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Karen England win the Six Nations? Ireland and France are also in the | :00:00. | :00:00. | |
running. All the options at 6:30pm. Now it's time for the Film Review. | :00:00. | :00:21. | |
Welcome to the Film Review. To take us through this week's cinema | :00:22. | :00:28. | |
releases is Mark Kermode. A very diverse week. We have Under The | :00:29. | :00:32. | |
Skin, which stars Scarlett Johansson as a space alien at large in | :00:33. | :00:38. | |
Glasgow. Need for Speed, based on the video game. It's like that but | :00:39. | :00:44. | |
more so. And The Zero Theorm, the new film by Terry Gilliam. Aliens in | :00:45. | :00:54. | |
Glasgow. I should explain to you, I am from Glasgow so go carefully! | :00:55. | :01:00. | |
This is an adaptation of a very well-respected and complicated book. | :01:01. | :01:03. | |
The story is an alien at large on earth has inhabited the form of | :01:04. | :01:08. | |
Scarlett Johansson, wearing a black wig with red lipstick that makes a | :01:09. | :01:13. | |
look oddly rather not unlike Mick Jagger in Performance. She is on a | :01:14. | :01:17. | |
mission to lure and abduct men for deeply sinister purposes. What the | :01:18. | :01:22. | |
film does is cuts between on the one hand very elegant, very well | :01:23. | :01:25. | |
orchestrated special effects pieces that are strange, mysterious and | :01:26. | :01:32. | |
weird, and candid camera footage of Scarlett Johansson prowling the | :01:33. | :01:35. | |
streets of Glasgow with hidden cameras, so that you can't tell the | :01:36. | :01:39. | |
difference between the actors in the film and some people who were | :01:40. | :01:42. | |
literally just passers-by who got caught up in the whole thing. Here | :01:43. | :01:44. | |
is a clip. No girlfriend, really? You're very | :01:45. | :01:50. | |
charming. Sorted. A handsome face. Thanks a | :01:51. | :02:14. | |
lot, cheers. Do you think I'm pretty? Definitely. Good. And I've | :02:15. | :02:25. | |
got a nice smile. That is remarkably creepy. And there | :02:26. | :02:41. | |
is a very strange score. It does an awful lot of the work of uniting | :02:42. | :02:44. | |
these very disparate elements. When the film played at the international | :02:45. | :02:49. | |
film festivals it provoked boos and cheers in equal measure. People who | :02:50. | :02:53. | |
don't like it really don't like it. People who embrace it think it's an | :02:54. | :02:58. | |
absolute masterpiece. It is neither failure nor masterpiece. It is a | :02:59. | :03:02. | |
very, very ambitious attempt to tell an exotic, otherworldly story in | :03:03. | :03:08. | |
very earthly circumstances. It doesn't always work. Some of the | :03:09. | :03:11. | |
stuff out on the streets of Glasgow doesn't quite ring true for me. You | :03:12. | :03:15. | |
end up spending some time wondering, is that an actor or just somebody | :03:16. | :03:19. | |
they happen to have come across? That bothers me a bit. But for its | :03:20. | :03:24. | |
singular vision, the fact that the director, who is the same man who | :03:25. | :03:29. | |
made Sexy Beast, has made no compromises, he said in an ideal | :03:30. | :03:33. | |
world he would make his film for a few friends and they'd watch them | :03:34. | :03:37. | |
and burn them. What I really like about this is its really inventive. | :03:38. | :03:40. | |
The soundtrack is astonishing. There are moments in it that are really | :03:41. | :03:45. | |
bold and quite alarming. For that, the moment when it doesn't work, | :03:46. | :03:50. | |
it's fine because I'd rather see somebody aiming high and perhaps | :03:51. | :03:54. | |
falling to earth in the process, and there is a relationship between this | :03:55. | :03:58. | |
and the film, The Man Who Fell to Earth, and somebody playing it safe. | :03:59. | :04:04. | |
Video game, bunch people, old racing, let's make a film of it. The | :04:05. | :04:09. | |
problem with this film, firstly, it is over two hours long and this is | :04:10. | :04:13. | |
clearly a 79 minute film. Secondly, we are now in a world where we have | :04:14. | :04:17. | |
the Fast and Furious franchise, where we've taken these muscle cars, | :04:18. | :04:22. | |
cranked up sensibility as far as it can go. Where can you go? The last | :04:23. | :04:28. | |
Fast and Furious had cars and do big aeroplane. In this one they've | :04:29. | :04:32. | |
decided to throw in an Apache helicopter. The dialogue is | :04:33. | :04:36. | |
genuinely terrible. It's one of those films that plays like a | :04:37. | :04:40. | |
computer game inasmuch as all the way through it, innocent bystanders | :04:41. | :04:43. | |
are merrily when of the road. Nobody cares, least of all the | :04:44. | :04:48. | |
screenwriters. Because those aren't the people we are concerned about. | :04:49. | :04:53. | |
There's a cameo role by Michael peat for stock that is kind of fun. But | :04:54. | :04:59. | |
at two hours and ten minutes long, you need more than Michael Keaton. | :05:00. | :05:04. | |
Could we get away with it in five minutes in wacky races? That was a | :05:05. | :05:13. | |
lot better written. Better characterisation and better | :05:14. | :05:18. | |
performances. Let's move on. The Zero Theorm, one of the most | :05:19. | :05:22. | |
