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Brook on the eve of his world title fight in London. That is all at | :00:00. | :00:00. | |
6:30pm. Now on BBC News, it is time for The Film Review. | :00:00. | :00:18. | |
Hello and welcome to The Film Review on BBC News. | :00:19. | :00:21. | |
To take us through this week's cinema releases is Mark Kermode. | :00:22. | :00:24. | |
It is a really good week. We have Captain Fantastic, tell about a | :00:25. | :00:37. | |
family living off the grid. Kubo and the two strings, a new animation. | :00:38. | :00:46. | |
And Hell Or High Water, a throwback nostalgic fest. Captain Fantastic is | :00:47. | :00:54. | |
not a marvel comics superhero. And nor is it an Elton John album. | :00:55. | :00:59. | |
Although the director said he must have heard the title from Elton | :01:00. | :01:06. | |
John. Viggo Mortensen is a family father, bringing on six children, by | :01:07. | :01:12. | |
D-Day hunt and they climb and they discuss Marxism and Noam Chomsky. | :01:13. | :01:17. | |
They have been brought up completely off the grid. Now, the mother is | :01:18. | :01:22. | |
absent, she has been in hospital, and the family have to hit the road, | :01:23. | :01:26. | |
which means for the first time, these kids who have grown up in | :01:27. | :01:31. | |
little planet of world are going to come into contact with the real | :01:32. | :01:38. | |
world. Here is a clip. We have to do what we are told. Some fights you | :01:39. | :01:46. | |
can't win. The powerful control the lives of the powerless. That is the | :01:47. | :01:50. | |
way the world works. It is unjust and it is unfair. But that is just | :01:51. | :01:57. | |
too bad. We have to shut up and accented. Access it. -- we have to | :01:58. | :02:04. | |
accept it. BAGPIPES PLAY.. So they know we're | :02:05. | :02:35. | |
coming! One of the things that is interesting is there is a discussion | :02:36. | :02:40. | |
about which is the real world, their resistance in the woods all the land | :02:41. | :02:44. | |
of diners and supermarkets and mauls and polite family suppers. One of | :02:45. | :02:52. | |
the things I like about the film is the writer directors said he wanted | :02:53. | :02:57. | |
to raise the question of whether the Viggo Mortensen character is the | :02:58. | :03:00. | |
best or worst dad in the world. He might be either. He is somebody who | :03:01. | :03:06. | |
has a dream for his children but also it may well be that the raid in | :03:07. | :03:10. | |
which he has raised them can be seen as abuse. There is a Manson like | :03:11. | :03:17. | |
clamp. People living out in the wild with hunting knives led by this | :03:18. | :03:22. | |
bearded charismatic. What I really like about it is the film doesn't | :03:23. | :03:26. | |
settle simply for one answer or the other. It is very funny, very | :03:27. | :03:31. | |
moving, there are moments of genuine tragedy, moments of real comedy, | :03:32. | :03:37. | |
every character gets given a proper three dimensionality. Even | :03:38. | :03:41. | |
characters who you expect to be slightly caricatured. I really liked | :03:42. | :03:48. | |
the way in which he told the story, asking you to make your own | :03:49. | :03:51. | |
decisions about how these characters lives panned out. Every good use of | :03:52. | :03:56. | |
song in the movie itself. People singing songs and making music | :03:57. | :04:01. | |
within the movie. I really liked it, I was really charmed and moved by | :04:02. | :04:05. | |
it. More than once, I had a table to my eye. Even in that little clip, | :04:06. | :04:12. | |
Viggo Mortensen is talking about having to follow other people's | :04:13. | :04:17. | |
rules, in a way he is dictating it. Exactly. A balance between being a | :04:18. | :04:22. | |
monster and the greatest dad in the world. There is a fantastic sequence | :04:23. | :04:28. | |
where there is a question about whether he is being sanctimonious | :04:29. | :04:31. | |
and difficult or visionary and idealistic. I think the film is much | :04:32. | :04:36. | |
more open-minded about that than some critics have given it credit | :04:37. | :04:43. | |
for. The crazy or charismatic thing is part of it, you have to decide. | :04:44. | :04:49. | |
Is what he is doing loving or abusive? It is an open-ended | :04:50. | :05:03. | |
question. This is a new film about Kubo, I junk boy who has a gift for | :05:04. | :05:10. | |
storytelling. He uses origami and his world comes to life. He ends up | :05:11. | :05:17. | |
going on a quest which involves a beetle to discover the strange | :05:18. | :05:20. | |
history of his family. What I really like about this is the torrid | :05:21. | :05:26. | |
telling is complex, it imagines the audience are intelligent. It is | :05:27. | :05:32. | |
properly scary when it needs to be. There is a moment towards the end of | :05:33. | :05:37. | |
it, mild scary scenes, I'm 54, and there was one scene that was more | :05:38. | :05:45. | |
than mildly scary and I like that. It is a film that was made... You | :05:46. | :05:49. | |
can feel the care and attention to detail. Much more in the spirit of | :05:50. | :05:53. | |
the studio Jubilee films. I think work for an audience of all ages. | :05:54. | :06:00. | |
For younger viewers who may be scared by certain things and good | :06:01. | :06:08. | |
that they are. It does sound like a non-formal | :06:09. | :06:12. | |
children's film. Not where you lose a parent and you go on an adventure | :06:13. | :06:16. | |
and you are redeemed, well worn track. It has some classic | :06:17. | :06:20. | |
storytelling elements in it but there is nothing in it that makes | :06:21. | :06:26. | |
you see -- think I have seen this before. The story is so well done, | :06:27. | :06:32. | |
stories within stories, narratives within narratives, you always feel | :06:33. | :06:36. | |
