Browse content similar to Miles Ahead, Jane Got a Gun, Louder than Bombs, The Jungle Book, The Ninth Configuration. Check below for episodes and series from the same categories and more!
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first Premier League title. Also more on the race to reach the top | :00:00. | :00:00. | |
flight and the latest European rugby. All that at 10:30pm. Now, The | :00:00. | :00:00. | |
Film Review. Hello and welcome to | :00:00. | :00:17. | |
The Film Review on BBC News. To take us through this week's | :00:18. | :00:21. | |
cinema releases is Mark Kermode. Well, we have Miles Ahead, | :00:22. | :00:23. | |
which is Don Cheadle's I know you are a big | :00:24. | :00:27. | |
Miles Davis fan. We have Jane Got a Gun, | :00:28. | :00:31. | |
a western starring Natalie Portman. And Louder Than Bombs, | :00:32. | :00:36. | |
a drama about a family coming I do love Miles Davis, | :00:37. | :00:38. | |
and I like Don Cheadle. So, Miles Ahead is directed by, | :00:39. | :00:45. | |
starring and co-written, and also some composition, | :00:46. | :00:51. | |
by Don Cheadle. It is a film which he describes | :00:52. | :00:53. | |
as being metaphorical and modal What this means is that the approach | :00:54. | :00:58. | |
to facts is somewhat shall we say... It flashes backwards | :00:59. | :01:03. | |
and forwards in time. At the centre of it is apparently | :01:04. | :01:08. | |
Ewan McGregor as a Rolling Stone journalist, attempting to get | :01:09. | :01:13. | |
an interview with Davis at the end of the 1970s - Davis | :01:14. | :01:16. | |
having fallen silent. Essentially what happens | :01:17. | :01:19. | |
is Ewan McGregor turns up at his door, bangs | :01:20. | :01:21. | |
on the door and says, Mr Davis, I know you're in there, | :01:22. | :01:23. | |
please give me an interview. Initially Miles Davis doesn't | :01:24. | :01:27. | |
want to do it, but one thing leads to another and they end | :01:28. | :01:29. | |
up in a sort of caper, which involves them attempting | :01:30. | :01:32. | |
to find stolen tapes and going around town and getting | :01:33. | :01:36. | |
involved in shoot outs and car Look, I think we just got | :01:37. | :01:39. | |
off on the wrong foot. I mean, I could write some | :01:40. | :01:44. | |
book out a magazine, but I'd rather hear it | :01:45. | :01:49. | |
in your words, you know? Miles Davis, | :01:50. | :01:53. | |
the story in my words. I was born, I moved to New York, | :01:54. | :01:55. | |
met some cats, made some music, did some dope, made | :01:56. | :02:09. | |
some more music, then You laugh, that is one | :02:10. | :02:11. | |
of the best gags in the film. What I like about it is firstly | :02:12. | :02:22. | |
I think Don Cheadle's It's clearly a film made | :02:23. | :02:25. | |
by someone who is passionate I also like the idea of attempting | :02:26. | :02:29. | |
to be adventurous with the format, going backwards and forwards | :02:30. | :02:33. | |
in time, flipping between There are hallucinatory interludes, | :02:34. | :02:35. | |
in which there is a boxing match in which the fighters turn | :02:36. | :02:39. | |
into jazz musicians. There's a lot of moving backwards | :02:40. | :02:41. | |
and forwards in time, in terms of the music | :02:42. | :02:45. | |
and the characters What I'm less impressed | :02:46. | :02:47. | |
by is the need to tie it all around this fanciful idea of the journalist | :02:48. | :02:53. | |
who needs to get the story, which let's not forget is actually | :02:54. | :02:56. | |
the story of Abba the movie. Don Cheadle said he wants to get | :02:57. | :02:59. | |
the original gangster flavour of Miles Davis, | :03:00. | :03:04. | |
to represent the dangerousness I think that on that level, the film | :03:05. | :03:06. | |
somewhat falls apart. That said, it's clearly made | :03:07. | :03:16. | |
with great affection There are moments | :03:17. | :03:18. | |
when it's very funny. There are moments when it is splashy | :03:19. | :03:21. | |
and engaging, and I admire the fact that it wants to do something other | :03:22. | :03:24. | |
than just tell a straight story. At the very beginning | :03:25. | :03:28. | |
we see him being interviewed, He says, don't do that - | :03:29. | :03:30. | |
