond The Pole (Shooting Pictures): A documentary film crew follows the first carbon neutral, organic, vegetarian expedition ever to attempt the North Pole. [ICA Cinema / Key Cities from March)
Pretty Woman (Park Circus): A reissue for Garry Marshall’s 1990 romantic comedy about an LA hooker (Julia Roberts) who falls for a millionaire businessman (Richard Gere). [Cineworld Haymarket & Nationwide / 15]
Adventureland (Walt Disney): Director Greg Mottola followed up Superbad (2007) with this marvellous coming-of-age comedy set in the summer of 1987 about a recent college grad (Jesse Eisenberg) who takes a nowhere job at a local amusement park, where he falls in love and learns a few life lessons.
Superbly made and acted it features some terrific performances from Eisenberg, Kristen Stewart, Ryan Reynolds (seriously) and Bill Hader. Although it didn’t make a huge amount of money at cinemas, it was one of the best films of last year and will almost certainly become a cult favourite in the future.
Plus, it has a memorable use of Falco’s ‘Amadeus‘ and the line “status obsessed witch” is one of the killer movie phrases in recent memory.
Extras include:
Deleted Scenes
Just My Life: The Making Of Adventureland
Feature Commentary — With Writer/Director Greg Mottola And Actor Jesse Eisenberg
A Satiric “How To” On Inflicting Unexpected Pain
* Buy Adventureland on DVD or Blu-ray from Amazon UK *
Mystic River (Warner): A release on Blu-ray for Clint Eastwood‘s 2003 adaptation of the Dennis Lehane novel, which is set in Boston and deals with three childhood friends (Sean Penn, Tim Robbins and Kevin Bacon) who are reunited after one of their daughters gets killed.
A powerful and well acted drama, it features fine supporting performances from Laura Linney, Marcia Gay Harden and Laurence Fishburne. Tastefully shot (by Tom Stern) and edited (by Joel Cox), it bears all the hallmarks of Eastwood’s classy dramas over the last decade and won Sean Penn and Tim Robbins Oscars for their performances.
“…contrast and colors leap ahead. …this looks very good and occasionally even impressive with some desirable depth. Dependant on your system – the superiority is moderate to heavy over the previous SD-DVDs”
This includes all the extras from the R1 DVD release that were never included on the UK R2 DVD.
Commentary by Tim Robbins and Kevin Bacon
Dennis Lehane Tours the Boston Neighborhood Setting of His Novel in Mystic River: Beneath the Surface
Featurette Mystic River: From Page to Screen
The Charlie Rose Show Interviews with Clint Eastwood, Tim Robbins and Kevin Bacon
Paper Heart (Anchor Bay): A new film starring Charlyne Yi and Michael Cera as fictionalized versions of themselves in a “hybrid documentary” about love. Directed by Nicholas Jasenovec, it also features Yi travelling across America asking various people about their experiences of love.
Extras include:
Paper Heart Uncut
“The Making of Paper Heart”
Live musical performances by Charlyne Yi
“Heaven” music video by Charlyne Yi and Michael Cera
