Browse content similar to 10/06/2016. Check below for episodes and series from the same categories and more!
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They are at the team base in Lyon, before they head to Nice to face | :00:00. | :00:00. | |
group. We are going to have the rest of the day 's sport as well. | :00:00. | :00:09. | |
That's coming up at 6:30pm with me, Ollie Foster, Euro 2016 | :00:10. | :00:12. | |
But now it's time for The Film Review. | :00:13. | :00:23. | |
What Mac to The Film Review, and taking us through the week was | :00:24. | :00:33. | |
summer releases, Mark Kermode. This is an interesting week. We have race | :00:34. | :00:38. | |
of the serpent, which was nominated for the best foreign-language film | :00:39. | :00:42. | |
Oscar. We have When Marnie Was There. And Michael Moore is back | :00:43. | :00:55. | |
with Where To Invade Next? Let's start with embrace of the serpent. A | :00:56. | :01:01. | |
mixture of fact and fiction described by the diaries of two | :01:02. | :01:05. | |
explorers who ventured into the Amazon, decades apart. The film | :01:06. | :01:10. | |
fictionalise as their journey but sees it from the point of view of an | :01:11. | :01:16. | |
indigenous tribes person who has played in two stages of his life by | :01:17. | :01:22. | |
two separate actors. The first of the explorers comes in search of a | :01:23. | :01:27. | |
plant to you an illness which he has developed. The second of the | :01:28. | :01:34. | |
Explorers is Evan who meets up with a guide to retrace his steps and | :01:35. | :01:40. | |
make the same pilgrimage. This is a clip. | :01:41. | :02:13. | |
The thing I love about this film was that it was an attempt to meld | :02:14. | :02:22. | |
western narrative and Amazonian myth, and it does that brilliantly. | :02:23. | :02:26. | |
You have a story of the Explorers, and another story based on this idea | :02:27. | :02:32. | |
also less teen -- celestial beings coming down to earth on a giant | :02:33. | :02:37. | |
Anaconda. It has these two separate time periods that flow in and out of | :02:38. | :02:41. | |
each other, like boats floating upon the same river. It looks | :02:42. | :02:46. | |
astonishing. You can see from the clips were watching, beautiful black | :02:47. | :02:49. | |
and white cinematography. It has an extraordinary soundtrack mixing | :02:50. | :02:55. | |
low-key music, some of it sounding like the old recordings of | :02:56. | :02:58. | |
indigenous songs, blended with the strains of nature. On one hand it is | :02:59. | :03:05. | |
a political tale about the evils of colonialism, on the other hand it is | :03:06. | :03:09. | |
magical realist fable about so much more than that. What I love about it | :03:10. | :03:13. | |
is that it does what cinema does at its best, to take you to another | :03:14. | :03:17. | |
world, to see the world through different eyes. I was really bowled | :03:18. | :03:21. | |
over by it. It is one of my favourite films of the year. I would | :03:22. | :03:26. | |
be surprised if it is not my best of the year. It is called Embrace Of | :03:27. | :03:29. | |
The Serpent. I would encourage anybody to track it down. What about | :03:30. | :03:34. | |
When Marnie Was There, something quite different, and animation. This | :03:35. | :03:54. | |
is adaptation of the 1970 -- 1967 story by JG Robinson about a young | :03:55. | :03:57. | |
girl who goes to stay with relatives and finds friendship in a strange, | :03:58. | :04:03. | |
mysterious house and she develops a relationship with this girl called | :04:04. | :04:10. | |
Marnie. Is she a ghost, projection, is she a wish? You believe in her | :04:11. | :04:14. | |
totally, because you believe in the story as told by the phone. The | :04:15. | :04:18. | |
animation is beautiful. The drawings are wonderful. It is one of those | :04:19. | :04:23. | |
films that manages to engage young and old alike. You genuinely feel | :04:24. | :04:27. | |
that you could watch with a wide range of audiences. It is | :04:28. | :04:33. | |
intelligent and sensitive, it contains universal truths, it is one | :04:34. | :04:35. | |
thing, it is funny, there was one moment in it which seems like a | :04:36. | :04:42. | |
playful nod towards Hitchcock. I was a huge fan of it. It is available in | :04:43. | :04:50. | |
an English language dub. If you don't have a problem with subtitles, | :04:51. | :04:58. | |
seek out the original version. Now we go to Michael Moore, and Where To | :04:59. | :05:09. | |
Invade Next? . He is best known for Bowling for Columbine. This is a | :05:10. | :05:13. | |
polemic documentary. He visits a number of countries under the guise | :05:14. | :05:17. | |
of, because he's American, he's going to invade these countries and | :05:18. | :05:25. | |
then steal from them some ideas, in France he sees things about healthy | :05:26. | :05:33. | |
eating in schools, and workers' rights in Germany. Here is a clip. | :05:34. | :05:41. | |
If your employer pays you for all of this time of? -- time off. | :05:42. | :06:02. | |
Where To Invade Next? -- THEY SPEAK ITALIAN. Italians have one of the | :06:03. | :06:18. | |
highest life expectancy is in the world. They live four years longer | :06:19. | :06:27. | |
than the average American. The strange thing about this film, it | :06:28. | :06:33. | |
