Browse content similar to Bridge of Spies, The Good Dinosaur, Carol. Check below for episodes and series from the same categories and more!
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places above Edmund. And we will keep you up-to-date with the second | :00:00. | :00:00. | |
t20 International for England against Pakistan. Now it is time to | :00:00. | :00:09. | |
the film review. -- now it is time for the Film Review. | :00:10. | :00:18. | |
Hello and welcome to the Film Review on BBC News. | :00:19. | :00:22. | |
To take us through this week's cinema releases is Mark Kermode. | :00:23. | :00:26. | |
We have got stunners this week? We are in award season, we have Bridge | :00:27. | :00:37. | |
of Spies, Tom Hanks and Steven Spielberg and Mark Rylance. We have | :00:38. | :00:44. | |
The Good Dinosaur, the latest from Pixar. And Carol, Cate Blanchett, | :00:45. | :00:50. | |
Shreck, Todd Haynes and Patricia Highsmith, what more could you want? | :00:51. | :00:58. | |
-- Rooney Mara. The most trusted American according to one poll? This | :00:59. | :01:06. | |
is the cold war movie in which Tom Hanks was inspired by a true story. | :01:07. | :01:12. | |
James Donovan is enlisted early on to defend someone who has been | :01:13. | :01:17. | |
charged with being a Soviet spy, played by Mark Rylance. Initially he | :01:18. | :01:25. | |
is not keen. Here is a clip. OK, here's the thing, the Soviets want | :01:26. | :01:30. | |
you to defend the spy. Here is the indictment. Wow. I'm not sure I want | :01:31. | :01:41. | |
to pick that up. The accused does not know any lawyers, the federal | :01:42. | :01:45. | |
court tossed him into our lap. You are the unanimous choice. It is | :01:46. | :01:50. | |
important to the country that this man is seen as getting a fair shake. | :01:51. | :01:55. | |
American justice will be on trial. When you put it that way it's an | :01:56. | :02:00. | |
honour to be asked. I'm an insurance lawyer and I have not done criminal | :02:01. | :02:04. | |
work in years. It's like riding a bike, isn't it? I was on the | :02:05. | :02:10. | |
prosecution team. That's not the point. You are no stranger to | :02:11. | :02:14. | |
criminal law. The man is publicly reviled. I will be too. Yes, but | :02:15. | :02:22. | |
that is how it has to be done and capably done. It cannot look as | :02:23. | :02:25. | |
though the justice system tosses people on the Ashes. That looked | :02:26. | :02:31. | |
good. It is a drama and it has elements of a thriller and comedic | :02:32. | :02:36. | |
elements. The key phrase is seen as getting a fair trial. Once Tom | :02:37. | :02:41. | |
Hanks's character has the bit between his teeth he starts wanting | :02:42. | :02:46. | |
to defend him properly because he believes in the rule book. In this | :02:47. | :02:50. | |
case the Constitution. It looks on the outside like a companion piece | :02:51. | :02:56. | |
to Catch Me If You Can, but it is like Lincoln, defending the | :02:57. | :03:00. | |
constitution and that the rules are good. After he has defended the | :03:01. | :03:05. | |
alleged Soviet spy we then jump some period of time forward where there | :03:06. | :03:10. | |
are Americans being held on the other side and he is brought back to | :03:11. | :03:16. | |
negotiate a prisoner swap. The film then takes some of the insurance | :03:17. | :03:20. | |
doublespeak that we saw him using in the beginning, this is a film that | :03:21. | :03:25. | |
makes a hero of an insurance lawyer! It turns the doublespeak | :03:26. | :03:30. | |
into a freedom mantra. This is a very Spielberg idea. And not marry | :03:31. | :03:34. | |
man in body and everything that is best about America but doing it in a | :03:35. | :03:37. | |
way that is firstly so reassuringly well-made. It is like sitting in a | :03:38. | :03:44. | |
well pollsters armchair. You think that we are an hands of a master | :03:45. | :03:48. | |
craftsman. There is superb comedy as you would expect from Hanks. | :03:49. | :03:55. | |
Watching Mark Rylands and Tom Hanks laying together, they are from very | :03:56. | :04:00. | |
different worlds but they're acting styles couldn't be more different. I | :04:01. | :04:06. | |
am reminded of Eliot and ET, worlds apart! It works well on screen. In | :04:07. | :04:12. | |
the United States, insurance lawyers are regarded as the people who stop | :04:13. | :04:15. | |
you getting any money whatsoever, so they are not the good guys. At the | :04:16. | :04:21. | |
very beginning we see him arguing that his client has been involved in | :04:22. | :04:25. | |
an accident in which he has run into five motorcycles. One accident, not | :04:26. | :04:31. | |
five, he says, but then it is turned on its head. It is very much like | :04:32. | :04:37. | |
Spielberg. The Good Dinosaur... You know how much I love Pixar and | :04:38. | :04:44. | |
Inside Out. Good Dinosaur has had a lot of problems, losing its original | :04:45. | :04:49. | |
director, got rewritten, lost most of its cast, and it is a what if | :04:50. | :04:54. | |
setup. In the beginning we saw the meteor that would have caused the | :04:55. | :04:58. | |
dinosaurs to be extinct, but it misses the earth and then we moved | :04:59. | :05:03. | |
to an evolved dinosaur and in an evolved human dog boy going on an | :05:04. | :05:11. | |
incredible journey. Those photo realistic backgrounds are | :05:12. | :05:14. | |
extraordinary but isn't it weird how they clash with the cartoon | :05:15. | :05:17. | |
