:00:29. > :00:34.Welcome to Film 2012 with me, Claudia Winkleman, and Danny Leigh.
:00:34. > :00:43.If you want to get in touch, a week or e-mail. Coming up on tonight's
:00:43. > :00:50.show, mind-games with Bradley Cooper and Jennifer Lawrence in
:00:50. > :00:56.Silver Linings Playbook. You have a problem. David Tennant in Nativity
:00:56. > :01:06.2. Jake Gyllenhaal and Michael Pena are brothers in arms in End of
:01:06. > :01:13.Plus, documentary The House I Live In, and Catherine Bray is here with
:01:13. > :01:23.her top five top earrings. First of all, End of Watch. Jake Gyllenhaal
:01:23. > :01:25.
:01:25. > :01:29.and Michael Pena start in that the David Ayer film. This is my partner.
:01:29. > :01:34.End of Watch is the closest thing you can get to being in a cop car
:01:34. > :01:39.with two police officers, the closest you can get to being in a
:01:39. > :01:47.relationship of two partners who truly love each other. First they
:01:47. > :01:53.his dinner, and a respectful kiss, then uncomfortable silences when I
:01:53. > :01:59.discuss anything of Merit. Then it is on to the next one. This world
:01:59. > :02:02.they live in is terrifying, the deep love they have for each other
:02:02. > :02:09.that happens to be threatened on a minute-by-minute basis on their job.
:02:09. > :02:17.The combination of those two is End of Watch. We call on the streets of
:02:17. > :02:26.South Central, we are good policeman, we are thrill-seekers.
:02:26. > :02:36.We discover a cartel, we go up against those guys. They're not
:02:36. > :02:38.
:02:38. > :02:42.pushovers. We are shooting our way out of here. It is a cross between
:02:42. > :02:49.found footage and traditional coverage, whatever works best, had
:02:49. > :02:56.the audience inside the movie. put them through an incredible mind
:02:56. > :03:00.of tactical training, riding along with different policemen, see how
:03:00. > :03:05.they work, how different departments work. Somehow, through
:03:05. > :03:14.the process of the training and some very real danger they face
:03:14. > :03:22.together, the next thing I knew, these guys were so bonded. For the
:03:23. > :03:32.first two months, it was not working. I was annoyed. We grew up
:03:32. > :03:35.differently. We both have egos or other things. We did lots of
:03:35. > :03:40.tactical training, hanging out with cops. We saw how they got on,
:03:40. > :03:50.because they have to get on. It gave us our understanding that we
:03:50. > :03:56.need to do the same. Good evening sir. Why did you get nervous? You
:03:56. > :04:00.want him. I'm not gay but I would go down on him. Sometimes I do not
:04:00. > :04:07.know when you kidding, and I need to know when you kidding. I'm not
:04:07. > :04:15.kidding. We saw this together and have not discussed it since. It is
:04:15. > :04:23.funny, it is deeply old-fashioned, it is like John Wayne. What I think
:04:23. > :04:27.it's fantastic about it, the sheer electricity it has. The energy.
:04:27. > :04:31.Michael Pena and Jake Gyllenhaal, you have a double-act, bickering
:04:31. > :04:36.double-act. You know deep down they would take a bullet for each other,
:04:36. > :04:42.a little light you and me. Everyone is going to be grumpy because
:04:42. > :04:46.everyone like this film except me. I thought it was full of cliches. I
:04:46. > :04:50.like when they are in the car, but I think the footage when they're
:04:50. > :04:58.filming themselves is annoying. At one point I laughed when there are
:04:58. > :05:03.three people with machine guns. The end of it, it is ridiculous. Can I
:05:03. > :05:10.just go straight to Twitter. Don't be livid. You are calling in
:05:10. > :05:15.Twitter to balance it. I need help in this, because I always say to
:05:15. > :05:24.get in touch. This person says, I do not get a lot for this film,
:05:24. > :05:29.terrible drama. Too much Hollywood for found footage. Another person
:05:29. > :05:36.said they loved it. Another person says it is one of the best movies I
:05:36. > :05:41.have seen, very moving. What have I missed? The relationship green
:05:41. > :05:45.Michael Pena and Jake Gyllenhaal. That sort of chemistry, we look at
:05:45. > :05:50.Ron cons every week with no chemistry. -- romantic comedies. It
:05:50. > :05:54.is not always that easy. I am tempted to just flick your ears and
:05:54. > :06:00.say you should be admitting you're wrong, but I think the found
:06:00. > :06:02.footage does not add very much. The script gets cluttered up with Jake
:06:02. > :06:06.Gyllenhaal having to constantly explain why he's putting down a
:06:06. > :06:13.video camera to make an arrest. That is a problem with found
:06:13. > :06:20.British generally. It screws up the script. But there is something very
:06:20. > :06:24.slick and thrilling about the film making. It gets your hands around
:06:24. > :06:28.its throat. That is a good thing. Michael Pena has been very good in
:06:29. > :06:33.some bad films for many years, so this is a genuine breakthrough
:06:33. > :06:37.performance. Let's not be dismissive and sniffy about it.
