Kung Fu Panda 2 (Paramount): A sequel to the 2008 animated hit about a panda named Po (Jack Black) and his his friends known as the Furious Five – Tigress, Crane, Mantis, Viper and Monkey. Directed by Jennifer Yu Helson, it also features the voices of Angelina Jolie, Jackie Chan, David Cross and Lucy Liu. [Nationwide / PG]
Honey 2 (Universal): A sequel to the 2003 film, focusing on a different dancer (Katerina Graham) recently released from juvenile detention, who finds an outlet for her passion with a new dance crew. Directed by Bille Woodruff, it will go direct to DVD in the US. [Nationwide / PG]
Mother’s Day (Optimum Releasing): The sadistic members of a villainous family return to their childhood home to terrorize the new home owners and their guests. Directed by Darren Lynn Bousman and starring Rebecca De Mornay and Jaime King. [Nationwide / 18]
ALSO OUT
Point Blank (Vertigo Films): French thriller from director Fred Cavaye about a man (Giles Lellouche) going to extreme lengths to rescue his kidnapped wife (Roschdy ZemKey).Ā [Key Cities / 15]
Kaboom (Artificial Eye): A sci-fi story centered on the sexual awakening of a group of college students. Directed by Gregg Araki, it stars Thomas Dekker, Haley Bennett, Chris Zylka, Roxane Mesquida and Juno Temple. [Key Cities / 15]
Cria Cuervos (bfi Distribution): Re-release of the 1976 Spanish film about a young girl dealing with loss, directed by Carlos Saura. [Key Cities]
One of the most interesting films of the late 1980s was John Carpenter’s They Live.
After his amazing run of genre films in the late 70s and early 80s (from Assault On Precinct 13 until Escape From New York), his efforts at major studios seemd to lack the intensity of his early career.
But in 1988 he returned with a sci-fi horror film that was a chilling and darkly comic response to the dark side of Regan’s America.
The story of a wandering man (Roddy Piper) who discovers sinister forces secretly shaping society through advertising, it has a new relevance in these recessionary times.
Part of what makes the film so effective is that it wraps a subversive message within the form of an entertaining sci-fi thriller.
In fact, I would suggest that it is one of the most quietly subversive films ever released by a major studio and was possibly a big influence on The Matrix (1999).
Carpenter recently recorded this video introduction for the film for an upcoming screening at the Alamo Drafthouse in Austin, Texas.
One of the greatest films of the 1970s gets a worthy Blu-ray release which ranks amongst the finest ever in the format.
The reputation of Francis Ford Coppolaās Vietnam War drama has enhanced considerably since its release in 1979 and it looks stunning in this restored version, which includes the original cut, the 2001 redux version and Hearts of Darkness, the 1991 documentary about the making of the film.
Part of the joy of seeing Apocalypse Now in high-definition is that the original film set new standards for visual and audio presentation, whilst at the same time remaining a relevant story about the corrosive horrors of war.
It really is a case of new technology reminding you of the brilliance of a timeless classic.
The pristine high-definition transfer was personally overseen by Coppola and it isnāt an exaggeration to say that it almost looks like a contemporary release.
Presented at long last in the filmās original aspect ratio of 2.35:1, the 1080p image is stunning and the details and colours look sublime.
Long-time fans of the film will geek out at so many of the memorable set-pieces such as the opening, the helicopter attack set to Wagner and the climax but a younger generation of viewers used to CGI-fuelled epics might also find the film a revelation.
The film is rightly famous for its pioneering approach to audio and the DTS-HD Master Audio 5.1 track is simply on another level.
Coppola and Walter Murch essentially pioneered what would become known as 5.1 sound with Apocalypse Now and the use of sound in the film is astonishing.
The masterful blend of helicopter rotors with hotel fans in the opening sequence and the innovative synthesised score by Carmine Coppola are just some of the aural elements that are presented on the lossless audio track with sparkling fidelity.
Aside from the quality of the film and its HD presentation, this 3-disc package comes with an abundance of extras, which break down as follows.
DISC ONE
Two versions of the film are included on disc one: the original 1979 theatrical cut (2h 27m) and Apocalypse Now Redux (3h 16m).
Although the Redux cut is interesting I much prefer the original theatrical cut, which has more punch and narrative drive.
My advice is to watch the original version before viewing the Redux edition, as it does contain some interesting scenes, notably a lengthy sequence on a plantation and a different introduction to Col. Kilgore (Robert Duvall).
Coppola recorded a separate commentary for each edition and they are worth listening to as he describes his reasons for excluding the scenes which were later inserted into the Redux edition.
DISC TWO
Most of the extras are found on this and although some of it has appeared on previous DVD editions, Coppola has recorded three special interviews especially for this release.
A Conversation with Martin Sheen (59:26): This fascinating chat between the director and his leading man sees them discuss the casting process (Harvey Keitel was the original choice for Willard), the arduous shoot (Sheen had a heart attack during filming) and various anecdotes from the set. Both seem to have a genuine affection and respect for one another and for fans of the film it is a rich conversation and an essential watch.
An Interview with John Milius (49:45): As Coppola freely acknowledges during this interview, screenwriter John Milius was the man behind many of the central ideas and scenes in the film. The title, the notion of basing it on Hearts of Darkness and the helicopter sequence set to Wagner were all his ideas, even though the film evolved during filming. Perhaps most fascinating are the early, experimental roots of the project, which was to shoot it in Vietnam with George Lucas shooting it in black and white (during the actual war!). By the way, fans of The Big Lebowski might like to note that the character of Walter Sobchack (played by John Goodman) is inspired by Milius.
Fred Roos: Casting Apocalypse (11:44): One of the most interesting aspects of Apocalypse Now is the casting process, some of which we actually see courtesy of various sessions which were filmed. In this interview casting director Fred Roos talks about the hundreds of actors who tested for different parts.
Mercury Theater Production of ‘Heart of Darkness’ (36:34): A neat inclusion is the audio of the Mercury Theatreās radio production of Conrad’s novella, which features Orson Welles and his regular acting troupe just a week after infamous ‘War of the Worlds’ broadcast.
The Hollow Man (16:57): An impressionistic featurette with scenes from the film and production set against Brando reciting T.S. Eliot’s poem.
Monkey Sampan Deleted Scene (3:03): A deleted scene which fans of The Doors might appreciate as it sees natives singing āLight My Fireā (Jim Morrison went to film school with Coppola)
Additional Scenes (26:28): There are around 12 deleted scenes included here (some are time coded), of which perhaps the most interesting is the one involving Scott Glenn appearing at Kurtzās compound.
Destruction of the Kurtz Compound (6:06): The precise ending of the film has been the subject of much debate as it has changed throughout the years. Although the proper ending is presented on this version of the film, Coppola explains why a final credits sequence was used for various theatrical and TV showings of the film and how it got misinterpreted over time.
The Birth of 5.1 Sound (5:54): An short but highly illuminating featurette in which Ioan Allen of Dolby explains why Apocalypse Now brought about a revolution in cinema sound and indirectly led to the birth of the now standard 5.1 sound.
Ghost Helicopter Flyover (3:55): Keeping on the sound elements of the film this explores the surround sound design for a particular sequence.
The Synthesizer Soundtrack (Text): A reprint from Keyboard magazine which examined the then innovative use of synths on the soundtrack.
A Million Feet of Film: The Editing of ‘Apocalypse Now’ (17:57): A lot of the production of Apocalypse Now was filmed for posterity and this look at editor Walter Murch working on the film is fascinating.
Heard Any Good Movies Lately? The Sound Design of ‘Apocalypse Now’ (15:22): Another fascinating glimpse in to the sound design of the film that uses footage from the Zoetrope archives, showing how films were constructed in the pre-digital era.
The Final Mix (3:09): The studio setup used to achieve the final mix looks like something out of an old sci-fi film but thisĀ featuretteĀ shows how the amazing final mix was achieved in an analogue world.
‘Apocalypse’ Then and Now (3:44): Brief discussion of the differences between both versions of the film.
2001 Cannes Film Festival: Francis Ford Coppola (38:35): Lengthy interview at the American Pavilion during Cannes 2001 (as the Redux version was premiered) between Roger Ebert and Coppola as they discuss various aspects of the film, including the original Cannes premiere in 1979.
PBR Streetgang (4:09): Profiles from 2001 where the actors playing Willard’s crew ā including Laurence Fishburne and Timothy Bottoms ā talk about their experiences on the film.
The Color Palette of ‘Apocalypse Now’ (4:06): Another 2001 supplement which discusses how the visuals were restored for the Redux version using the three strip dye transfer Technicolor process.
DISC THREE
Hearts of Darkness: A Filmmaker’s Apocalypse (1h 36m): The real highlight of the supplements is this extraordinary 1991 documentary that details the long and painful production of the film.Ā Directed by Fax Bahr and George Hickenlooper, it uses footage shot on set by Coppolaās wife Eleanor and features interviews with key cast and crew to paint an unforgettable portrait of how a Hollywood classic came to the screen.Ā Possibly the best ever āmaking-ofā film ever made (closely followed by Les Blankās Burden of Dreams), it remains the most compelling look at the mammoth challenges facing the director and his crew during production.Ā Not only did Coppola invest a large chunk of his personal wealth into the film, but he had to deal with firing his original leading man days into filming, tropical storms which destroyed sets, Martin Sheen having a heart attack, and Marlon Brando and Dennis Hopper refusing to use the script.Ā Eleanor Coppola gave her on-set footage to Bahr and Hickenlooper, who then filmed the new interviews, which were then cut edited together with her previous material.Ā Much of it is absolute gold for fans of the film, but what makes this version particularly fascinating is the addition of audio commentaries by Francis and Eleanor which provide new and interesting perspectives on both the production and the documentary.Ā Francis claims that it painted a darker portrait of him than was actually the case as Eleanor wasnāt filming always on set and that there were times when the shooting went smoother than people seem to remember.Ā That said, both come out with considerable credit as Francisā financial and creative gamble with the film and Eleanorās documenting of what it took to make it ultimately paid off.
