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Or welcome mac to Film Review on BBC News. We have Ryan Gosling | :00:32. | :00:37. | |
revving up to play an all-American hero or an outlaw in The Place | :00:38. | :00:47. | |
:00:48. | :00:52. | ||
Beyond the Pines. It is a new indie film. We also have Tom Cruise's new | :00:52. | :01:01. | |
movie. They can get to that in a minute. | :01:01. | :01:06. | |
The Place Beyond the Pines sounds like a great watch. I people say it | :01:06. | :01:12. | |
is the best film I have seen this year, so far. -- I will say. I did | :01:12. | :01:19. | |
not know much about the film before I saw it. I do not want to spoil it | :01:19. | :01:27. | |
for people. This is about Ryan Gosling who plays an outlaw who | :01:27. | :01:34. | |
becomes a bank robber. Then the film changes pace. It comes -- it | :01:34. | :01:39. | |
becomes about the police officer who used to chase him. Then it | :01:39. | :01:45. | |
changes again and talks about another generation of criminals. It | :01:45. | :01:49. | |
is completely surprising in every turn up. The clip we are looking at | :01:50. | :01:54. | |
his Bradley Cooper dealing with police corruption. Is he heroic? | :01:54. | :02:01. | |
That is the question. This was recovered from my house during a | :02:01. | :02:10. | |
search. Just a small fraction of what is going on. Don't say another | :02:10. | :02:20. | |
:02:20. | :02:27. | ||
What do you expect me to do with this? You are joking, right? This | :02:27. | :02:35. | |
is not my problem. This is your problem. I am bringing it to your | :02:35. | :02:41. | |
attention because that is what I am supposed to do! Is that right? | :02:41. | :02:46. | |
Write about other police officers? This is unbelievable. Get this out | :02:46. | :02:54. | |
of here! Bradley Cooper is terrific. He is building on his reputation. | :02:54. | :03:04. | |
:03:04. | :03:10. | ||
plays a police officer who is uprights and right-thinking. Does | :03:10. | :03:17. | |
he get into the ways of the cops? This maybe is very smart. It is | :03:17. | :03:22. | |
about the wrath of. Ryan Gosling has a long it love-story at the | :03:22. | :03:28. | |
start. It is also about the legacy you leave behind. And how those | :03:28. | :03:33. | |
things can be muddled over a period. And how history will see you. I | :03:33. | :03:38. | |
thought it was really smart, beautifully done. It stars Ryan | :03:38. | :03:45. | |
Gosling with his top off. People will go for that. He does that a | :03:45. | :03:50. | |
lot. It is about creating is a hero figure that cinema does it really | :03:50. | :03:54. | |
well. I saw one reviews said he is the | :03:54. | :04:00. | |
Steve McQueen of the 21st century. That's not bad. | :04:01. | :04:09. | |
Let's move on. The crew is in this movie title. | :04:09. | :04:16. | |
It is a strange film. It is by a young American film maker. He is | :04:16. | :04:24. | |
part of this new young in secret that is growing up in America. -- | :04:24. | :04:31. | |
indie crew. It is like an American Psycho in Paris. It is the dark | :04:31. | :04:38. | |
flipside of romantic American films. Here is a young student who goes to | :04:38. | :04:43. | |
Paris for a gap year to recover from a relationship. He finds | :04:43. | :04:48. | |
himself completely alienated. He did not know where he can turn. He | :04:48. | :04:52. | |
finds that he can create a new identity for himself. He takes up | :04:52. | :04:57. | |
with a prostitute, he stays with friends, he smokes a lot. He does | :04:57. | :05:02. | |
do know what he can do. He decides this power is rather frightening. | :05:02. | :05:12. | |
:05:12. | :05:13. | ||
He grows into the monster of bed the title pretence that he is. | :05:13. | :05:18. | |
-- the monster that he pretence he is in the title. | :05:18. | :05:24. | |
Is he going to become a Kirra? That question is always lingering. It is | :05:24. | :05:29. | |
very well done. Loads of great music. Lots of sex. | :05:29. | :05:33. | |