:06:37. > :06:45.was the best thing in it. Jake Gyllenhaal not being able to find a
:06:45. > :06:50.girlfriend, really? It is not a documentary. I'm always intrigued
:06:50. > :06:56.when you don't like a film. I don't like it. You're not liking the
:06:56. > :07:03.wrong film. I am going to press you in a minute because I don't like
:07:03. > :07:13.something else. Next, Silver Linings Playbook, David O Russell's
:07:13. > :07:16.
:07:16. > :07:20.What is this? He said yes. What did the doctors say? Can I do an
:07:20. > :07:29.interview for a school project on mental illness? I feel motivated,
:07:29. > :07:36.not angry. You are rooting for this Hemingway guy to survive the war.
:07:36. > :07:44.It is 4am. I cannot apologise. Ernest Hemingway is to blame.
:07:44. > :07:54.10 call-offs up and apologise. -- haven't telephone. Tiffany and
:07:54. > :07:56.
:07:56. > :08:02.Tommy. What happened to Tommy? died. Tommy died. I used to be a
:08:02. > :08:08.lithium. I would take a lot of it. I'm tired and I want to go home.
:08:08. > :08:11.Are you going to walk me home? have poor social skills. You say
:08:11. > :08:19.more inappropriate things than appropriate things. She is crazy,
:08:19. > :08:26.she knew where I live and followed me. You're crazy. Do you want to
:08:26. > :08:33.have dinner here? Pick me up at 7:30pm. How is your job? I just got
:08:33. > :08:40.fired. I had sex with everyone in the office. Everybody? I was very
:08:40. > :08:50.depressed. We don't have to talk about it. How many were there? I go
:08:50. > :08:50.
:08:50. > :08:59.to a lot of therapy, and I messed up? Idea dance partner. I'm not
:08:59. > :09:06.going to dance with you. Did you write about me? She is my friend. I
:09:06. > :09:11.am happy. He is happy. I don't know what Jennifer Lawrence got paid to
:09:11. > :09:15.star in this, but whatever it was it is not enough. Whatever charm
:09:15. > :09:21.this has is solely down to her. When the awards come, she will get
:09:21. > :09:27.lots of them, rightly so. Without her, this film is in sincere,
:09:27. > :09:33.tasteless, it will win Oscars, because it has been made for that,
:09:33. > :09:39.I could be wrong, but I have seen muggings at cash points less
:09:39. > :09:44.cynical than this bill. I sense a falling out. I can even make eye
:09:44. > :09:50.contact with you. And are no words to describe how much I love this
:09:50. > :09:55.film. This is the film. I watched it, I thought it was sincere,
:09:55. > :09:58.Bradley Cooper, who live always ignored, I don't like good-looking
:09:58. > :10:04.boys, he is brilliant in it. Jennifer Lawrence is brilliant,
:10:04. > :10:09.Robert De Niro is brilliant, it is a fabulous, gripping, funny and
:10:09. > :10:16.romantic film. If you see this film, you will come out weeping, you will
:10:16. > :10:22.telephone people you love and want to go and see it again. Someone has
:10:22. > :10:30.tweeted me asking if I liked it. I didn't love it, I adored it. Deal
:10:30. > :10:34.with that. I'm a bit nervous. this film at the Toronto Film
:10:34. > :10:37.Festival, and on either side of me was professional film critics
:10:37. > :10:45.hopping up and down with glee during this film, like six year-old
:10:45. > :10:55.having too much sweeties. This film cannot tell the difference between
:10:55. > :10:59.
:10:59. > :11:06.someone been by polo and quirky. That's a real problem. -- bipolar.