The other supplements on this disc include:
John Milius Script Selections with Notes by Francis Ford Coppola (Text):
Storyboard Gallery
Photo Archive
Marketing Archive, featuring the original 1979 trailer, theatrical program, radio spots, press kit photos and a poster gallery (look out for the Japanese poster).
Overall this is the best looking version of the film and the plentiful extras make it an essential purchase.
Asif Kapadia’s documentary about the life and career of Ayrton Senna is a riveting portrait of the F1 driver.
Using only archive footage alongside voiceover contributions from those who knew and wrote about him, it constructs a compelling story of a sporting icon.
Beginning with his early career in Europe, it charts his rapid ascent to Formula One where he joined the McLaren team in the late 1980s and quickly established himself as a precocious rival to reigning world champion Alain Prost.
Exploring his extraordinary feats on the track and the joy his three world titles brought to his native Brazil, it then covers his tragic early death at the San Marino Grand Prix in 1994.
With judicious use of archive footage, which really comes alive on the big screen, it also covers the murkier politics off the track with former FIA boss Jean-Marie Balestre coming across as another rival to be beaten.
Although this will be devoured by motor racing fans, it also works as a fascinating introduction for those who know little or nothing about Senna and his impact on the sport.
Part of what makes it so exciting is his life story, which whilst not a rags-to-riches tale (he was from a wealthy Brazilian family), feels like the subject of an epic novel filled with memorable touches.
His iconic yellow helmet, loving and devoted parents, faith in God, millions he donated to charity, glamorous girlfriends and the driving skills which established him as one of the greatest racing drivers of all time are just some of the rich details which make up the story.
Assembled from hours of footage from various broadcasters and the F1 archives, the editing is frequently inspired, providing an unusual level of excitement for a documentary.
At one point we see some especially prophetic comments from Prost (“Ayrton Senna has a small problem, he thinks he canāt kill himself because he believes in God and I think that is very dangerous for other driversā) as well as footage from family home videos.
Some of the internal F1 videos of driver meetings are an eye-opening glimpse into the world of a dangerous sport and Sennaās pleas for more safety add to the tragic irony of his untimely demise.
There are also astute voiceover contributions from journalist Richard Williams, F1 doctor Sid Watkins and racing commentators GalvĆ£o Bueno and John Bisignano which explain and illuminate his impact on the sport and his home country.
For director Asif Kapadia this marks a change from his previous feature films (such as The Warrior and Far North) but he seems to have a natural feel for the drama of real life and of the intense highs which sport can deliver to both participants and fans.
A subtle but atmospheric use of music augments the film nicely and the use of internal F1 footage of the drivers observing the horrific accidents during that fateful weekend in 1994 brings a new perspective to what would be a turning point the sport as a whole, as major safety changes were brought in following the crash that killed Senna and Roland Ratzenberger.
Although the exact cause of Senna’s crash at Imola still remains a mystery, it seems an unlikely confluence of events was ultimately to blame: the new rules imposed on the Williams car that season, an engineering fault, a previous crash at the start of the race and bad luck in how the car actually crashed on impact.
On paper this might sound like a film just for devoted F1 fans, but perhaps its greatest achievement lies in how it not only makes the races truly thrilling but finds universality in the details of a sportsman’s life.
After scoring major buzz at Sundance earlier this year, Universal and Working Title will be quietly confident that it finds a deserving audience hungry for engaging factual entertainment.
With the summer movie season fuelled by comic book fantasy, Senna provides a welcome injection of real-life drama and excitement.
The Alamo Drafthouse cinema in Austin, Texas has created this video highlighting its no ‘talking or texting during a movie’ policy.
As they say:
“We do not tolerate people that talk or text in the theater. In fact, before every film, we have several warnings on screen to prevent such happenings. Occasionally, someone doesn’t follow the rules, and we do, in fact, kick their asses out of our theater. This video is an actual voicemail from a woman that was kicked out of one of our Austin theaters. Thanks, anonymous woman, for being awesome.”
The restored version of Martin Scorsese’s 1976 classic is one of the best Blu-rays of the year.
Taxi Driver won the Palme d’Or at Cannes, received several Oscar nominations, became a box office hit and became an established classic of 1970s cinema.
A drama about an isolated New York cab driver (Robert De Niro), it explores his relationships with fellow drivers (Peter Boyle), a political campaign volunteer (Cybil Shepherd) and a young prostitute (Jodie Foster), as he starts to see violence as a solution to hisĀ loneliness.
This Blu-ray is taken directly from the new 4k restoration supervised by Sony’s Grover Crisp, and approvedĀ by Scorsese and cinematographer Michael Chapman.
Great effort has been made to keep the look of the original film intact and this is easily the best looking version of the film I’ve ever seen.
The detail and contrast of the visuals mark a major step up from the last DVD release in 2007 and the audio is equally good with the DTS-HD MA 5.1 lossless soundtrack sounding tremendous.
Hearing Bernard Herrman’s classic score set to some of the indelible images from the film at this quality is greatĀ for admirers of this mid-70s classic.
EXTRA FEATURES
The extras are also another major bonus of this release, featuring a raft of interesting supplementary material.
Original 1986 Commentary with Director Martin Scorsese and Writer: Perhaps the highlight is the inclusion of the 1986 audio commentary Scorsese and Schrader recorded for the Criterion LaserDisc. Although 15 years old, it is brilliantly informative and a fantastic resource for fans and students of the film. Scorsese talks about stylistic influences, shooting in New York and various production details whilst Schrader discusses the inspiration for the story, the themes and his take on the film. They are recorded separately butĀ edited togetherĀ withĀ a moderator whoĀ providesĀ even more background information.
Interactive Script to Screen: This feature shows the script on-screen as the film plays and you sync the script with the film or look at it independently from the film. Perhaps of most interest to film students, it also provides an interesting bridge between how a script looks on page and how it translates visually to the screen.
Audio Commentary by Robert Kolker: The film professor from the University of Virginia provides a highly informative commentary that delves into many facets of the film. From detailed discussions of the visuals to the overall history and impact of the film, it is well worth listening to.
Audio Commentary by Paul Schrader: The screenwriter does another full commentary, this time on his own, and discusses theĀ inspiration for his script, the differences between page and screen, the acting and his feelings about the finished film. Given his personal connection with the material,Ā it makes for an illuminating perspective on the film.
Martin Scorsese on Taxi Driver (16:52): An interview with the director where he discusses the background to the film, his career up to that point, how he got hired, Paul Schrader’s script, shooting in New York during 1975, how he related to the central character, the European influences on the film and where it sits in his career.
Producing Taxi Driver (9:53): Producer Michael Phillips speaks about his role in getting the film made, his earlier Oscar-winning success with The Sting (1973), how the dark script was initially a problem with the studio, working with Scorsese and De Niro and the legacy of the film.
God’s Lonely Man (21:42): A piece on the character of Travis Bickle, which sees Paul Schrader discuss how his own personal problems influenced the character and how he became a figure people identified with.
Influence and Appreciation: A Martin Scorsese Tribute (18:30): A piece featuring interview with Oliver Stone (a student of Scorsese’s at NYU in the 1970s), Paul Schrader, Roger Corman, Robert De Niro, Robert Kolker and others as they speak about the director and his films through the lens of Taxi Driver.
Taxi Driver Stories (22:23): Interviews with variousĀ cab drivers as they discuss what it was actually like to work in New York during the 1970s.
Making Taxi Driver (1:10:55): A comprehensive documentary from the early 1990s that covers the production and legacy of the film. Featuring interviews with key cast and crew it is a fascinating look at how it was made. There is some overlap from the other material on the disc, but for fans of the film this is a great overall look at the film.
Travis’ New York (6:16): Cinematographer Michael Chapman and former New York Mayor Ed Koch discuss what New York was actually like during the era in which Taxi Driver was shot on location there.
Travis’ New York Locations (4:49): A split-screen comparison of nine clips from the film along side the very same New York locations as they were in 2006.
Intro to Storyboards by Martin Scorsese (4:32): The director talks about the importance of storyboarding and how he used it whilst making the film.
Storyboard to Film Comparison (8:21): Various scenes are juxtaposedĀ withĀ the storyboards, which makes for a fascinating comparison of the two as some sketches are remarkably faithful to the finished shots.
Galleries (9:28): The image galleries feature photos of Bernard Herrmann’s sheet music for his iconic score, the crew on location (featuring some great black and white shots of Scorsese and De Niro), the original publicity materials and Martin Scorsese at work during the film.
