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Will come to the full review. To take us through this week's cinema | :00:29. | :00:35. | |
releases its Mark Kermode. We have a very mixed bag. Behind the | :00:35. | :00:42. | |
candelabra, which unveils the life behind Liberace. We have after it, | :00:42. | :00:47. | |
with Will Smith and Jadon Smith, surprisingly as father and son. And | :00:47. | :00:51. | |
we have The Iceman, another outstanding film and a true story | :00:51. | :00:58. | |
of a cold-blooded killer. Behind The Candelabra. I asked if | :00:58. | :01:02. | |
anybody had seen it. Nobody knew what it was. That might be a | :01:02. | :01:09. | |
problem. I was shocked at how many people do not. I thought everybody | :01:09. | :01:16. | |
knew who Liberace was. Michael Best getting career-best performances | :01:16. | :01:21. | |
out of what in America was a straight to TV film. It was at the | :01:21. | :01:26. | |
Cannes Film Festival and has now opens theatrically. It is the story | :01:26. | :01:32. | |
of the relationship between Liberace, the celebrated pianist, | :01:32. | :01:42. | |
:01:42. | :01:42. | ||
and Scott Thorson. And the life Behind The Candelabra. Nearer Jack, | :01:42. | :01:49. | |
I want to talk to you about to wring some surgery. If fine. What | :01:49. | :01:58. | |
would she liked me to do? I want you to make him look like this. Can | :01:58. | :02:08. | |
:02:08. | :02:10. | ||
you do that? I see. Yes, I think I can do what you want. I am going to | :02:10. | :02:16. | |
have to restructure his cheekbones and his chin. Silicon implants. But | :02:16. | :02:23. | |
it is not impossible. But first, you have to slim him down. I have a | :02:23. | :02:33. | |
:02:33. | :02:34. | ||
terrific diet. Of a Californian diet. Guaranteed loss of 15 in four | :02:34. | :02:44. | |
:02:44. | :02:48. | ||
I see what you mean about career- best performance. There is the old | :02:48. | :02:52. | |
fashioned technique of bits of cellophane. What you see from that | :02:52. | :02:59. | |
clip is the different levels of the film. It is funny, and there is a | :03:00. | :03:03. | |
lot of extravagance. There is a moment at the beginning of the film | :03:03. | :03:11. | |
when Matt Damon goes to see Liberace. It is amazing the | :03:11. | :03:15. | |
straight audiences it accepting something so gay. But they do not | :03:15. | :03:21. | |
know he is gay. The idea is that the audience sees what they want to | :03:21. | :03:26. | |
see. The idea that his sexuality was a very private matter. Nowadays | :03:26. | :03:30. | |
you look at flamboyance, and how could anybody have seen anything | :03:30. | :03:35. | |
else? It is different in private and public. There is a sinister | :03:35. | :03:39. | |
element. The added the film introduces is that he wants his | :03:39. | :03:47. | |
protege to become him. It looks like a young version of him. Being | :03:47. | :03:52. | |
a young version of yourself takes a whole new meaning. It is the dark | :03:52. | :03:57. | |
side of the film. It is like the Phantom of the Opera. A brilliant | :03:57. | :04:03. | |
musician who brings this young person into his lair. As the film | :04:03. | :04:11. | |
moves on, he becomes sealed more and more within this hermetic world. | :04:11. | :04:17. | |
What it does, it has all these different ideas. Theatricality. | :04:17. | :04:21. | |
Michael Douglas is terrific. It is also about the difference between | :04:21. | :04:29. | |
public and private. At the centre of it, it is this bittersweet, | :04:29. | :04:35. | |
strange the twisted butter very charming end. A rather moving story | :04:35. | :04:39. | |
about this strange couple whose relationship was actually the most | :04:39. | :04:49. | |
:04:49. | :04:49. | ||
normal thing about the bizarre world in which they live. There is | :04:49. | :04:55. | |
a bit in Austen Palace where he has to watch all these things that have | :04:55. | :05:02. | |
happened. And he says, Liberace was a? Food you? After Smith. Will | :05:02. | :05:06. | |
Smith and Jadon Smith. And of course, M Night Shyamalan. He | :05:06. | :05:12. | |
started his career as so successful. But now he has been something of a | :05:12. | :05:19. | |