:11:07. > :11:14.Cheese. It is like a Hollywood executive's idea of a Mike Leigh
:11:14. > :11:18.film. I have no problem with that. I have a terrible feeling this will
:11:18. > :11:23.sweep the board at the Oscars, there will be pictures of Bradley
:11:23. > :11:29.Cooper waving a statuette. All the scenes with him running along, he
:11:29. > :11:34.was waving a model Oscar. If that happens I will weep with happiness.
:11:34. > :11:41.I will feel like I'm his mother. I will write to him, I'll say, Greg
:11:41. > :11:51.ready, I love it. Silver Linings Playbook is in the cinema as from
:11:51. > :12:01.
:12:01. > :12:10.today. Now it is time for this An enormous welcome to Catherine
:12:10. > :12:17.Bray. Last week, we love that. have not heard my list yet, and
:12:17. > :12:20.you're criticising me. Two bits of housekeeping. We are doing top-five
:12:20. > :12:30.pop duos, and I have to warn you there is some strong language in
:12:30. > :12:37.the East. -- cop duos. When you heard the category, did you think
:12:37. > :12:45.you had a list already? Yes, absolutely, but more fool me. I
:12:45. > :12:50.thought it would be 1980s films, it would be easy, when I went back to
:12:50. > :12:59.a lot of them, they are remembered fondly but, I don't know by you,
:12:59. > :13:09.they have got a bit tired. Lethal weapon, except for her. -- Other
:13:09. > :13:10.
:13:10. > :13:19.films. There will be some angry tweets. I will have pursed lips.
:13:19. > :13:25.What have I done? Number five. is really easy to go for the
:13:25. > :13:30.classics, critically respectable. This is a very recent film and I
:13:30. > :13:39.think I could rival your passion for Silver Linings Playbook. It is
:13:39. > :13:48.a brilliant recent comedy, we have the slightly dumb cop, the brighter
:13:48. > :13:58.chap, and it is Jonah Hill & Channing Tatum as Schmidt & Jenko
:13:58. > :14:35.
:14:35. > :14:40.Funny, and you chose it because everyone loves it. Everyone loves a
:14:40. > :14:46.montage. It is not the funniest clip we could have picked. After
:14:46. > :14:56.that led pence there is a very big swear word. You need a training
:14:56. > :15:05.
:15:05. > :15:15.montage in a cop film. It is funny. We collectively owe an apology for
:15:15. > :15:17.
:15:17. > :15:27.for Channing Tatum. Your next one? This is a film,
:15:27. > :15:28.
:15:29. > :15:35.having gone from the bromanc of 21 Jump Street, this cop duo don't get
:15:35. > :15:42.on. They come towards the end. It is Brad Pitt, it is not Brad Pitt,
:15:42. > :15:46.it is Guy Pearce and Russell Crowe. Here is a clip.
:15:46. > :15:55.I realise this is difficult. Give your career a rest. Leave her
:15:55. > :16:03.alone. A naked guy with a gun, you expect anyone to believe that?
:16:03. > :16:13.away from me. How will it look in your report. You don't know the
:16:13. > :16:26.
:16:26. > :16:36.meaning of the word you ignorant What's your next one? It is indeed
:16:36. > :16:36.
:16:36. > :16:46.Brad Pitt and Morgan free man, -- Freeman. Here a clip.
:16:46. > :16:53.
:16:53. > :17:03.Get out of here. Get out of here. Lock you. I got your picture.
:17:03. > :17:07.
:17:07. > :17:11.you. How did they get here so locking quick? They piss me off.
:17:11. > :17:18.is impressive to see a man feeding off his emotions.
:17:18. > :17:24.Brad Pitt in every top five. Can we go to tweets? Are people happy with
:17:24. > :17:29.that? There is a ground swell in favour of Lethal Weapon. I have a
:17:29. > :17:38.feeling the tweets are coming from Mel Gibson. He doesn't like either
:17:38. > :17:48.of ours. I was watching the Seven Blu-ray and David Finch says he
:17:48. > :17:50.
:17:50. > :17:56.asked his cinema to go grafr to move away from Lethal Weapon.
:17:56. > :18:01.Gibson is tweeting again! You are included as well? What's your
:18:01. > :18:05.number two? We have a lot of beefy, shouty men. But it is, you know, it
:18:05. > :18:08.is the ladies turn and it is a little bit more calm. It is
:18:08. > :18:18.forensic. You condition be running around -- you can't be running
:18:18. > :18:25.around and shooting guns, you have got to get your Sherlock on and do
:18:25. > :18:31.detective work. It is Fargo. Let's have a look. We have got a
:18:31. > :18:37.shooting. These folks drive by. There is a high-speed pursuit. It
:18:37. > :18:45.ends here and then this execution. Yeah.