Taxi Driver is out today from Sony Pictures Home Entertainment
Taxi Driver (Sony Pictures Home Ent.): Martin Scorsese’s classic 1976 drama about loneliness and urban alienation examines a lonely New York cab driver (Robert De Niro) and the people he comes across. This newly restored version looks and sounds fantastic and features an impressive array of extras. [Buy it on Blu-ray from Amazon UK]
127 Hours (20th Century Fox Home Ent.) Director Danny Boyle followed up the Oscar success of Slumdog Millionaire with this absorbing drama about Aaron Ralston (James Franco), the man who was trapped by a boulder in Utah in 2003. [Buy it on Blu-ray from Amazon UK] [Read our LFF review]
Cross of Iron (Optimum Home Entertainment): Sam Peckinpah’s 1977 film examines the tensions amongst German officers on the Eastern Front during World War II as the Nazi’s retreated from the Taman Peninsula in late 1943. Starring James Coburn, Maximilian Schell, James Mason and David Warner, it is a grimly absorbing film that has improved with age. This newly restored Blu-ray looks excellent. [Buy it on Blu-ray from Amazon UK]
The Bridge On the River Kwai (Sony Pictures Home Ent.): David Lean’s Oscar winning 1957 drama about allied prisoners of war building a bridge for their Japanese captors gets a nice new HD transfer in its proper, widescreen aspect ratio. Starring Alec Guiness, William Holden and Jack Hawkins, the Blu-ray also includes some extras including on-set interviews and media coverage from the time. [Buy it on Blu-ray from Amazon UK]
ALSO OUT
Danny Boyle Collection (20th Century Fox Home Ent.) [Blu-ray / Box Set] Fire in Babylon (Revolver Entertainment) [Blu-ray / Normal] Gnomeo and Juliet (Entertainment One) [Blu-ray / 3D Edition] Henry’s Crime (EV) [Blu-ray / Normal] It’s Kind of a Funny Story (Universal Pictures) [Blu-ray / Normal] Orcs! (Optimum Home Entertainment) [Blu-ray / Normal] StreetDance (Entertainment One) [Blu-ray / with 3D Version] The Fifth Element (20th Century Fox Home Ent.) [Blu-ray / Normal] The Godfather (Paramount Home Entertainment) [Blu-ray / Normal] The Godfather: Part II (Paramount Home Entertainment) [Blu-ray / Normal] The Godfather: Part III (Paramount Home Entertainment) [Blu-ray / Normal] The Hole (Entertainment One) [Blu-ray / with 3D Version] The Mechanic (Lionsgate UK) [Blu-ray / Normal] The Mechanic (Momentum Pictures) [Blu-ray / Normal]
Filmed at the home of Stan Laurel’s daughter, Lois in Reseda, California, it features Stan Laurel and his wife Ida, Oliver Hardy and his wife Virginia, Andy Wade (who shot the film), Stan’s daughter Lois, her husband Rand Brooks and their children Randy and Laurie.
Presented by Steve Rider, the 50 minute programme features plenty of archive footage from Senna’s life and interviews with Frank Williams, Alain Prost, Gerhard Berger, Martin Brundle, Damon Hill, and Nigel Mansell.
X-Men: First Class (20th Century Fox): Set in the early 1960s, this prequel to the X-Men series explores the formative years of Erik Lehnsherr (Michael Fassbender) and Charles Xavier (James McAvoy), as they discover their special powers and fight to stop a mysterious villain (Kevin Bacon) from exploiting Cold War tensions. Directed by Matthew Vaughn, it co-stars Jennifer Lawrence, Rose Byrne, January Jones, Oliver Platt and Nicholas Hoult. [Nationwide / 12A] [Read our full review here]
Senna (Universal/Working Title): Documentary about the life and career of Brazilian F1 racing driver Ayrton Senna, who won the world championship three times before his untimely death at the age of 34 in 1994. Directed by Asif Kapadia, it was awarded the World Cinema Audience Award for Documentary at the 2011 Sundance Film Festival. [Nationwide / 12A]
Last Night (Optimum Releasing): Drama about a married couple (Keira Knightley and Sam Worthington) who find their relationship disrupted by a work colleague (Eva Mendes) and an old lover (Guillaume Canet). Directed by Massy Tadjedin. [Key Cities / 12A]
Prom (Walt Disney): Comedy about a detail-obsessed prom committee leader who is caught off guard when she unexpectedly falls for the school’s bad boy. Directed by Joe Nussbaum, it stars Aimee Teegarden, Thomas McDonell, Danielle Campbell, Yin Chang, Kylie Bunbury and Nicholas Braun [Nationwide / U]
ALSO OUT
Screwed (Lionsgate UK): Prison drama based on ex-prison officer Ronnie Thompson’s memoir about the battle between a warden (James D’Arcy) and a prisoner (Noel Clarke). Directed by Reg Travis. [Key Cities / 18]
The Flaw (Studio Lambert): Documentary about the 2008 financial crisis directed by David Sington, featuring contributions from Joseph Stiglitz, George Cooper, Professor Robert Frank, Robert Schiller and Louis Hyman [Key Cities]
Donor Unknown (Redbird Productions): Documentary about children born through artificial insemination trying to find their sperm-donor fathers. Directed by Jerry Rothwell. [Key Cities / 12A]
The latest release of this groundbreaking 1969 drama is a reminder of the film’s power and charm.
Based on the novel by James Leo Herlihy, it begins with a young Texan named Joe Buck (Jon Voight) quitting his job and travelling to New York to become a hustler.
Once there he struggles until he forges an unlikely friendship with conman Enrico “Ratso” Rizzo (Dustin Hoffman), who had at first tried to trick him.
An oddball couple who do their best to survive in the big city, they come across various characters, including religious fanatics, rich middle age women and disciples of Andy Warhol.
Although dated in some respects (the sexual content which shocked back then, seems relatively tame now) it is still a moving depiction of outsiders making a connection with each other as they join forces to survive in a harsh metropolis.
Director John Schlesinger had already made a name for himself in England during the 1960s with films such as Billy Liar (1963) and Darling (1965), but this was his first in America and he shoots with the keen and curious eye of an outsider.
The flashbacks and jump cuts, which are central to the narrative, appear to be influenced by the French New Wave and the depiction of urban squalor seems to be a hat tip to the Italian neo-realist directors of the 1940s and 50s.
Using actual locations and a raw, shooting style gives everything a feeling of authenticity which is more than matched by the central performances.
A breakout film for Voight, who is charmingly innocent in the title role, it also showed a different side to Hoffman who had only recently become a star with The Graduate (1967).
Both manage to carve out memorable characters and it is their unlikely chemistry that still powers the emotional heart of the film.
Coming at the tail end of the 1960s, Midnight Cowboy almost certainly struck a chord with audiences who empathised with the rural innocence of Joe and the urban opportunism of Ratso.
But it was the frank approach to modern, urban existence – especially sex – which marked it out as a film to watch and one that reflected a reality other mainstream cinema had ignored up to that point.
On a deeper level, it is a powerful parable showing how the perpetual optimism of the American dream can be undermined a darker American reality.
Joe’s flashbacks hint of a dark past in rural Texas (involving rape and cruelty), whilst Rizzo is trapped by the very city his friend has dreamt about.
It isn’t a coincidence that both chase for the dream of another place, whether it be the streets of New York or the sunshine of Miami.
There is also the comic contrast of Joe’s politeness with the rather sordid things he gets up to, whilst Rizzo reveals unexpected depths beneath his sleazy exterior.
Screenwriter Waldo Salt had had some lean years after being blacklisted during the 1950s but he brings some nice touches to the screenplay: notice the bookending of the story by key bus journeys, the clever use of non-verbal action and his empathy with outsiders. (Look out for his daughter Jennifer in a key role).
Revisiting the film today, it may be hard to appreciate the impact it had in 1969 but it came at a time when the major studios were deeply confused at what younger audiences wanted.
The success of films such as Bonnie and Clyde (1967), The Graduate (1967) and Easy Rider (1969) flummoxed the old school studio executives who were still living in a previous era.
Even at the enlightened folk at United Artists – a studio who mixed commercial nous with artistic integrity – weren’t fully convinced by what Schlesinger was doing until they saw the finished film.
On its release in May 1969 it became a massive success (despite negative reviews from high profile critics such as Judith Crist and Pauline Kael) and went on to be the fourth highest grossing film of that year.
Given that it was awarded an X-rating by the MPAA, preventing it from being shown in certain markets, this was some achievement, even though it probably boosted the must-see aura surrounding the film.
When it triumphed at the Oscars a few months later, it famously became the only X-rated film to win Best Picture, along with trophies for John Schlesinger (Best Director) and Waldo Salt (Best Adapted Screenplay).
Look out for the startling coincidence in the actual film when Rizzo talks about his father in a graveyard and remarks that his tombstone should have āone big lousy Xā.
A further eerie moment happens in the scene where Hoffman and Voight argue about the latterās cowboy outfit and actually mention Wayne by name.
Both Hoffman and Voight were up for Best Actor awards that year (as this LIFE magazine profile shows), which may have split the vote, as it went to none other than John Wayne for True Grit.
I can only imagine how Duke felt when he saw this:
The image quality on this Blu-ray release is good without being great. Whilst probably the best this film has ever looked, it has a grainy appearance and doesn’t appear to have been given a full and proper restoration.
After some controversy over previous transfers to DVD, I can only assume this is due to the legacy of titles made under United Artists, a studio which has undergone various owners since the end of the 1970s.
After the fiasco of Heaven’s Gate (1980) the ownership of their library has been a turbulent one and even today the company remains in financial trouble despite ownership of key franchises including James Bond and The Hobbit.
This may account for benchmark titles like this not getting the kind of high-def restoration we see with other classic titles from the same period such as The Godfather (1972) or The Exorcist (1973).
The extras seem to have been ported over from the 2004 DVD release and include three making of featurettes, the most substantial of which is ‘Celebrating Midnight Cowboy’, a 30 minute documentary featuring interviews with actors Jon Voight and Dustin Hoffman, producer Jerome Hellman, actress Jennifer Salt, DP Adam Holender and music supervisor John Barry.