has many ideas that I agree with, workers' rights, children's rights, | :06:34. | :06:37. | |
women's rights. Philosophically I am completely in tune with the film. | :06:38. | :06:42. | |
But there is this ongoing comedic conceit that Michael Moore is going | :06:43. | :06:47. | |
there with this flag, he has to invade these other countries, at the | :06:48. | :06:50. | |
beginning he says this is what I'm going to do. It is not a very good | :06:51. | :06:55. | |
joke. He then proceeds to do it for the duration of the film. There are | :06:56. | :07:02. | |
these interesting ways of looking at the way that societies look after | :07:03. | :07:06. | |
their populations in a way that is perhaps superior to the way America | :07:07. | :07:10. | |
does it, but these comic interludes do not really work. It is talking | :07:11. | :07:18. | |
about a subject close to my heart, but in a way that feels like it is | :07:19. | :07:22. | |
oversimplifying it, talking to an audience that doesn't know anything | :07:23. | :07:27. | |
about this. The problem with that is, there is substance here that I | :07:28. | :07:30. | |
agree with, interesting interviews, I just wish that it wasn't tied up | :07:31. | :07:38. | |
in this rather aggravating conceit. And I wish that Michael Moore would | :07:39. | :07:42. | |
take himself out of the picture. He is the thing that I like least about | :07:43. | :07:46. | |
his documentaries. There is stuff in there, but it is the delivered in a | :07:47. | :07:51. | |
way that I find aggravating. But if you're a fan of Michael Moore... It | :07:52. | :07:55. | |
is more of the same and you will absolutely love it. If you are me, | :07:56. | :08:00. | |
you will think, I could have lost all of the stuff featuring Hugh and | :08:01. | :08:04. | |
the flag, Frank Lee. Let's talk about your best movie out at the | :08:05. | :08:10. | |
moment. It is this adaptation of an early novella by Jane Austen, Love | :08:11. | :08:20. | |
and Friendship. What I loved about this film was, it is really funny. | :08:21. | :08:24. | |
Many movies claim to be, these, but for sheer laughs terminate this | :08:25. | :08:30. | |
beats all of them hands down. It is made by somebody whose films always | :08:31. | :08:35. | |
have a kind of Jane Austen perspective. He's always had that | :08:36. | :08:42. | |
dry, satirical humour. Tom Bennett almost steals the show as this very | :08:43. | :08:48. | |
sort of dim-witted character who, at the beginning is the butt of all the | :08:49. | :08:52. | |
jokes, but manages to turn this into a great comic creation. It is called | :08:53. | :08:57. | |
Love and Friendship. It is the funniest film in the cinema and the | :08:58. | :09:01. | |
most politely impolite movie of the year. Another hit. We will try and | :09:02. | :09:08. | |
think about that one. And the best DVD out at the moment, this is The | :09:09. | :09:20. | |
Revenant. You might not want to because it is not my kind of thing. | :09:21. | :09:25. | |
Leonardo DiCaprio plays this man who was left for dead after being | :09:26. | :09:29. | |
attacked by a bear, then he has to go on this journey of survival, a | :09:30. | :09:35. | |
story that has been told before in the cinema. You have to see this on | :09:36. | :09:39. | |
the big screen to understand this cinematography, you have to see it | :09:40. | :09:43. | |
as a completely immersive experience. On the small screen, it | :09:44. | :09:55. | |
is still worth seeing because of Will Poulter, who is a great part of | :09:56. | :10:00. | |
an ensemble cast. He is fabulous in it. It is an immersive experience. | :10:01. | :10:07. | |
It is more immersive in the cinema but it is still worth seeing. It is | :10:08. | :10:12. | |
not a film that you think it is going to be. That's a problem with | :10:13. | :10:17. | |
the big, cinematic movie, when you watch them on a little TV at home, | :10:18. | :10:24. | |
it is not quite the same. Actually, nowadays, many people have home | :10:25. | :10:27. | |
viewing systems that are probably superior to the small screen. | :10:28. | :10:33. | |
Private cinemas. The other thing is, when you watch something at home on | :10:34. | :10:38. | |
the couch, you don't have to put up with people talking on their mobile | :10:39. | :10:44. | |
phones and eating popcorn. For me, the cinema experience is still | :10:45. | :10:47. | |
primary, but it is possible to have a completely satisfying home viewing | :10:48. | :10:50. | |
experience and if you're going to watch The Revenant at home watch it | :10:51. | :10:56. | |
with the sound turned up on the biggest possible screen and don't | :10:57. | :11:00. | |
wander off and have a cup of tea. But go and see When Marnie Was | :11:01. | :11:13. | |
There, love and friendship, and Embrace of the Serpent. The only one | :11:14. | :11:16. | |
I am lukewarm about is the Michael Moore phone. A quick reminder that | :11:17. | :11:22. | |
you will find more film news and reviews across the BBC online on the | :11:23. | :11:34. | |
website. That is it for this week. Thank you for watching. Goodbye. | :11:35. | :11:48. | |
Hello there, we have had a mixture of weather today. Some world in the | :11:49. | :11:54. | |
sunshine but some heavy, thundery downpours as | :11:55. | :11:55. |