interesting directors around, Terry Gilliam. The same before about Under | :05:23. | :05:29. | |
The Skin, if somebody is going to fail, I want them to fail on their | :05:30. | :05:33. | |
own terms. From the opening minute you know it's a Terry Gilliam film. | :05:34. | :05:38. | |
Christoph Waltz hummer he feels completely alienate it from the | :05:39. | :05:41. | |
world. His mission, which he has been given by his bosses, is to | :05:42. | :05:46. | |
embark upon a project which will demonstrate that everything equals | :05:47. | :05:51. | |
nothing. In the end, all life is meaningless, which will somehow give | :05:52. | :05:56. | |
meaning to his existence. You only have to watch three films -- brains | :05:57. | :06:00. | |
of this to know if a Terry Gilliam film. How is it happening? It isn't | :06:01. | :06:11. | |
hanging at all well, I'm dying. I can't afford to lose you. I've got | :06:12. | :06:17. | |
an appointment this afternoon. Not this afternoon. Cancel it. Did you | :06:18. | :06:32. | |
do all that this morning? As was mentioned to you repeatedly, we did | :06:33. | :06:37. | |
tests here. I can't begin why you insist on us coming here. That's a | :06:38. | :06:44. | |
management issue. It's out of my hands. Nobody speaks to management, | :06:45. | :06:57. | |
no way. Take my advice, knock off the bitching and moaning. It's not | :06:58. | :07:04. | |
that bad in here. You are right, it is a Terry Gilliam. It has the look | :07:05. | :07:10. | |
to some extent of Brazil. There's a similarity between that central | :07:11. | :07:13. | |
character played by Christoph Waltz and the look of Bruce Willis in | :07:14. | :07:17. | |
Twelve Monkeys. But the manner of Jonathan Pryce, the harassed | :07:18. | :07:20. | |
intellectual, the guy who wants to be away from the system. It is not | :07:21. | :07:24. | |
vintage Terry Gilliam, although would happily watch him tripping up, | :07:25. | :07:29. | |
because I think even when he doesn't do his best work he is always | :07:30. | :07:33. | |
interesting. He made a film called Tideland, a very hard watch. But | :07:34. | :07:38. | |
what works is it is pure, unadulterated Terry Gilliam. This is | :07:39. | :07:42. | |
him turned up. The interweaving plots attempting to find some kind | :07:43. | :07:46. | |
of meaning to his life by disappearing off into the strange | :07:47. | :07:50. | |
portals are a weird cybersex side. That doesn't quite work, but it is | :07:51. | :07:54. | |
like rumbling through a car-boot sale with Terry Gilliam world | :07:55. | :07:59. | |
artefacts all around. Even when it doesn't hang together coherently, it | :08:00. | :08:03. | |
looks like the work of somebody who has the distinctive vision, who | :08:04. | :08:07. | |
makes the films they want to make. It's not his best work but I can't | :08:08. | :08:11. | |
remember the last time I didn't think any Terry Gilliam was worth | :08:12. | :08:15. | |
seeing. You should see it, even though it is very flawed. It's not | :08:16. | :08:19. | |
his best work but there aren't very many films that are better than | :08:20. | :08:25. | |
Twelve Monkeys. He has set the bar very high. Grande Budapest hotel is | :08:26. | :08:32. | |
your film of the week. This is Wes Anderson at his most Wes Anderson. | :08:33. | :08:39. | |
This is essentially the story of Ralph Fiennes, as the concierge of a | :08:40. | :08:44. | |
hotel, a charismatic figure who get involved in this zany adventure. If | :08:45. | :08:48. | |
you like Wes Anderson's style, almost like watching a grandfather | :08:49. | :08:52. | |
clock, everything is mechanical. If you like that, you will love this. | :08:53. | :08:56. | |
However, if you don't like Wes Anderson, it will drive you mad. | :08:57. | :09:01. | |
What I love about him is he clearly listens to the critics and then | :09:02. | :09:06. | |
ignores them totally. You don't like that, I will do more of it! I liked | :09:07. | :09:10. | |
it very much. Ralph Fiennes is really funny. Hunger Games catching | :09:11. | :09:19. | |
fire is your DVD. I've seen the first one but not this one. Jennifer | :09:20. | :09:24. | |
Lawrence is to reflect. It's surprisingly bleak. You get the | :09:25. | :09:27. | |
feeling they will have a problem with the third and fourth films | :09:28. | :09:30. | |
because the narrative, there's a certain amount of repetition in it. | :09:31. | :09:34. | |
She's a really great heroine. It's a bold attempt to take a story which | :09:35. | :09:38. | |
is pretty grim. It is basically rollerball for teenagers, and do it | :09:39. | :09:42. | |
in a way which is accessible and interesting. The first two | :09:43. | :09:45. | |
instalments have been very good. I worry about parts three and four, | :09:46. | :09:53. | |
based on the third novel, which has got some issues, but this is really | :09:54. | :09:56. | |
good. You will find more film news and reviews from Mark on his BBC | :09:57. | :10:01. | |
blog. That's it for this week. Thank you for watching and goodbye. | :10:02. | :10:15. | |
Hopefully, as well as going to the cinema, you have a chance to go | :10:16. | :10:21. | |
outside through this weekend because it should be quite reasonable for | :10:22. | :10:24. | |
many others. We've lost the | :10:25. | :10:25. |