Despite these drawbacks, this is still a classic title worth seeking out and it is still a key film which marked a watershed period in Hollywood history.
Midnight Cowboy is out now from 20th Century Fox Home Entertainment
The Marvel franchise finds new energy and charm with a stylish 1960s period setting, well staged action and fine performances from an impressive ensemble cast.
Opening with the same scene as the 2000 film, an extended prologue explores the formative years of Erik Lehnsherr (Michael Fassbender), Charles Xavier (James McAvoy) and Raven Darkholme (Jennifer Lawrence), as they discover their special powers.
Moving forward to the early 1960s, we see how the original X-Men group come together as a CIA agent (Rose Byrne) recruits Xavier and a team of mutants to help them fight the mysterious Sebastian Shaw (Kevin Bacon), who seeks to exploit Cold War tensions for his own gain.
Along the way they recruit Lehnsherr (for whose deeply personal reasons for joining the mission) and several other mutants (Nicholas Hoult, Caleb Landry Jones and Zoƫ Kravitz), whilst Shaw has his own team of cohorts (including January Jones, Jason Flemyng).
The most striking thing about the film is the way it erases the bad memories of the shambolic Wolverine prequel ā X-Men Origins: Wolverine (2009) – and the unsatisfactory third film ā X-Men: The Last Stand (2006) ā which both suffered from the absence of director Bryan Singer (who went off to do Superman Returns instead).
He was back on board as producer here and although the screenplay is credited to four writers, director Matthew Vaughn wisely taps into the vibe of Singerās first film, which effectively blended issues, emotions and action.
That in turn reflected the original comics, which were forged in the social tumult of the 1960s, so there is something appropriate about seeing these characters brought to the screen in the decade which gave birth to them.
Despite the large ensemble cast, the heart of this film is the relationship between Eric (the future Magneto) and Charles (the future Professor X) and the casting of Fassbender and McAvoy is inspired.
Making the roles their own, they bring surprising levels of gravitas and emotion to their superhero bromance, elevating the material above most comic book adaptations and providing a solid foundation for the wider story.
The supporting cast is also good, with Lawrence (as the future Mystique) standing out in particular and there is a nice smattering of veteran actors from genre movies in cameo roles, including Rade Serbedzija, Ray Wise, Michael Ironside and James Remar.
Moving at a healthy pace, the story takes its cues from classic Bond, with globe-trotting action set-pieces linked to a narrative involving a super-villain, which ends up in a climactic showdown.
Although the action and visuals are handled well, it says a great deal about the film that the most effective thing is the relationships that lie at the heart of the film.
The villains are a little one note at times (especially January Jones) and Bacon too much like a Bond villain for comfort.
But overall the conflicts are well played, whilst the ethical dilemas of the mutants (should they join or fight a suspicious society?) hover effectively in the background.
It doesnāt approach the heights of X-Men 2 (2003), still the best of the series, but fans of the franchise might notice the narrative parallels between this prequel and Singerās first two films: a rouge outsider joins forces with other mutants to fight a common enemy; and opposing mutants band together despite their differences.
My main reservation plot wise was something that happens at the climax (which I canāt reveal for spoiler reasons), suffice to say that a particular character develops a bit too early.
The period detail is impressive, although in keeping with a stylised fantasy version of the 60s, and the production design effectively channels the Cold War era, with films such as Dr. Strangelove (1964) and You Only Live Twice (1968) being a marked influences on the design.
There is a distinct influence of Mad Men in the air with casting of Jones, the 1960s setting and the resulting costumes, although it never overpowers the material itself.
Blending the Bond influence with the events of Cuban missile crisis also feels appropriate given how often 007ās adventures were inspired by Cold War intrigue.
As you might expect for a film of this scale, the production design, costumes and visual effects are impressive, although at times (especially the climax) the CGI is a little over used.
Plus, for a film so faithful to the original trilogy there appears to be a continuity error so glaring, Iām assuming it must be deliberate (email me for further details, as it is firmly in spoiler territory).
In an age of prequels, sequels and remakes, perhaps the best thing about X-Men First Class is that it feels like a fresh spin on the comic book formula.
There is enough here for both the mass audience and experienced comic book geeks to enjoy (one āEaster Eggā cameo is sure to bring the house down).
When this project was first announced, it seemed like Fox was just rehashing a cash-cow franchise, but credit must go to the studio for trusting filmmakers to revisit the essence of the original comics and translate them into a deeply satisfying summer movie.
Was the leaked trailer for David Fincher’s remake of The Girl With The Dragon Tattoo the first stage of a clever marketing campaign?
The first I heard of it was an official email on Friday morning telling me that the TV debut of the trailer would be Thursday 2nd June.
All this is pretty standard stuff for a major studio announcing the first look at a major production (this is Sony’s big film for Christmas).
But then over the weekend a bootleg version of the trailer popped up on YouTube and began lighting up on people’s Twitter feeds.
Set to a funky cover version of Led Zeppelin‘sĀ Immigrant Song performed by Trent Reznor andĀ Karen O, it’s one of the most striking and stylish teasers for a big studio film I’ve seen in quite some time.
Notice the quick cutting (there seems to be a rhythm of one edit per second), the dark Seven-style vibe and big, blocky fonts at the end which spell the fantastic tagline of “The Feel Bad Movie of Christmas”.
It feels like Fincher had a hand in personally supervising this, but how did it end up online?Ā More to the point, how does a bootlegged trailer shot in a cinema sound so good?
Could it be the first step in Sony’s marketing push for this film?
(Let’s also not forget that one of the main characters is a computer hacker, so maybe the idea of an unofficial bootleg trailer fits in with the mood of the story).
Treme: Season 1 (Warner Home Video): David Simon’s HBO follow up to The Wire is a US drama series named after a neighborhood in New Orleans (pronounced ‘tre-may’) and explores the lives of its inhabitants three months after Hurricane Katrina. Weaving various stories together, the characters include musicians, chefs, Mardi Gras Indians, and ordinary citizens trying to rebuild their lives in 2005. Featuring actors from The Wire, such as Wendell Pierce and Clarke Peters, it also stars Melissa Leo, John Goodman, Kim Dickens, Steve Zahn, Lucia Micarelli, Michiel Huisman, David Morse and Jon Seda. [Buy it on Blu-ray or DVD from Amazon UK]
ALSO OUT
From the Ashes (Kaleidoscope Home Ent.) [Blu-ray / Normal] Just Go With It (Sony Pictures Home Ent.) [Blu-ray / Normal] Primal Scream: Screamadelica Live (Eagle Rock Entertainment) [Blu-ray / Normal] Red Hill (Momentum Pictures) [Blu-ray / Normal] Ride, Rise, Roar (Kaleidoscope Home Ent.) [Blu-ray / Normal] Rolling Thunder (Optimum Home Entertainment) [Blu-ray / Normal] Salon Kitty – Director’s Cut (Argent Films) [Blu-ray / Normal] The Dilemma (Universal) [Blu-ray / Normal] The Warrior and the Wolf (Universal Pictures) [Blu-ray / Normal] Young Bruce Lee (Showbox Media Group) [Blu-ray / Normal]
The Hangover Part II (Warner Bros.): The sequl to the 2009 comedy blockbuster sees friends Phil (Bradley Cooper), Stu (Ed Helms), Alan (Zach Galifianakis) and Doug (Justin Bartha) travel to Thailand for Stu’s wedding where they get into more drunken scrapes. Directed by Todd Phillips, it co-stars Ken Jeong, Jeffrey Tambor, Jamie Chung and Paul Giamatti. [Nationwide / 15]
Diary Of A Wimpy Kid 2: Rodrick Rules (20th Century Fox): Sequel based on the second book in the “Diary of a Wimpy Kid” series, which follows middle school student Greg Heffley (Zachary Gordon), his older brother Rodrick (Robert Capron) and the school talent show. Directed by David Bowers and co-starring Rachael Harris, Devon Bostick and Steve Zahn. [Nationwide / U]
ALSO OUT
Apocalypse Now (Optimum Releasing): Re-release of the classic 1979 Vietnam war drama, which has been digitally restored. Directed by Francis Ford Coppola, it stars Martin Sheen, Marlon Brando, and Robert Duvall. [Key cities / 15] [Read our full review here]
Le Quattro Volte (New Wave Films): Italian dramaĀ about an ageing shepherd (Giuseppe Fuda) and his animals in the southern town of Calabria. Directed by Michelangelo Frammartino, it stars Bruno Timpano, Giuseppe Fuda and Nazareno Timpano. [Key cities / U]
Heartbeats (Network Releasing): Drama about a love-triangle between three friends in Quebec. Directed by Xavier Dolan (who also stars), it co-stars Monia Chokri and Niels Schneider.Ā [Key Cities / 15]
Life, Above All (Peccadillo Pictures): Drama about a mother-daughter relationship that reflects the modern South Africa. Directed by Oliver Schmitz, it stars Khomotso Manyaka and Keaobaka Makanyane. [12A]
Angels Of Evil (Artificial Eye): Italian gangster drama based on the life and times of Renato Villanzasca, a criminal from Milan who captured Italy’s headlines in the 1970s. Directed by Michele Placido, it stars Kim Rossi Stuart, Filippo Timi, Moritz Bleibtreu, Valeria Solarino, Paz Vega and Francesco Scianna. [Key Cities / 15]
Dancing Dreams (Soda Pictures): German documentary about untrained dancers learning Pina Bausch’s 1970s dance piece, Kontakthof. Directed by Rainer Hoffman and Anne Linsel. [Key Cities]
The new restored print is a reminder of this extraordinary 1979 film, which remains one the most ambitious productions ever attempted in Hollywood but also a lasting depiction of the insanity of warfare.