you are incompetent hands. Hell Or High Water. A nostalgic western in | :06:37. | :06:43. | |
the style of Arthur Penn or Sam Peckinpah. Jeff Bridges is West | :06:44. | :06:51. | |
Texas range. He says maybe he will go out on a blaze of Rory. He is | :06:52. | :06:56. | |
hunting two bank robbers who are knocking over small-town banks the | :06:57. | :07:03. | |
film has a nostalgia for an age that has gone. Cowboys and bank robbers | :07:04. | :07:11. | |
are something of a different age. It has darkness, moments of action, and | :07:12. | :07:16. | |
it also has, as we will see in this clip, a really nice, edgy humour. | :07:17. | :07:29. | |
Audi, man. How are you doing today? So, what don't you want? What don't | :07:30. | :07:38. | |
you want? Oh, well, I think I would just... I have been working here for | :07:39. | :07:47. | |
44 years, ain't nobody ever ordered nothing but T-bone steak. Except for | :07:48. | :07:54. | |
one person from New York who tried to order trot back in 1987. T-bone | :07:55. | :08:00. | |
steaks. So, either you don't want the corn on the cob or you don't | :08:01. | :08:06. | |
want the green beans, so what don't you want? I don't want green beans. | :08:07. | :08:15. | |
I don't want green beans either. Steaks cooked medium rare. Can I get | :08:16. | :08:26. | |
my steaks... That wasn't a question. The mumble vision is great. It is | :08:27. | :08:31. | |
able to go from that from -- the scenes which are dark. It is about | :08:32. | :08:36. | |
characters who are out of time. The real bad guys are the banks. There | :08:37. | :08:41. | |
is a way of life, the law to the plains is no longer there. It is | :08:42. | :08:46. | |
about people being run off their lands and run off their homes. It | :08:47. | :08:50. | |
has that kind of epic feel to it. When you look at it visually, long, | :08:51. | :08:56. | |
flat landscapes, big, empty skies. It is a film about a world which has | :08:57. | :09:01. | |
disappeared. It has that melancholy and that wonderful score. It really | :09:02. | :09:10. | |
has a melancholic edge to it. Some people have compared it to the Coen | :09:11. | :09:14. | |
brothers. I think it is a slightly lazy comparison. I think what it | :09:15. | :09:22. | |
has, as I said, it is closer in my mind to the 1970s cinema of Sam | :09:23. | :09:27. | |
Peckinpah. It is not scared to be open-ended and leave threads not | :09:28. | :09:31. | |
tied up. I really, really liked it. This is a good week. Three films | :09:32. | :09:37. | |
which are all solid. The reason I want to see this is the concept of | :09:38. | :09:43. | |
where is the moral heart of this film? Is it the bank robbers or the | :09:44. | :09:48. | |
banks the robbers? And it plays that in a world in which that kind of | :09:49. | :09:51. | |
corporate corruption is the background to everything. People | :09:52. | :09:55. | |
losing their lands and their homes as a story which is on the back of | :09:56. | :10:00. | |
all of this. I thought it was good. You're best of the week? Isabel who | :10:01. | :10:07. | |
pay is superb as a philosophy teacher who discovers an ill of her | :10:08. | :10:11. | |
life that love is more constant than politics. It is inspired from her | :10:12. | :10:21. | |
own mother. It is one of the most commanding screen presence is, she | :10:22. | :10:25. | |
does not put a foot wrong. It is to do with small gestures, to do with | :10:26. | :10:30. | |
understatement, not to do with overstatement, she is brilliant, and | :10:31. | :10:33. | |
I really encourage anybody to see this, it is a really, really smart | :10:34. | :10:39. | |
film. There is also a big metaphor there which is the black cat. The | :10:40. | :10:45. | |
thing with this is this access can make anything seen simultaneously | :10:46. | :10:50. | |
really important but also slightly frivolous. One of the things I like | :10:51. | :10:56. | |
about this film is it is funny, it does have a really dark sense of | :10:57. | :10:59. | |
humour about it, there is lots of discussion about it being an old | :11:00. | :11:07. | |
lefty, her husband says, UR a communist, and she says, yes for | :11:08. | :11:11. | |
about three weeks, everybody was. DVD? Embrace of the serpent. This is | :11:12. | :11:21. | |
Columbia's first nomination for Best foreign language film. It is a | :11:22. | :11:28. | |
superb story which is intended to blend Amazonian myths and western | :11:29. | :11:37. | |
storytelling. Imagine if you can fix Crowther and Apocalypse now but | :11:38. | :11:41. | |
inverted. Black-and-white cinematography, superb and sparse | :11:42. | :11:47. | |
use of music. A film which works on an absolutely cinematic level. | :11:48. | :11:49. | |
Sometimes it Israeli hard to describe the movie -- sometimes, it | :11:50. | :11:56. | |
is really hard to describe a movie because it is a piece of cinema. One | :11:57. | :12:02. | |
of the best films I have seen this year. It is fabulous. Even on the | :12:03. | :12:09. | |
smaller screen, it is really worth watching. You will love it. And | :12:10. | :12:16. | |
Colombian cinema, something we haven't talked about? They have had | :12:17. | :12:20. | |
a lot of problems in Colombia. They have. They have had a | :12:21. | :12:27. | |
foreign-language category and the foreign-language category has been | :12:28. | :12:30. | |
so strong this year is so great to be nominated. There is not one film | :12:31. | :12:34. | |
that was Oscar-nominated that I wouldn't recommend you rush out and | :12:35. | :12:38. | |
see immediately in the foreign-language category. More news | :12:39. | :12:45. | |
and reviews at the website. You can catch up on our previous programmes | :12:46. | :12:52. | |
on the BBC iPlayer. That is it for this week. Enjoy the movies and | :12:53. | :12:54. | |
goodbye. | :12:55. | :13:00. |