:18:45. > :18:49.I would be surprised if our suspect was from Branard. I will tell you
:18:49. > :18:59.what, from his footprint, he looks like a big fella. You see something
:18:59. > :19:01.
:19:01. > :19:05.down there, chief? No, I just think... Are you OK? Yeah, I'm fine.
:19:05. > :19:13.It is just morning sickness. That's a fine choice. Weirdly from
:19:13. > :19:19.that clip I know what I'm watching on Sunday night. Me too. A Rising
:19:19. > :19:24.Damp DVD. What's your number one? Well, I
:19:24. > :19:30.feel like my number one is my weesily attempt to get out of
:19:30. > :19:36.angering the people who wanted to see Bad Boys and Turner and Hooch.
:19:36. > :19:39.This is a tribute. In a way, they are all number one. Does that work?
:19:39. > :19:45.Yes! I can get away with that. So number
:19:45. > :19:50.one, we have a fantastic British comedy written on a lot of of
:19:50. > :20:00.American cop duos. It is hot fuss. -- it is Hot Fuzz.
:20:00. > :20:01.
:20:01. > :20:07.Here a clip. You mothers.
:20:07. > :20:17.He has gone through there. Through the gardens? What's the
:20:17. > :20:26.
:20:26. > :20:32.matter Danny, have you never taken I'm watching that one tomorrow.
:20:32. > :20:37.Brilliant, brilliant choices. Danny, what would you have liked to have
:20:37. > :20:44.been in there? How could you not have the French Connection? I am
:20:44. > :20:54.saving it for top car choices. is not cop duos in car chases.
:20:54. > :20:57.
:20:57. > :21:07.I am not satisfied. Very good top five. Next this is it,
:21:07. > :21:13.
:21:13. > :21:18.# Father Christmas and his little elf making stuff for you #
:21:18. > :21:22.It is a heart warming Christmas film, the sort of thing that
:21:22. > :21:31.Christmas films are dubbed heart warming fun for all the family, but
:21:31. > :21:36.it is and I thought well, this you know, I will give it a go.
:21:36. > :21:41.Nativity 2 is about an insane classroom assistant and a bunch of
:21:41. > :21:46.kids and new teacher who comes into the school and the classroom
:21:46. > :21:51.assistant takes them on an adventure to Wales.
:21:51. > :21:57.This was going to be the best Christmas ever.
:21:57. > :22:02.Are you all right? There is an outline, you know what
:22:02. > :22:07.each scene is and what the thrust of the store story will be, but
:22:07. > :22:11.beyond that you don't know where it is going to gopm I love Christmas.
:22:11. > :22:16.I am glad that we are here and that we have moved away. What was the
:22:16. > :22:19.head mistress like? She seemed good. She seemed as if she knew what she
:22:19. > :22:23.was doing. I was terrified, not knowing what
:22:23. > :22:28.the plot is and what she wants and you relax. If you know your
:22:28. > :22:31.character and what you want from the scene, everything sort of comes
:22:31. > :22:37.out anyway. That's the trick in making a film
:22:37. > :22:45.like this why the kids are so good at is responding honestly and
:22:45. > :22:50.truthfully which children do automatically, grown-ups try to
:22:50. > :22:53.sensor everything before we say it. # I say no, no, no #
:22:53. > :22:59.There were days you thought this won't stick together to make a
:22:59. > :23:04.story, but that's what Debbie does. Looking back on the process, I
:23:04. > :23:09.think, "How did we end up with this lovely film?" I'm here for the long
:23:09. > :23:12.haul. I'm here to make these kids lives better.
:23:12. > :23:16.Audiences loved the first one. To have an audience that is ready and
:23:16. > :23:19.waiting for your work is a rarity, you know, not having to go out and
:23:19. > :23:22.fin an audience really, but to sort of have one waiting. It is just a
:23:22. > :23:26.privilege. It is very unashamed. It is proud
:23:26. > :23:30.of what it is and it does such a good job.
:23:30. > :23:38.I defy to you come out without a tear.
:23:38. > :23:45.# Now something that will really get you bopping #
:23:45. > :23:50.# Yes, we can keep on trying # Wonderful, well done.