downward spiral. It is the future. Mankind have left earth. It is a | :05:19. | :05:23. | |
father and son. He has to fight monsters who can detect you by the | :05:23. | :05:29. | |
smell of your future. The Sun has to learn to be more like his father. | :05:29. | :05:33. | |
He has to learn to be a bit more boring. A little less exciting. | :05:33. | :05:39. | |
They crash-land on oath. He has to go from a series of obstacles to | :05:39. | :05:44. | |
get less emotion. The extraordinary thing about this is that it has a | :05:44. | :05:49. | |
father and son at the centre, M Night Shyamalan himself seems to | :05:49. | :05:52. | |
have almost entirely lost the ability to recognise what an | :05:52. | :05:58. | |
engaging story is. It is a strange when you remember the 6th sense. | :05:58. | :06:03. | |
Everybody talked about the narrative complexity. The progress | :06:03. | :06:09. | |
is, excitable young man has to become boring as his father by the | :06:09. | :06:15. | |
time he gets to the end of the film. As long as you do not react, they | :06:15. | :06:19. | |
cannot see you. The safest you would be would be asleep. The | :06:19. | :06:26. | |
monsters would not be able to see me, because I am drifting off. | :06:26. | :06:33. | |
Ice man. I have seen the Ice man. It has an extraordinary performance | :06:33. | :06:40. | |
by Michael Shannon. This is the true story of a professional hit | :06:40. | :06:43. | |
man who lived a double life. On the one hand he was a cold-blooded | :06:43. | :06:53. | |
:06:53. | :06:59. | ||
killer. On the other hand, he was a family man. I do not want to talk | :06:59. | :07:08. | |
about it any more. You have just got to talk to me, tell me. We have | :07:08. | :07:18. | |
been through enough. We have got too much good here. For you to act | :07:18. | :07:26. | |
this way. What way?Like you do not care any more. I do not care any | :07:26. | :07:33. | |
more. I see. I do not get the benefit of the doubt? In a way, the | :07:33. | :07:39. | |
whole idea is that he is not expressive. But the central thing | :07:39. | :07:49. | |
is that he does not react. The Iceman. The director said that he | :07:49. | :07:52. | |
saw a documentary. What is interesting, these terrible things | :07:52. | :07:58. | |
that he'd done. But there was something likeable about him. It | :07:58. | :08:04. | |
was called Zodiac meets Goodfellas. Just because it reminds you of | :08:05. | :08:10. | |
other films does not mean it is like it. It may is a much better | :08:10. | :08:18. | |
film to take you into the mind of a man, who is basically a sociopath. | :08:18. | :08:26. | |
The fall in the film is, it is about a relationship with his wife, | :08:26. | :08:34. | |
but I did not think the accent worked. It has to work. I think her | :08:34. | :08:38. | |
performance is fine. What you want to know is how could you have the | :08:38. | :08:42. | |
relationship with the wife with all that is going on. Those were the | :08:42. | :08:46. | |
scenes that you wanted more from. But the drama does not know what to | :08:46. | :08:56. | |
grow. It does not know. -- where to go. And now we have byes sent him, | :08:56. | :09:02. | |
about a vampire. -- I send him. They never ever used the word their | :09:02. | :09:09. | |
empire. They never used the word vampire. It is about what it means | :09:09. | :09:15. | |
to live for ever. Some people said, it is twilight for grown-ups. | :09:15. | :09:20. | |
Somehow, if you like twilight you cannot like I sent him. I love | :09:20. | :09:27. | |
twilight and unloved by send him. I loved the idea of the Gothic | :09:27. | :09:33. | |
romance. The talk about likeability and flawed characters. Flight. | :09:33. | :09:42. | |
Denzel Washington. Can somebody like this also be a hero? At the | :09:42. | :09:50. | |
beginning of the film you see that he is a pilot. He crashes the plane | :09:50. | :09:53. | |
which for a significantly clipped the top of the church. The rest of | :09:53. | :09:58. | |
the film is about his voyage to redemption. The drama is less | :09:58. | :10:07. | |
surprising the more it goes on. His performance is great. It is good to | :10:07. | :10:13. | |
see this live action directing. He is a good live-action director. It | :10:13. | :10:22. |