Set during the Vietnam War, it depicts the journey of a US special operations officer, Captain Willard (Martin Sheen) who is sent to assassinate the rogue Colonel Kurtz (Marlon Brando), who has established his own outpost in the jungle.
Willard joins the crew of a patrol boat (Albert Hall, Sam Bottoms, Laurence Fishburne and Frederic Forrest) and he meets various characters on his trip, including the surf-obsessed Lieutenant Colonel Kilgore (Robert Duvall) and a manic photographer (Dennis Hopper).
Evolving over a number of years, with a script by John Milius loosely based on Joseph Conradās novella Heart of Darkness, Coppola decided it would be his next project after the huge success of The Godfather films.
It was rare then – and even rarer now – for a filmmaker to use his personal finances to help bankroll a film but Coppola did just that and it is to his lasting credit as this is a film that major studios wouldn’t even think of making today.
The gruelling production is now the stuff of legend, as the arduous shoot in the Philippines involved the director replacing his original lead actor (Harvey Keitel), sets wrecked by typhoons, Martin Sheen having a heart attack and numerous delays to the production and eventual release date.
On its original release the film was met with somewhat muted acclaim after an unfinished cut screened at the Cannes Film Festival in April 1979, before its wider US release later that summer.
But over the years it has become one of the most acclaimed films of the 1970s and its achievement and cultural influence has proved to be more lasting than perhaps some at the time realised.
Part of the initial confusion was the different versions of the ending that Coppola put out on the initial release and the extended āReduxā cut released in 2001 which added scenes shot but never used for the original.
This new, restored version is the original cut that deliberately omits opening titles and end credits, although the sound and visuals have been given a sparkling upgrade overseen by Coppola.
It was the first time Iād seen this version on the big screen and it was really quite something to see and hear with decent projection and sound.
Iāll post some thoughts soon on the forthcoming Blu-ray, but Iād highly recommend seeing this film in a cinema to appreciate not just a classic film, but one that set new technical standards for the industry.
Thereās obviously been a lot written about Apocalypse Now, but here were my initial thoughts on seeing the latest release on the big screen:
This is definitely the best version I have ever seen: My first experience of Apocalypse Now was on TV in 1988 and although I didnāt fully understand the film then, it still struck me as haunting and captivating. Subsequent viewings on TV and video only whetted my appetite to see it on the big screen and this restored version not only captures the amazing visuals but especially emphasises the pioneering sound mix.
It is better the 2001 Redux version: Ever since seeing the Redux cut, Iāve had problems with that version, which adds 49 minutes of scenes including an extended sequence involving a French colonial family. Whilst interesting, the original cut which omitted them is better paced and more tightly constructed.
The incredible sound design by Walter Murch: It is difficult to actually stress how important the sound editing and design was to the film and how it proved to be a watershed for the wider film industry. Walter Murch and his team not only recreated the sounds of the jungle from scratch but took the design of sound on film to new levels, using a computerized mixing board, fusing sound elements with the score through synthesizers and giving birth to 5.1 surround sound.
The stunning visuals by Vitorrio Storraro: Coppola recruited the Italian cinematographer after seeing his work on Bertolucciās The Conformist (1970) and his astounding work on Apocalypse Now provides some of the most memorable cinema visuals of all time. Not only are sequences truly epic, but the use of colour and light is stunning.
The movement of the story: Although the original script went through rewrites and Coppola agonised over the ending of the film, the movement of the story makes a great deal of sense. Although long by modern standards (2h 27m), it neatly mimics the journey of Willard as we venture with him up river towards Kurtz and his destiny.
The Vietnam metaphor: Conrad’s Heart of Darkness is a great basis for a film about the US experience of Vietnam, but Coppola’s film itself has become an even better one. The madness and ambition of the production – at times breathtaking – mirrors the insanity of the war itself. Willard (the US) has to confront the dark side of himself (the industrial, military complex) as represented by Kurtz. We see the trauma of the troops adjusting (the opening), commanders trying to salvage a bad situation (the briefing), the might of US military power (Kilgore and the napalm attack on the village), the excess (the Playboy event for the troops), the murder (the boat massacre) and ultimately the confrontation (Willard meets and kills Kurtz) in which the US sees the darkness of itself.
The spiritual accuracy of the film: Some military advisors to films have criticised Apocalypse Now as containing fantastical inaccuracies in its depiction of US troops in Vietnam. Whilst certain elements have been exaggerated for effect, part of what made the war so shocking to the American public was that US troops did ā at times – engage in bizarre behaviour which involved drug use, loud music and war crimes. Whilst sections of the film may not be literally accurate, they stand as a compelling reminder of the grand madness of the conflict and how it affected those involved.
The forthcoming Blu-ray is one of the most significant home video releases of the year, but in the meantime the cinema is the best place to catch one of the enduring classics of US cinema.
Apocalypse Now is being re-released by Optimum Releasing at selected UK cinemas from Friday 27th May
A new film from director Alexander Payne is a pretty big deal, especially since he hasn’t made one since Sideways (2004).
The new trailer has now surfaced for The Descendants, based on the novel by Kaui Hart Hemmings about a land baron (George Clooney) trying to re-connect with his two daughters after his wife slips into a coma.
It also stars Judy Greer, Matthew Lillard, Shailene Woodley, Beau Bridges and Robert Forster.
Fox Searchlight will be hoping for awards season action when it gets released stateside in December and although a UK release is TBC, I would imagine it would open around January or February.
After the film ended and the premiere audience engaged in a hearty ovation for his latest magnum opus, a moving odyssey through time and memory, the iconoclastic Malick slipped in quietly, having avoided the red carpet and somehow arranging for TV cameras to point away.Ā In the midst of the extended ovation in side the Palais’ Grand Theatre Lumiere, Malick surreptitously entered and was suddenly in the actors’ midst.
“Brad [Pitt] and I are standing there and everyone’s applauding, I looked over and in walked Terry. I don’t think people realized it. The festival of course knew, but it was a last minute thing. And the camera kind of turned to the ground even though the premiere was being televised. There was nothing for like a minute on the screen and that’s because Terry came in. He stood there and everyone was clapping. The festival director was going ‘Yes!’ and throwing his arms up and trying to get everyone to recognize who Terry is. I came over and hugged Terry and Brad hugged Terry and Terry hugged his wife and it was a beautiful moment. It lasted like a minute and then he was gone.”
This photo on Flickr would appear to confirm that Malick did indeed sneak in to the cinema to celebrate the moment with his actors:
If we zoom in a little bit we can see the director and his actors a little more clearly:
The Stanley Kubrick Collection (Warner Bros): A lavish seven film Blu-ray collection which includes: a 40th anniversary edition of the A Clockwork Orange (1971), Lolita (1962), Barry Lyndon (1975) – both films were previously unavailable on Blu-ray- and 2001: A Space Odyssey (1968), The Shining (1980), Eyes Wide Shut (1999) and Full Metal Jacket (1987). [Buy it on Amazon on Blu-ray] [See here for more details]
The Andrei Tarkovsky Collection (Artificial Eye): DVD only boxed set featuring several classic titles from the Ruassian director, including: Ivan’s Childhood (1962), Andrei Rublev (1966), Solaris (1972), The Mirror (1975), Stalker (1979), Nostalgia (1983) and The Sacrifice (1986). [Buy it on DVD]
The Hustler (20th Century Fox Entertainment): One of Paul Newman’s most famous roles was as pool hustler āFastā Eddie Felson in this 1961 drama. Directed by Robert Rossen, it still stands up well today and features some memorable supporting performances from Jackie Gleason (as his rival Minnesota Fats), George C. Scott and Piper Laurie. [Buy it on Blu-ray from Amazon UK]
Cold Weather (Axiom Films): The second film from US director Aaron Katz is an intriguing mystery about a former forensic student (Cris Lankenau) investigating the disappearance of his ex-girlfriend in Portland, Oregon. Despite a limited indie release, it garnered deserved buzz over the last year and marks Katz out as a director to watch. [Buy it on DVD]
ALSO OUT
48 Hrs (Paramount Home Entertainment) [Blu-ray / Normal] Barney’s Version (Universal Pictures) Love and Other Drugs (20th Century Fox Home Ent.) [Blu-ray / + DVD and Digital Copy] Morning Glory (Paramount Home Entertainment) NEDS (Entertainment One) Route Irish (Artificial Eye) Tangled (Walt Disney) [Blu-ray / + 3D Ed. + Digital Copy] True Blood: Season 3 (Warner Home Video/HBO)
Will the Cannes win for Terrence Malick’s The Tree of Life boost its box office and awards season chances?
Despite being the most eagerly awaited film at this year’s festival, it divided critical opinion after screening last Monday and tonight’s win was, for some pundits, something of a surprise.
Can a film as bold and out there as Malick’s film is reported to be, really click with modern upscale audiences?
Some might pour cold water on the idea of this film being an Oscar contender and an arthouse hit, as it seems to take the usual ingredients of Malickās films and takes them to new levels of sheer Malickness.