It is difficult when you don't like the central character. | :05:33. | :05:38. | |
It tells you from the start in the title. | :05:38. | :05:45. | |
Films have done it before. They do not make him likeable. They | :05:45. | :05:51. | |
make no concessions. That is why I like this from. It is not lovable | :05:51. | :05:56. | |
but it is enjoyable. As long edgy no going in, you're | :05:56. | :06:00. | |
not going to lead the field. It is not a great romance. | :06:01. | :06:07. | |
It is an anti- hero film again. It examines the hero, in a way, and | :06:07. | :06:11. | |
what cinema stars to these creatures that dominate the screen. | :06:11. | :06:14. | |
Now Oblivion. That is the hero. | :06:14. | :06:21. | |
Tom Cruise is always playing the hero. Here he is. | :06:21. | :06:25. | |
I do not know when this film is said. | :06:25. | :06:29. | |
At the end of his voice over, explaining everything, I had no | :06:29. | :06:36. | |
idea what was happening. It was such a confusing voice-over. No-one | :06:36. | :06:42. | |
knew what was going on. They are in the future. He scavengers, shoots | :06:42. | :06:48. | |
things that are invading the earth. No-one is on the earth anymore. He | :06:48. | :06:58. | |
:06:58. | :07:13. | ||
The EU have any memories? -- do you have any memories? Our job is not | :07:13. | :07:23. | |
:07:23. | :07:28. | ||
to remember. Remember? Do you remember her? That was a beacon | :07:28. | :07:38. | |
that brought her down. We do not know who she is. Or what she is. | :07:38. | :07:45. | |
Sorry. That is almost comedy dialogue. | :07:45. | :07:50. | |
You can write this but you can't say it. I do not know who wrote | :07:50. | :07:57. | |
this. Its for a five-year-old. | :07:57. | :08:07. | |
:08:07. | :08:12. | ||
He has the same T-shirt that he It is so derivative of all sci-fi, | :08:12. | :08:17. | |
I was thinking there was a joke here somewhere. At no point does | :08:17. | :08:20. | |
anyone laugh. I laughed. | :08:20. | :08:25. | |
The future is a terribly miserable place, it seems. | :08:25. | :08:29. | |
Instead of watching this film, or get the Matrix out and have another | :08:29. | :08:33. | |
look. What I like to bat is the design of | :08:33. | :08:40. | |
it. It was very futuristic. That was the only thing I liked about it. | :08:40. | :08:50. | |
:08:50. | :08:51. | ||
Your best film is a French one. Explain it. | :08:51. | :08:55. | |
It was by a very elegant and prolific French film-maker. This | :08:55. | :09:03. | |
one is probably his best film yet. It is a teacher in a school is | :09:03. | :09:13. | |
trying to educate a boy in writing fiction. He goes into another | :09:13. | :09:16. | |
person's house and the teacher becomes obsessed with this homework | :09:16. | :09:26. | |
:09:26. | :09:27. | ||
that excite Brent -- assignment. It Kristen Scott Thomas is the | :09:27. | :09:31. | |
frustrated bourgeois housewife. She is brilliant. | :09:31. | :09:41. | |
:09:41. | :09:41. | ||
Talk about your DVD of the week. It is about 1945. | :09:41. | :09:51. | |
It is archive footage filmed. It is out on DVD dissuade. | :09:51. | :10:01. | |
:10:01. | :10:12. | ||
There are a number of things one can say about this. | :10:12. | :10:17. | |
He misses a bit in between. The winter of discontent. | :10:17. | :10:25. | |
All of that. How can we judge this? If you judge | :10:25. | :10:29. | |
it as a historical documentary, it is a bit of. | :10:30. | :10:37. | |
It is very personal. He makes no It is very personal. He makes no | :10:37. | :10:42. | |
bones about it. It is actually a bit more than that. It is asking | :10:42. | :10:47. | |
that generation to get back that spirit. To teach, to adage -- to | :10:47. | :10:51. | |
educate. What is really interesting is that | :10:51. | :10:57. | |
we are all in this together. We just came through the war. | :10:57. | :11:02. | |
just came through the war. just came through the war. | :11:02. | :11:07. | |
me cry for black it is capable and there we have lost. -- because I | :11:07. | :11:14. |