Episode 10 Film 2013


Episode 10

Film reviews. Claudia Winkleman and Danny Leigh cast a critical eye over the latest movie releases, which include Ridley Scott's The Counsellor and Brit flick Don Hemingway.


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Transcript


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Hello and welcome to Film 2013. We're live and if you want to get in

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touch the details are on the screen now.

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Coming up on tonight's show: Ridley Scott directs the A-list cast

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of The Counselor. You should be careful what you wish for. The

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shipment, it's gone! Jude Law and Richard E Grant star in

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crime-spree caper Dom Hemingway. And Joseph Gordon Levitt writes,

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directs and stars in rom-com gone wrong, Don Jon. Baby, what are you

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doing? I was just reading e-mails. No, you weren't!

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And we'll be reviewing Palme d'Or winner Blue Is The Warmest Color.

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I'm joined in the studio by Danny Leigh, as ever, and guest critic,

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Antonia Quirke. U thank you for coming in. -- thank you for coming

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in. First up is Ridley Scott and Cormac

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McCarthy's The Counselor. A dark tale of a lawyer who gets caught up

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in drug trafficking. It's a classic tragedy tale. There's also a love

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story in there. Will you? Yes, I will. I intend to love you until I

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die. Me first. It is a thriller at times. Counsellor... My back is

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against the wall. It is a complex drama. It is about the consequences

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of your own action. 65 kilos - -- 625 kilos - probably 20 million. My

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character is a nightclub business owner, the counsellor is my lawyer,

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but also I am the one who is helping him be in touch with something he

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shouldn't be in touch with. I know why I'm in it. Do you? Same as you,

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greed. No, you got in trouble. I tried to appeal to your greed two

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years ago. No deal. Now, it is too late. It is too late. What do you

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think I should do? I don't know. He's been seduced by the people

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around him. I am really worried. He wants a piece of it. That is

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unfortunately his unravelling. We have a problem. The shipment, it's

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gone! I had a call from my business partners. These people are out 20

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mill. Just you. They don't believe in coincidences. It is not a movie

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about a very normal plot. You have to make some work. That is one of

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the values of the movie itself. The writing is very powerful. He throws

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some jewels out there that are very powerful statements, about life

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itself. Do I remind you of someone else? Yes, you do. Someone you miss?

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Someone who is dead. I don't think I miss things. To miss something is to

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hope it will come back. It is not coming back. You don't think that is

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a bit cold? I think truth has no temperature. The movie is very dark.

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I know there is a responsibility that comes with making a movie about

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something like this because it is something that unfortunately is

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real. When the axe comes through the door, I'll already be gone. What do

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you think I should do? How bad is it? We are all done here. It has to

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hurt to watch it. If not, it is not dealing with the subject in a

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responsible way. The slaughter to come. It is probably beyond our

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imagining. If anyone is worried, Cameron Diaz was wearing a hood at

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lunch in that scene. The whole thing left me speechless. Shall I speak

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for you? Please. You think it is going to be star-studded. The real

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star is the script. The scriptwriter. It is possibly the

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world's finest living novelist. This thing that he's written, it is so

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extraordinary. You can't put an 80-year-old dude on the poster. This

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film is a Cormac audio book. It is engrossing. It is masterful. Maybe

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the only person on Earth who thinks that. Ridley Scott is watching right

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now going, "It's fine, I've made better." Maybe it is the visuals

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that are the problem. Should I have closed my eyes? Well, this is a

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famously a flop. None of the cast, crew, nobody wants to talk about it.

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I think the problem with this movie is the director. You are right, he

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is an incredible writer. Here he is, it is an original screenplay. Maybe

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it is useful to think about it like this. Imagine No Country For Old Men

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- imagine if that had been directed by Ridley Scott in this frame of

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mind that he appears to be in. He would have ended up a movie like The

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Counselor. He is the wrong director for this material. It needs someone

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with a lot more soul. It is about massive drug dealing and Ridley

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Scott is the perfect director. It is demRitsy and -- glitzy and

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tasteless. It is like Ashley Cole's cheese dream. Once you have too much

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money, the world goes mad! This is what happens. This movie is filled

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with cheetah in diamond-studded collars. It is a style section...

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They wish! What I would say is, didn't you get - I know it sounds

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weird - bored with all the characters? I was hoping they were

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all going to get blown up. Michael Fassbender's character, nothing

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makes sense. Isn't it great to be left guessing? I don't like

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guessing. I'm a woman! Can you please tell me how does Michael

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Fassbender, who is a legal aid lawyer, how does he afford to get

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involved in a 22 million dollar drugs heist? Maybe his grandmother

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died. What is so great is it is written as if Cormac has never seen

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the film before. Present company excepted, it is a flop. I feel

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uneasy about that. Cormac McCarthy is a magician. Most film critics

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couldn't write bum on a wall. Some of the lines are wonderful. The one

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that she says about truth has no temperature... That line you could

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imagine Barbara Stanwick. Cameron Diaz is terrific in this film. What

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is up with this woman? We don't know the backstory. I don't want a

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backstory. She gets the best lines. That is one of the reasons perhaps

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people have taken against this movie. Brad Pitt is brilliant?