“Brandishing an ambition itās likely no film, including this one, could entirely fulfil, The Tree of Life is nonetheless a singular work, an impressionistic metaphysical inquiry into mankindās place in the grand scheme of things that releases waves of insights amid its narrative imprecisions. This fifth feature in Terrence Malickās eccentric four-decade career is a beauteous creation that ponders the imponderables, asks the questions that religious and thoughtful people have posed for millennia and provokes expansive philosophical musings along with intense personal introspection”
Somehow I donāt think this quote is going on the poster.
Letās also not forget the very existence of this film in 2011 is something of a miracle.
Malick apparently approached Bill Pohlad, the head of production company River Road, several years ago with the basic idea for the project.
Filming began in 2008 and over the course of three years Malick shot and refined the film which features an extended sequence showing the birth of human existence (!); a family in 1950s Texas (starring Brad Pitt and Jessica Chastain); and present day scenes of a man (Sean Penn) reflecting on his childhood.
When the film was finally unveiled at Cannes last week, the divided responses were perhaps predictable, but the feverish anticipation before it screened and the added kick of a Palme d’Or win might actually say something powerful about the state of cinema in 2011.
Fox Searchlight are past masters at releasing awards season bait (even if they only have one Best Picture win) but
At the moment, it seems like Win Win and The Descendants would be their most likely shots at Oscar glory.
Could it be that this upscale movie breaks out of the die-hard cineaste realm to become a respectable arthouse success?
Not only is there the unusualness of the project (I can’t think of anything remotely similar in recent memory), but also the selling point of its reclusive, poet-genius director.
I’m sure he has sincere reasons for doing zero press, but whether intentional or not, it just stokes the aura surrounding his already legendary status to levels that must leave PR professionals gasping in awe.
Could it be possible that the unusual and āuncommercialā qualities of The Tree of Life and its director become a strength rather than a weakness?
Win Win (20th Century Fox): Comedy-drama about a New Jersey lawyer (Paul Giamatti) who is confronted with an ethical dilemma involving a old man with dementia (Burt Young) and his teenage grandson (Alex Shaffer). Written and directed by Thomas McCarthy, it co-stars Amy Ryan, Jeffrey Tambor and Bobby Canavale. [Nationwide / 15] [Read our review]
Blitz (Lionsgate UK): Thriler about a cop (Jason Statham) who is dispatched to take down a serial killer who has been targeting police officers. Directed by Elliot Lester, it co-stars Aiden Gillen. [Nationwide / 18]
Age of Heroes (Metrodome): The story of the formation of Ian Fleming’s 30 Commando unit, a precursor for the elite forces in the UK. Directed by Adrian Vitoria and starring Sean Bean, Izabella Miko and Danny Dyer. [Key Cities / 15]
ALSO OUT
Julia’s Eyes (Optimum Releasing): Spanish thriller about a woman losing her sight to illness, who investigates the suicide of her already blind twin sister. Directed by Guillem Morales and produced by Guillermo Del Toro, it stars Belen Aueda. [Key Cities / 15]
The Great White Silence (bfi Distributors); Re-issue for this 1924 silent film about Captain Scott’s race to the South Pole, featuring a new score by Simon Fisher Turner. Directed by Herbert Ponting [Key Cities / U]
Vidal Sassoon: The Movie (Verve Pictures): Documentary about the hairdresser who rose from humble beginnings to become a key fashion figure of the 1960s. Directed by Craig Teper. [Key cities / PG]
Fire In Babylon (Revolver): Feature documentary about the great West Indies cricket team of the 1970’s/80’s. [Selected cinemas / 12A]
The release of Terrence Malickās 1998 World War II drama on Blu-ray is a major event for cinephiles and is easily one the best HD transfers Iāve ever seen.
Coming out in the UK in the very same week that his latest film The Tree of Life premiered at Cannes, this version looks essentially the same as the Blu-ray Criterion released in the US last September (though with slightly less extras).
Possibly one of the most singular movies ever released by a major Hollywood studio, it is a startling and impeccably crafted film which looks magnificent on Blu-ray and repays repeated viewings.
Adapted from the James Jones novel, which was a fictional account drawing on the authorās direct experiences of the Battle of Mount Austen during the Guadalcanal campaign.
The sprawling narrative depicts the experiences of various troops during the campaign which sees the troops land on the island, struggle to take a crucial hill defended by the Japanese and then capture an airfield crucial to US victory in the Pacific.
Different characters intersect, but the principals include: Private Witt (Jim Caviezel) who comes in to conflict his cynical Sergeant Welsh (Sean Penn); Private Bell (Ben Chaplin), who daydreams about his wife back home (Miranda Otto) and Captain Staros (Elias Koteas), who comes in to conflict with his aggressive superior, Lieutenant Colonel Tall (Nick Nolte).
Around these are various supporting characters, including Captain John Gaff (John Cusack), Pfc. Doll (Dash Mihok), General Quintard (John Travolta), Corporal Fife (Adrien Brody), Sgt. Storm (John C. Reilly) and Capt. Charles Bosche (George Clooney).
When first released back in 1998, it was hotly anticipated as Malickās first film in 20 years and the extraordinary cast was testament to how many actors were willing to work with the director.
The way the film boldly jettisons the spurious modern ārulesā of movie-making (e.g. three-act structure, a central character) is not only refreshing but helps create a special mood, which Malick embellishes with his masterful control of mood and atmosphere.
In short, this is a film loverās dream, an enriching drama which explores deep themes of war and nature in a bold, poetic way.
Although it received mostly positive reviews and seven Oscar nominations, the 3-hour length and meditative tone prevented it from overshadowing the other big World War II epic of that year, Steven Spielbergās Saving Private Ryan.
There are many fascinating comparisons and contrasts between the two, but Malickās has aged better and certainly bears comparison with some of the great films of the 1990s.
Many things could be written about the film, but Iām going to focus on the different elements that struck me whilst watching all the elements on the disc.
IMAGE QUALITY
It is difficult to accurately describe how good this film actually looks on Blu-ray.
Part of that is down the outstanding technical craft of the original film, especially the production design from Jack Fisk and the stunning cinematography by John Toll, which help augment Malickās obsessive desire for poetic cinema.
This new high-definition digital transfer was supervised and approved by Malick and Toll, and was created on a Spirit 4K Datacine from the original 35mm camera negative in 4K resolution.
It looks immaculate and is among the best HD transfers Iāve ever seen, easily comparing with previous standout Blu-rays like Baraka (1992) and The New World (2005).
The shots of nature have an amazing amount of depth, the colours of the jungle and combat sequences are rendered beautifully and the faces of the soldiers are filled with detail.
Look out too for the how the transfer highlights the depth of field that Malick used in the film, as characters can be clearly seen in the background of certain sequences.
If you ever want a reference disc to show off the HD format then this is one of the films Iād recommend.
SOUND
The amazing visuals are complemented by a marvellous DTS-HD Master Audio 5.1 audio mix.
Remastered at 24-bit from the original 6-track magnetic audio, various noises were manually removed using Pro Tools HD and a lot of work has gone in to this mix.
The highlights are perhaps the battle sequences as the rifles and bombs really pop, but look out to for the more subtle sounds of nature (water, fire and wind) so beloved Malick in all of his films.
The various voiceovers that pepper the film from different actors are also given a new level of clarity, which helps figure out who they are if you happened to be confused before.
Hans Zimmerās astonishing score also sounds as good as it ever has.
EXTRAS
The extras donāt contain any lengthy documentary material but a highly informative audio commentary, some intriguing deleted scenes and two featurettes (on the editing and music) give us some valuable insight into how it was made.
It doesnāt seem to have all the extras that were on the US Criterion disc but there is still enough here for those interested in the film.
Audio Commentary: The audio commentary from producer Grant Hill, production designer Jack Fisk and cinematographer John Toll is a nice mixture of technical details and anecdotes about the production.Ā Among the interesting facts they discuss are:
The opening shot was filmed on a crocodile farm.
Malick spent time persuading the Jones family about the film as they were reluctant that the novel be filmed again (a previous version had been shot in 1964)
The complex shots in the hill sequence were filmed with a very long, extended Akela crane as using a dolly or Steadicam in that location was very difficult.
No lights were used in the exterior day sequences and very little in the interiors for the most naturalistic look possible
Depth of field was used a lot and there was some small use of VFX used to augment the sky and background ships in certain scenes.
John Toll’s wife worked on Saving Private Ryan as a makeup artist (which also shot in the summer of 1997) andĀ Malick sent Steven Spielberg a Japanese flag. He returned the favour by sending him a Saving Private Ryan crew jacket.
Grant Hill agreed with Malick to keep a schedule which allowed room for change and improvisation but the movie was shot on time
The river sequence in the jungle was shot at the “limits of photographic exposure”
Fox executive Bill Mechanic and Laura Ziskin were always supportive of the project which originated at Phoenix Pictures with Mike Medavoy (Malickās old agent and long-time friend)
Malick has never taken a credit ‘A film by Terrence Malick’
Toll says Malick makes half the film in the editing room as he ‘discovers’ it there when the sounds and images connect
Actors Perspective (22 min): The featurette sees the actors Elias Koteas, Jim Caviezel, Thomas Jane, Dash Mihok and Kirk Acevedo all talk about their experiences with Malick on the film (for some reason it omits certain actors who feature on the Criterion disc).Ā All seem incredibly loyal and describe some anecdotes on set:
Koteas recalls that Malick didn’t want rehearsals as ‘life’ was the real rehearsal
Caviezel says acting under Malick was like a collage; many dialogue scenes were cut and many were written the night before shooting
Jane describes how Malick just kept shooting no matter the weather or light, so he could have 3 versions of scenes he could drop into the edit. Although at times improvisatory, he had a method to his madness.