characters. This is the whole thing that Pixar said you should never do, | :05:18. | :05:22. | |
if you start worrying about the background clashing, the story is | :05:23. | :05:26. | |
not working. It is not to say there aren't visual delights, which there | :05:27. | :05:30. | |
are. There are individual scenes which work and of course, it's a | :05:31. | :05:36. | |
Pixar film. As a holy does not hang together. It does not have the | :05:37. | :05:40. | |
timeless quality of their best. It is coming hot on the heels of Inside | :05:41. | :05:45. | |
Out which is so perfect. Its flaws are more obvious. I know you are | :05:46. | :05:53. | |
going to love Carol! There is nothing wrong with the film, | :05:54. | :05:59. | |
everything is right. A superb adaptation of Patricia Highsmith's | :06:00. | :06:03. | |
the price of salt. She catches the eye of Rooney Mara's shop | :06:04. | :06:07. | |
assistant, something passes between them and Carol is going through a | :06:08. | :06:12. | |
messy divorce. Rooney Mara's character is finding her feet. They | :06:13. | :06:16. | |
start to fall in love. Here is a clip. Thank you. Enjoy. I'm starved. | :06:17. | :06:36. | |
Bon appetit. What do you do on Sundays? Nothing in particular, what | :06:37. | :06:42. | |
do you do? Nothing, really. Would you like to come visit me sometime? | :06:43. | :06:48. | |
You are welcome to. At least there is pretty country around where I | :06:49. | :06:52. | |
live. Would you like to come and visit me this Sunday? Yes. What a | :06:53. | :07:13. | |
strange girl you are. Why? For -- flung out of space. 1950s... You can | :07:14. | :07:21. | |
see that so much of it is about what is not said. Where do we begin? | :07:22. | :07:29. | |
Superb script adaptation. Absolutely brilliantly done. Really uncluttered | :07:30. | :07:34. | |
script. Wonderful cinematography by Edward Lachman. Fantastic costume | :07:35. | :07:41. | |
design by Sandy Powell. It gives it an angular edge and it helps you | :07:42. | :07:43. | |
through the strange character shifts. Brilliantly directed by Todd | :07:44. | :07:50. | |
Haynes, one of those people who absolutely is a triumph of arthouse | :07:51. | :07:54. | |
experimentalism moving into mainstream adoration. Even the | :07:55. | :08:00. | |
editing, staying on Cate Blanchett where a lesser person would have cut | :08:01. | :08:04. | |
away for a reaction shot. I would say more about the editing but it | :08:05. | :08:08. | |
did exactly what it does come at you don't notice it. That is the weird | :08:09. | :08:11. | |
thing. I love this film. It is terrific. What it manages to do is | :08:12. | :08:16. | |
to be so many different things and it's very Todd Haynes. It has the | :08:17. | :08:29. | |
confidence of Far From Heaven, and it is inflected with film no art, | :08:30. | :08:34. | |
will it become a murder mystery? We have handguns in suitcases, private | :08:35. | :08:40. | |
detectives, effectively love is the crime scene. It is all going on in | :08:41. | :08:44. | |
the background whilst watching this forbidden love developing in a way | :08:45. | :08:48. | |
which is warm and intelligent and compassionate. I say this so rarely, | :08:49. | :08:55. | |
it does not put a foot wrong. At the end of it you just want to go, I | :08:56. | :08:59. | |
will see that again because I must have missed a mistake. I was just | :09:00. | :09:06. | |
thinking, we often talk about, and a number of people in Hollywood talk | :09:07. | :09:09. | |
about not having strong roles for women, but that is. Some of the best | :09:10. | :09:20. | |
films I have seen this year, ... Absolutely terrific. There is | :09:21. | :09:23. | |
clearly an industrial problem as far as Hollywood is concerned. When you | :09:24. | :09:28. | |
get to the independent sector, like the Carol Morleyfilm. They have to | :09:29. | :09:39. | |
realise there is an audience. Like there is a huge audience for | :09:40. | :09:42. | |
Brooklyn which is a film people found very hard initially to sell | :09:43. | :09:46. | |
because it is like, how do you sell this understated story of a young | :09:47. | :09:52. | |
woman going to America? It does not have spectacle but it has heart and | :09:53. | :09:55. | |
soul. A fantastic central performance. Is this 50s week? ! The | :09:56. | :10:09. | |
Good Dinosaur is a bit earlier! The Reflecting Skin. Have you seen this | :10:10. | :10:16. | |
film? I haven't. Philip Ridley is an extraordinary film-maker who has | :10:17. | :10:21. | |
made things like Heartless. And He Wrote The Script For The Krays. It | :10:22. | :10:34. | |
Is About A Young Boy Who Is Obsessed With Vampires. It Is Almost | :10:35. | :10:42. | |
Impossible To Explain. It won a lot of genre prizes. Now looking at it | :10:43. | :10:46. | |
again, it is one of those things when people refer to coralled movies | :10:47. | :10:52. | |
-- cult movies, often it sets out to be but this is just a weird piece of | :10:53. | :10:58. | |
work. It has found its audience or at least that is what a proper cult | :10:59. | :11:02. | |
movie looks like. Variety did not like it when it came out. It has | :11:03. | :11:08. | |
been a great week. It has. It is the season to be jolly! On that happy | :11:09. | :11:13. | |
note, quick reminder that you can find more film news online. | :11:14. | :11:21. | |
Including our previous shows. That's it for this week. Thanks for | :11:22. | :11:22. | |
watching. Goodbye. | :11:23. | :11:26. |