if you're going to tell a story, That is what the film | :03:31. | :03:35. | |
attempts to do. I don't think it doesn't wholly | :03:36. | :03:38. | |
successfully, but you know what, sometimes it's nice to see something | :03:39. | :03:41. | |
trying to do something and failing, And also, actually, you have | :03:42. | :03:44. | |
to like a film where Ewan McGregor plays a journalist called Dave | :03:45. | :03:50. | |
Brill. And has a haircut which makes him | :03:51. | :03:52. | |
look like Kurt Cobain. And the haircut does tell | :03:53. | :03:56. | |
you which ones are the flashbacks. If you look at Miles Davis hair, | :03:57. | :04:00. | |
you know which time it's in. Actually everything about the film | :04:01. | :04:04. | |
is very good in placing Lets move on, because Jane Got a Gun | :04:05. | :04:06. | |
with Natalie Portman. Yes, this is a very difficult film | :04:07. | :04:10. | |
to review because the screenplay was on the blacklist in 2011 | :04:11. | :04:13. | |
of great unproduced screenplays. It was then going to be directed | :04:14. | :04:15. | |
by Lynne Ramsay, who made We Need to Talk About Kevin, | :04:16. | :04:18. | |
which I absolutely love. It's a western in which Natalie | :04:19. | :04:20. | |
Portman stars as a woman whose husband brings trouble | :04:21. | :04:24. | |
to her door, after having a run What happened was that | :04:25. | :04:26. | |
Lynne Ramsay left the project. There was an awful lot of changing | :04:27. | :04:32. | |
around of characters and it now comes to our screen directed | :04:33. | :04:35. | |
by Gavin O'Connor, who does a job which is perfectly fine, | :04:36. | :04:38. | |
but somewhat unremarkable. It's a film which all the time | :04:39. | :04:40. | |
you're watching it you keep thinking, what would Lynne Ramsay | :04:41. | :04:43. | |
have made of this? It's handsome and it's well played, | :04:44. | :04:47. | |
if somewhat unremarkable. Some of the scenes are | :04:48. | :04:50. | |
somewhat on the nose. It just feels a little bit | :04:51. | :04:55. | |
like a missed opportunity. Obviously you can't spend your life | :04:56. | :04:57. | |
wondering what a film would have been like if it was made by someone | :04:58. | :05:00. | |
else, but this is one of those cases in which I spent most of the movie | :05:01. | :05:04. | |
doing exactly that. Yes, and I was thinking this is fine | :05:05. | :05:07. | |
but remarkable only Also, Bradley Cooper | :05:08. | :05:11. | |
and Michael Fassbender and others were thought | :05:12. | :05:13. | |
to be associated with it. Bradley Cooper came in, | :05:14. | :05:15. | |
replacing Jude Law. It has been a game of musical | :05:16. | :05:19. | |
chairs, but actually my main feeling is that it comes down to who's | :05:20. | :05:25. | |
at the helm, the director. I'd have loved to have seen | :05:26. | :05:28. | |
Lynne Ramsay make this film. Joachim Trier making his | :05:29. | :05:32. | |
English-language debut. The story is about a family - | :05:33. | :05:38. | |
Gabriel Byrne and his two sons coming to terms with the loss | :05:39. | :05:41. | |
of mother and wife, played by Isabelle Huppert, | :05:42. | :05:43. | |
who is a war photographer. The movie again moves around | :05:44. | :05:45. | |
in its time structure. She is seen entirely | :05:46. | :05:47. | |
in flashback and memory. As the movie opens, we are leading | :05:48. | :05:50. | |
up to an exhibition of her work, and it's going to be revealed | :05:51. | :05:54. | |
in a newspaper article that her death in a car crash | :05:55. | :05:57. | |
actually may not have been Gabriel Byrne is worrying | :05:58. | :06:00. | |
that he needs to tell His elder son, played | :06:01. | :06:03. | |
by Jesse Eisenberg, doesn't He's not doing that well, | :06:04. | :06:06. | |
I don't think you should tell him Don't you think he deserves | :06:07. | :06:14. | |
to know the truth? Some story that Richard wants | :06:15. | :06:20. | |
to write, that's not the truth. He's going to make her out to seem | :06:21. | :06:27. | |
like she's some kind But she was depressed, | :06:28. | :06:30. | |
you know that, right? Sometimes I think it must have been | :06:31. | :06:36. | |
really hard for you. I mean, it was tough here, | :06:37. | :06:44. | |
you didn't know what Actually, I did know what was going | :06:45. | :06:49. | |