:23:50. > :23:56.We will say film of the year and move on. Jessica Hynes is always
:23:56. > :24:00.excellent. She is excellent here. It is an ongoing travesty that
:24:00. > :24:05.British film hasn't found something more substantial for her to sink
:24:05. > :24:09.her teeth into. Jessica Hynes aside, this film is brutal. I am not sure
:24:09. > :24:13.we can talk about it as a film because it is half a panto and half
:24:13. > :24:17.a pitch for a West End musical which is I am sure what it is going
:24:17. > :24:21.to end up as. Some of the kids are very good and I would say on
:24:21. > :24:24.balance, professionally it is probably for them to do this than
:24:24. > :24:30.sweeping a chim thee! -- chimney!
:24:30. > :24:35.Oh my god. I can't speak! Well, I love, let me just say the
:24:35. > :24:40.acting is really... Do you love it? No, I don't love it. But I like
:24:40. > :24:46.everybody that's in it. They are all good, but the story is about an
:24:46. > :24:51.irresponsible teacher who and I am very old, I am 84, I mean I am! I
:24:51. > :24:57.know that. All I'm doing is watching a baby being stolen and
:24:57. > :25:06.kids being held by a rope down a cliff and I am too old and too
:25:06. > :25:10.boring and too tense to take such a thing. They can't go to Wales,
:25:10. > :25:12.maybe I am taking it far too literally and then all these kids
:25:12. > :25:17.have to watch somebody give birth to twins.
:25:17. > :25:24.Yeah. Is it bad that I say that? Mr Poppy
:25:24. > :25:28.is a figure from nightmares. This parker shrouded man child. No
:25:28. > :25:37.school in the country would let him within 50 yards of the gates let
:25:37. > :25:41.alone into a classroom. I still still prefer it to Silver
:25:41. > :25:45.Linings Playbook. Oh, you can't! By the way, I think
:25:45. > :25:54.if you are ten, you will love it. Or under ten... Ten or under ten.
:25:54. > :25:59.As I I just said I am 84. I think it is for for kids, don't even
:25:59. > :26:01.listen! Next, The House I Live In, a
:26:01. > :26:05.documentary which looks at America's 40 year war on drugs.
:26:05. > :26:09.have to understand the war on drugs has never been about drugs.
:26:09. > :26:19.America's public enemy number one is drug abuse. What will you do
:26:19. > :26:20.
:26:20. > :26:26.when someone offers you drugs? We intend to end a drug menace and
:26:26. > :26:32.to elimb nat this dark -- eliminate this dark, evil enemy within.
:26:32. > :26:37.strikes and you are out. Right, from one end of the spectrum
:26:37. > :26:41.to the other? This looks at links in the chain from the use users and
:26:41. > :26:44.the dealers through to the politicians and the very big
:26:44. > :26:49.business that are prisons in America. It that sounds like the
:26:49. > :26:53.Wire, it may not surprise people, the creator of the Wire pops up
:26:53. > :26:58.here as the lead talking head to connect the dots and he is
:26:58. > :27:01.compelling and the film is compelling. It takes what you might
:27:01. > :27:09.think is an argument you are familiar with and it makes it new.
:27:09. > :27:14.For me, this is film which as angering and as heartbreaking.
:27:14. > :27:19.This is a phenomenal piece of work, I love Silver Linings Playbook but
:27:19. > :27:23.I would urge you to make it a double cinema week, and I will
:27:23. > :27:26.babysit for you! To go and see this film. It is extraordinary. It tells
:27:26. > :27:34.you what you know, you spend the whole time nodding, but it fills
:27:34. > :27:38.you with rage. I went online and looked for petitions to sign. It is
:27:38. > :27:42.a brilliant piece of work. I am sure there is a petition you
:27:43. > :27:49.can sign. What's your film of the week?
:27:49. > :27:55.People should see a double bill. Silver Linings Playbook and The
:27:55. > :28:00.House I Live In for me, but anyway, we had a little debate. Nobody is
:28:00. > :28:03.saying Nativity 2. We will leave as friends.
:28:03. > :28:05.That's all for tonight. Next week we will be on Tuesday night and
:28:05. > :28:09.we'll be reviewing Great Expectations, The Hunt, Sightseers
:28:09. > :28:17.and Trouble With The Curve. Playing us out tonight Life Of Pi, Ang
:28:17. > :28:20.Lee's adaptation of Yann Martel's best selling novel. In a couple of
:28:20. > :28:30.weeks Danny has an exclusive chat with the director about this and
:28:30. > :28:32.