Mihok says he was hired to make a war movie but the film is actually a poem about the ‘beauty of life’.
Deleted Scenes (13 mins): Given Malickās propensity to shoot as much footage as possible, there was at one point a 5 hour cut of the movie that the editors had to whittle down to just under three hours.Ā These deleted scenes, totalling around 12 minutes, therefore have greater interest than the usual material that stays in the cutting room, even though they donāt reveal a huge amount.Ā Of the most interest are:
A scene featuring Mickey Rourke (whose character didnāt make the final cut), who plays a sniper Witt comes across. Witt also reveals he is from Breathitt County, Kentucky.
Scenes where GI’s debate whether to kill Japanese POWs after taking the all-important ridge.
George Clooney only had one scene towards the end of the film, but here is an extra one in which he talks to Bell (Chaplin) about his wifeās divorce request and how he can help him out.
Adrien Brody was a major character in an earlier cut of the film and he has an extra scene at an army hospital where the doctor approves his evacuation.
Editing Of The Thin Red Line (24 mins): Editors Billy Weber, Lesley Jones and Saar Klein describe what it is like to edit a Terrence Malick film and their insights on to this particular project are fascinating.Ā They talk about:
Weber says they had to force Malick to watch the first 5 hour cut and that heĀ works more like a sculptor, discovering the film in post-production.
The director was listening to a Green Day CD during the edit (!)
Klein says Malick is ‘wild and radical’ and that he was brought on at a later stage to cut the hill battle, which included āhours of footageā.
Malick is very selective about cutaways and how they are assembled (especially his trademark shots of nature and animals) and isĀ incredibly specific about music and sounds.
The film took 18 months to cut – around a million feet of footage.
Hans Zimmer (16 mins): The score to the film is perhaps the finest of Hans Zimmerās career and this 16 minute featurette is a real treat, which sees the German composer talk about how he came across Malick through a friend and got hired for the film.Ā Among other things, he mentions that:
Malick had the notion that the score should ‘ask questions’ andĀ Zimmer wanted his music to have a slight vagueness, which encourages the audiences to ‘fill in the blanks’
The epic āJourney to the Lineā cue was trying to capture time passing and how it flows like a river.
Malick and Zimmer are great procrastinators and talked a lot about other composers, some of whose music ended up in the film Arvo Paart (crocodile opening), Charles Ives and Gustav Faure.
Guadalcanal in Newsreels (10 mins): Archive newsreels from United News show the battle for the Solomon Islands. The black and white newsreel footage is an interesting counterpoint to the lush colours of Malickās film. Notice the use of the word ‘Japs’ and the ‘little men of Nippon’, which gives a flavour of wartime propaganda.
To sum up, this is one of the major Blu-ray releases of the year and an essential addition to true film fanās library.
An extraordinary film, which has been given a worthy HD release.
Director Lars Von Trier caused controversy by making jokes about Hitler at the Cannes press conference for his latest film.
Melancholia is a “psychological disaster drama” about the dispute between two sisters (played by Kirsten Dunst and Charlotte Gainsbourg) as a rogue planet hurtles towards Earth.
It screened for the press this morning and whilst the Danish director usually divides opinion, it got some of the more positive notices of his recent career.
For about 20 minutes, the press conference passed by with the usual questions from the foreign press to the filmmaker and actors.
It should be noted that questions during press conferences at Cannes can be unbelievably tedious and anodyne, which is why Von Trier perhaps decided to stir things up around the 20 minute mark.
He claimed he was making an explicit porn film with Kirsten Dunst, which elicited nervous laughter from the actress and journalists, and how it would be connected with the Church (this really has to be heard for the full effect).
So far, it was Von Trier playing his usual games, which I suspect he does to confuse, annoy and create publicity at the world’s biggest film festival.
But 3 minutes towards the end Von Trier proceeded to make, even by his own standards, some pretty inflammatory remarks.
When asked by Kate Muir of The Times about a previous comment he made regarding his interest in ‘Nazi asthetic’ in his films Von Trier said:
“I thought I was a Jew for a long time and was very happy being a Jew. Then later on came Susanne Bier [Jewish and Danish director] and then suddenly I wasn’t so happy about being a Jew. No, that was a joke, sorry.Ā But it turned out I was not a Jew but even if I’d been a Jew I would be kind of a second rate Jew because there is kind of a hierarchy in the Jewish population. But anyway, I really wanted to be a Jew and then I found out I was really a Nazi, you know, because my family was German … which also gave me some pleasure. What can I say? I understand Hitler. I think he did some wrong things, yes absolutely, but I can see him sitting in his bunker in the end”
At this point Dunst (sitting next to him) seemed physically uncomfortable, prompting Von Trier to say that there would be a point to his jokey ramblings.
“I think I understand the man. He’s not what you would call a good guy, but I understand much about him and I sympathize with him a little bit. But come on, I’m not for the Second World War, and I’m not against Jews. I am of course very much for Jews. No, not too much because Israel is a pain in the ass. But still, …how can I get out of this sentence?”
He then expressed admiration for Nazi architect Albert Speer before ending another rambling sentence with:
“OK, I’m a Nazi.”
Peter Howell of the Toronto Sun then asked whether he would make a movie even bigger in scale than Melancholia:
“Yeah, that’s what we Nazis … we have a tendency to try to do things on a greater scale. Yeah, may be you could persuade me …the final solution with journalists.”
I don’t think any sane person would take Von Trier’s comments literally but many around the world would certainly take offence at his flippant joking about the mass murder and genocide of World War II.
The festival were quick to issue a press release:
“The Festival de Cannes was disturbed about the statements made by Lars von Trier in his press conference this morning in Cannes. Therefore the festival asked him to provide an explanation for his comments. The director states that he let himself be egged on by a provocation. He presents his apology. The direction of the festival acknowledges this and is passing on Lars von Trier’s apology. The festival is adamant that it would never allow the event to become the forum for such pronouncements on such subjects.
Then followed an apology from Von Trier’s official apology:
“If I have hurt someone this morning by the words I said at the press conference, I sincerely apologise. I am not anti-semitic or racially prejudiced in any way, nor am I a Nazi.”
Although this will undoubtedly get Von Trier and his latest film a lot of worldwide press, how it affects his career will be an open question.
A lot of people in the film world will dismiss this as the usual provocative statement that Von Trier is fond of making.
He angered some US critics with his trilogy about America – Dancer in the Dark (2000), Dogville (2003) and Manderlay (2005) – as they presented an ironic flipside of the American dream and the director proudly claimed he had never been to the country.
In 2009, Antichrist scandalised some of the audience in Cannes with scenes of explicit sex and violence, whilst the ensuing press conference became rather heated.
Although a talented director, he remains a cinematic prankster who seems to revel in the publicity he gets for making provocative films and statements.
But this time he has made comments which, although intended as some kind of joke, will reverberate around the world.
Given that Mel Gibson was in Cannes last night maybe they should team up for a project?
The book deals with a man visiting a congress at a Hotel in Costa Rica and explores a futuristic world where hallucinations have replaced reality.
Clips were recently screened at the Cartoon Movie festival in Lyon back in March where Folman explained that the film would have some notable differences to the book.
A French-German co-production, live action footage will be shot in the US this summer and it will star Jon Hamm and Robin Wright (playing an analog of herself).
The budget is a reported $11m (8m Euros), with half of that going on the animation (which is being done in France) and the release is scheduled for 2013.
It contains familiar ingredients but the third film from writer-director Thomas McCarthy is a satisfying comedy-drama with brains and heart.
Set in New Jersey, it explores the ethical dilemmas of local attorney Mike Flaherty (Paul Giamatti), who also coaches a high-school wrestling team.
With his law practice struggling due to the recession, Mike keeps his worries from his wife (Amy Ryan) and two young daughters.
When an opportunity arises involving an elderly client (Burt Young) and his teenage grandson Kyle (Alex Shaffer), Mike sees a potential solution to his problems.
Similar in tone to McCarthy’s previous efforts – The Station Agent (2003) and The Visitor (2008) – the film explores the bittersweet comedy that lies under the surface of everyday life.
The main draw here is Giamatti and the actor fits the material perfectly, managing to convey the light and shade of a good man caught in a bad situation.
It is perhaps his most significant role since Sideways (2004) and it’s a relief to see him in a lead role after the usual supporting turns he gets burdened with in bigger budget films.
The other stand out is Shaffer, a non-actor making his screen debut, who is note-perfect as an awkward teenage wrestling prodigy.
Solid support comes from Amy Ryan as his tough but supportive wife, Jeffrey Tambor and Bobby Canavale as Mike’s friends and fellow wrestling coaches, and Melanie Lynskey as Kyle’s absent mother.
The humour of Mike’s interaction with his friends and family is wrapped up with an unusual empathy for regular, small town life that is rare in the indie or mainstream realm.
Although the plot takes a while to get going in the conventional sense, but the slow-burn build up pays off well as it reaches its latter stages.
Contemporary New Jersey is evoked with impressive attention to detail: the legal office, gyms and houses are all convincingly realised.
Perhaps most impressively, Win Win does the simple things (acting, writing and direction) so well that you don’t really notice them until after the story has reached its surprising climax and payoff.
It may have the familiar tropes of a US indie movie made inside the studio system after premiering at Sundance, Fox Searchlight are releasing it.
But with the avalanche of sequels, remakes and empty romantic comedies currently hitting cinemas, a film like Win Win feels like an especially rare treat.