on, because she called me When she wouldn't talk to you, | :06:50. | :06:57. | |
she would talk to me. Anyway, I guess this story suits | :06:58. | :07:02. | |
you perfectly, because then you can make her out to be the negligent | :07:03. | :07:08. | |
parent and you can be I don't want to argue | :07:09. | :07:11. | |
about this. Just think really hard | :07:12. | :07:15. | |
about what you're doing here, because even if you see her that | :07:16. | :07:23. | |
way, I don't think Conrad has to. What I really like about this, | :07:24. | :07:28. | |
firstly the performances. Great actors at the top | :07:29. | :07:31. | |
of their game. Secondly, when it played at Cannes | :07:32. | :07:33. | |
there were reviews that compared And I think it reminded me more, | :07:34. | :07:36. | |
weirdly, of something like Donnie Darko, with a hint of - | :07:37. | :07:42. | |
weirdly enough - of Lynne Ramsay's We Need | :07:43. | :07:45. | |
to Talk About Kevin. And perhaps just a touch | :07:46. | :07:50. | |
of American Beauty, I thought it was really smart | :07:51. | :07:52. | |
in the way in which it It could very easily become a sort | :07:53. | :08:09. | |
of trite depiction of the way And occasionally it does walk a very | :08:10. | :08:13. | |
thin line, but I ended up being won over by it, because it has | :08:14. | :08:17. | |
a slightly dreamy quality. Isabelle Huppert, as I said, | :08:18. | :08:20. | |
appears in memory and in flashback, but actually she does haunt | :08:21. | :08:22. | |
the entire film. There is one sequence | :08:23. | :08:24. | |
in which the camera just looks at her face for about a minute | :08:25. | :08:27. | |
and it is the most unbelievably expressive face, the symphony | :08:28. | :08:30. | |
of emotions that plays out on it. It's particularly interesting, | :08:31. | :08:33. | |
in a week when something like Miles Ahead is out, | :08:34. | :08:35. | |
very flashy, very stylistic. It's a low key film and that might | :08:36. | :08:37. | |
put some people off, And I cared about the characters, | :08:38. | :08:41. | |
even when the characters are being quite annoying, | :08:42. | :08:44. | |
which they can be, I cared about them, and I believed in them | :08:45. | :08:47. | |
and I believed in the way the film was talking about memory, | :08:48. | :08:52. | |
and the way people remember The way in which relationships can | :08:53. | :08:54. | |
be misremembered and the way people And it's nice to see | :08:55. | :08:58. | |
Jesse Eisenberg who can really act And turning it down, | :08:59. | :09:02. | |
that's the key thing for me. But you know I am | :09:03. | :09:06. | |
a big Shere Khan fan. I was thought the tiger got | :09:07. | :09:13. | |
a really rough deal. The tiger says, you go out | :09:14. | :09:16. | |
there, and kids grow up It's a fair point, | :09:17. | :09:20. | |
if you're a tiger. I think what you have | :09:21. | :09:23. | |
to remember, Gavin, I think it's really well done, | :09:24. | :09:26. | |
because I think what it does is take a certain amount | :09:27. | :09:32. | |
from Rudyard Kipling, it takes an equal amount | :09:33. | :09:34. | |
from the Disney cartoon and it And your DVD, The Ninth | :09:35. | :09:37. | |
Configuration? This is a cult movie from 1980, | :09:38. | :09:39. | |
directed by and written by William Peter Blatty, | :09:40. | :09:43. | |
who wrote The Exorcist. A story about an army asylum | :09:44. | :09:46. | |
in which Stacy Keach is a psychiatrist who is sent | :09:47. | :09:49. | |
there to figure out It is strangely intellectual, | :09:50. | :09:51. | |
and also completely off the wall and it's one of those movies, | :09:52. | :09:59. | |
believe me, when people say cult movies they often mean movies that | :10:00. | :10:02. | |
aren't very good. In this case what they mean | :10:03. | :10:05. | |
is something that is strange and weird and indefinable, | :10:06. | :10:07. | |
and it's one of my favourite movies ever that's just come out | :10:08. | :10:10. | |
on Blu-ray, which is You can catch up with | :10:11. | :10:12. | |
all of our shows on... You can see Mark Kermode | :10:13. | :10:24. | |
Uncut and his blog. Thank you for watching, | :10:25. | :10:28. | |
enjoy the movies. | :10:29. | :10:32. |