Listen out too for āThink You Can Winā, a moving song by The National which the US band wrote especially for the film.
Terrence Malick’s The Tree of Life finally premiered in Cannes today, but how was it received by the world’s critics?
The basic deal seems to be that the film is Malick turned up to 11 (heavy themes treated with a stunning visual sense) and that it’s going to divide people.
A new Malick film with Brad Pitt is already a must see for cinephiles around the globe and the positive trade reviews from Variety and The Hollywood Reporter perhaps indicate that however crazy it gets, discerning audiences are going to have a lot to absorb and discuss.
Whether it can crossover into the glare of the awards season remains a big question but this is already an event that has gone down in recent Cannes lore and Malick’s usual refusal to do any publicity has just stoked the must-see vibes around this film.
Here’s some brief snapshots of reactions from various critics:
The Thin Red Line (20th Century Fox Home Ent.): Terrence Malick’s stunning World War II movie about US troops fighting at the Battle of Guadalcanal gets the HD treatment at long last. His long awaited return to the big screen after a twenty absence is a visually stunning and hypnotic meditation on war and man. The all star ensemble cast features Jim Caviezel, Sean Penn, Ben Chaplin, Nick Nolte, Elias Koteas and John Cusack in key roles. Look out for John Toll’s incredible cinematography and Hans Zimmer’s remarkable score, which is the finest of his career. [Buy it on Blu-ray or DVD]
Black Swan (20th Century Fox Home Ent.): Intense drama about a ballerina (Natalie Portman) in a New York production of Swan Lake who starts to have a meltdown as the role takes a physical and mental toll on her. Directed by Darren Aronofsky, it features a powerhouse performance from Portman and is anĀ exhilaratingĀ mix ofĀ The Red Shoes,Ā Repulsion and the body horror ofĀ David Cronenberg. Riffing heavily on the raw source material of Swan Lake itself, it proved an unlikely box office hit and won Portman an Oscar for Best Actress. [Buy it on Blu-ray and DVD] [Read or full review]
ALSO OUT
El Cid (Anchor Bay Entertainment UK) [Blu-ray / Normal] Gulliver’s Travels (20th Century Fox Home Ent.) [Blu-ray / Normal] John Carpenter’s The Ward (Warner Home Video) [Blu-ray / Normal] The Next Three Days (Lionsgate UK) [Blu-ray / Normal] The Runaway (ITV DVD) [Blu-ray / Normal] The Walking Dead: Season 1 (Entertainment One) [Blu-ray / Normal] Tigerland (20th Century Fox Home Ent.) [Blu-ray / Normal]
The track first came to prominence with the third and final trailer for Chris Nolan’s blockbuster and it really seemed to connect with audiences making it one of the most notable (and spoofed) trailers of the year.
At first some people assumed that Mind Heist was the work of Hans Zimmer, who wrote the film’s memorable score, and Hemsey was quick to point out via his blog that he was actually a different person.
For a time the track wasn’t officially available to buy online but Hemsey recently uploaded the Mind Heist EP to his official YouTube channel, which contains 5 versions of the track.
Notice how the image of train gets gradually closer if you listen to all of them (viewers of the film will get the reference).
There is the original:
Then there is The Birth of an Idea, which expands the original in epic ways by adding more electronica and strings:
No Turning Back is a similar length to the original but uses slightly different musical elements and accentuates the beats:
The Promise of Tomorrow plunges into the and focuses on the nice, rousing vibe:
Evolution is perhaps the one that fans of the film will dig the most. Expanding the original track to 6 minutes, it really builds towards a massive sounding climax:
Attack The Block (Optimum Releasing): An horror-comedy-action film about a group of teenagers who have to fend for themselves when aliens attack their South London council estate. Directed by Joe Cornish, it stars John Boyega, Nick Frost, Jodie Whittaker and Luke Treadaway. [Nationwide / 15] [Read our full review]
Take Me Home Tonight (Universal): Comedy set in the 1980s which follows an aimless college grad (Topher Grace) who pursues his dream girl at a wild weekend party. Directed by Michael Dowse, it co-stars Anna Faris and Dan Fogler. [Nationwide]
Red Hill (Momentum): Australian thriller about a young police officer (Ryan Kwanten) who must survive his first day’s duty in a remote country town. Directed by Otto Jespersen, it co-stars Tommy Lewis, Patrick Hughes. [Nationwide / 15]
The Way (Icon): An American father (amrtin Sheen) travels to France to recover the body of his estranged son who died while traveling the Route Napoleon. Directed by Emilio Estevez, it co-stars Deborah Kara Unger and James Nesbitt. [Nationwide / 12A]
ALSO OUT
Taxi Driver (park Circus): 35th anniversary re-release for Martin Scorsese’s classic 1976 drama about a cab driver (Robert De Niro) who gradually finds himself isolated in New York. Co-starring Jodie Foster, Albert Brooks, Leonard Harris, Peter Boyle and Cybill Shepherd. [Key Cities / 18] [Read our full review]
A Screaming Man (Soda Pictures): African drama about a hotel pool attendant in Chad and his relationship with his son. Directed by Mahamat-Saleh Haroun, it stars Diouc Koma, Emile Abossolo M’Bo and Youssouf Djaoro. [Key Cities / 15]
Love Like Poison (Artificial Eye): French coming-of-age drama about a young teenage girl struggling to cope with her parent’s splitting. Directed by Katell Quillevere, it stars Clara Augarde, Lio, Michel Galabru, Stefano Cassetti, Thierry Neuvic and Youen Leboulanger-Gourvil. [Key Cities / 15]
After The Apocalypse (Dartmouth Films): Documentary about the aftermath of Soviet nuclear testing in Kazakhstan. Directed by Antony Butts, it features Bibigul Balargazinov and Dr Toleukhan Nurmagambetov. [Selected cinemas]
Although last year’s Tron sequel may not have fully worked as a film, the score was extraordinary: a pulsing, epic feast of electronica blended with some monumental orchestral strings.
This animation to Derezzed neatly captures the spirit of the Tron series and the score:
Combining genres with considerable confidence and skill, this anarchic alien-invasion film marks a highly promising directorial debut for Joe Cornish.
Set during the course of one night on a South London council estate, Attack the Block begins when a gang of youths – Moses (John Boyega), Pest (Alex Esmail), Dennis (Franz Drameh), Jerome (Leeon Jones) and Biggz (Simon Howard) come across an alien creature falling from the sky.
After killing it, they realise it is the start of a bigger invasion and retreat to their tower block, where they fend off their attackers along with the local pot dealer (Nick Frost), a posh neighbour (Luke Treadaway), a nurse they previously mugged (Jodie Whitaker) and the local drug lord (Jumayn Hunter), who is out for revenge.
Whatās immediately apparent about the film is the pacing and movement, as it plunges the audience straight into the action and doesnāt let up for the lean, 87 minute running time.
Whereas some British directors shy away from excitement and humour, here they are ramped to the max and the end result not only features some memorable set-pieces but is genuinely thrilling and funny.
In particular, the excellent night-time cinematography by Tom Townend and fluid editing by Jonathan Amos give everything the sheen of a much bigger movie, which is all the more impressive for a modestly-budgeted UK production.
The young actors who play the gang, especially John Boyega as the ringleader Moses, are perfectly cast and wisely there isnāt any clumsy attempt made to sandpaper down their actions or characters as they try to survive the night.
Some moments feel like a mammoth piss take of recent UK urban dramas such as Kidulthood (2006) and Adulthood (2008), with frequent use of urban slang (especially the term āfamā, which seems like it gets used over 200 times).
But overall it manages to poke good-natured fun at all the characters who reside in the tower block as they unite against a common enemy.
The aliens themselves are an interesting creation, coming across as dark ape-like creatures with radioactive teeth, and the practical and CG effects (by Mike Elizalde and Double Negative respectively) are highly effective for the most part.
Steven Priceās electronic score, with contributions from Felix Buxton and Simon Ratcliffe of Basement Jaxx, fits the setting well and ramps up the tension during the action set-pieces.
Given the pacing and genre trappings, it has major potential for a mainstream crossover success, although I suspect that the local slang used by the gang will prove impenetrable to mainstream US ā and maybe some UK – audiences.
Despite this, it has a visual panache and sense of movement that could speak to audiences on a deeper, more visceral level and it could end up as a fan favourite in years to come.
Edgar Wright is a friend and collaborator of Cornish (even serving as producer on this film) and Attack the Block takes John Carpenter to South London in the same way that Shaun of the Dead (2004) took George A Romero to the North.
Both wear their influences firmly on their sleeve, but mash them up to create something vibrant, cinematic and funny.
During the making of Full Metal Jacket (1987), Modine was allowed to keep a detailed diary and director Stanley Kubrick even granted him rare permission to take photos on set.
The end result was a limited edition book of about 20,000 copies but producer Adam Rackoff and Modine came up with the idea of an iPad app based on the existing materials.
It will use rescanned images, along with audio of Modine reading his own diary entries and feature previously unseen content.
Colour footage from the London Screen Archive shows the victory celebrations of 1945.
Shot on 16mm shot by Lieutenant Sidney Sasson of the US Army Signal Corps (Army Pictorial Service), it shows the victory celebrations in London on VE Day (May 8th 1945) and VJ Day (August 15th 1945).
Among the locations featured are 33 Davies Street, Piccadilly Circus, Charing Cross, and Trafalgar Square.
Look out for the billboard for the James Cagney film Blood on the Sun (1945), which I would guess was showing at the Empire Leicester Square.