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Javier Bardem is dressed like a deranged children's entertainer. It

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is like taking George Clooney and putting him upside-down in a skip!

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It is an insult to the actor. I love you for sticking up for it! Movie

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history - look, in reality, Friday night, if people hated Prometheus,

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they will hate this! OK. We will see.

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Next, actor Joseph Gordon Levitt writes, directs and stars in Don

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Jon. There are a few things I care about - my body, my ride, my family.

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My church. My boys. My girls. It is a story about how people treat each

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other more like things than people. And how the media can contribute to

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that. You have a boyfriend and a girlfriend. That's played by me and

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Scarlett. He watches too much pornography and she watches too many

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romantic Hollywood movies. I love movies like that. They have both

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developed these unrealistic expectations of what love and sex

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are spolzed to be. Why did you say yes to me? You will have to wait to

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find out. I have time. You are cute. I like you. I do think it is a

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romantic movie. It's certainly funny. But in many ways it does go

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against the rules of your standard rom-com, that's for sure. Baby, what

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are you doing? I was reading e-mails. You weren't. I don't think

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there is anything inherently wrong with pornography or a romantic

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movie. The problem is if we start expecting our real lives to be the

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same as what we see on a screen. Real life is not the same as what

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you see on a screen. How do you watch that? How do you watch the

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stupid movies you watch? They give awards for movies. They give awards

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for porn, too! If you talk about a PT Anderson movie, or a Woody Allen

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movie, some people love them and some people just don't get it. I

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think if you are going to do something bold and provocative and

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try to start a conversation, you will end up alienating some people

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and no offence meant. # It's just a

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# Good vibration. # Nothing to see here. Antonia? This

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movie is no good. I admire him for trying to make a film about this

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subject. I was in New Jersey where this movie is set, in fact. Every

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magazine, every radio station, this is the topic they are discussing,

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this tidal wave of porn. It was dropped on our heads. Then, two

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minutes later, there will be an ad for Viagara. Why are you looking at

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me? What is it doing to us? It's riddled with cliche and what have

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you. As he says himself, such a sweet boy, I'm trying to start a

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conversation. That is what he is doing and I admire him for it. You

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like the fact that it exists? I like the fact it exists. I don't want to

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see it again. Right. Is that enough? It is never good when the best part

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of the movie is the ten-second clip from a fake film. It is interesting,

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it is nice that he is trying to convey a positive message. It seems

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so sheltered and grannyish. It is as if he's only discovered the internet

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and people are doing rude things out there. He gets annoyed when he turns

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it on. Where is he looking for the porn from? He must have been trying

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to get this thing off the ground five years ago. I still think he is

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on the money. People weren't talking about this. It all seems motivated

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by this idea that he's discovered, Joseph Gordon-Levitt, who is a very

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talented boy, who has discovered one or two men might be using internet

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pornography. I have terrible news for him! At least it has something

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to say. It is about something. It is like a terrible advert for

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masturbation. As a director, he comes out as a good actor. He seems

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terrible here because he is playing this character. I don't think

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Scarlett Johansson... Don't you think she is great in it? My problem

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is it is so repetitive. He goes back to the same porn site. There are too

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many - the sister who is on her phone endlessly. I get it, after the

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eighth time! On the 15th time, there's got to be something else.

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That is his big idea. Sure, he will go on and make fantastic movies.

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This is a film school film that somebody has given him $25 million

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to make. Julianne Moore, I breathe a sigh - I thought that's brilliant.

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It changed the film. What is her character? She is a pair of clogs...

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No, no, she is much more than that in the film. I think the movie does

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have this lovely bit of sadness running through it. He does get

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involved with Julianne Moore, it is so obvious that that is what is

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going to happen. She's a widow and is in a bad way. You know, he's had

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a break-up. So you kind of get a sense that people are drawn to each

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other for all sorts of reasons. They know the relationship isn't going to

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last. They are clinging... Yes. I kind of bought that. I do get where

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you are coming from. It is so judgmental. He has a real problem

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with hair gel. So a character has a huge transformation because he stops

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wearing hair gel. We have all been through those moments. Thank you.

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Next, Jude Law and Richard E Grant buddy up in London crime romp Dom

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Hemingway. Mr Fontaine, you only use a gun to hold up a place, but no

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hunting. Dom Hemingway has just come out of prison and I have been his

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mentor and best buddy outside. They go on a crime revenge spree and

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everything that can go wrong does go wrong with hilarious consequences.

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Dad? You have to be kidding me. Dom is a petty criminal. He is a car

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crash of a man, really. He's trying to project something that he's not.

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And really the film is about getting beneath all those layers and seeing

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the shambles that he really is and what he really wants.

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Jesus Christ. You have to get control of yourself! I didn't bring

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the right shoes. Even with 30 pounds gained in weight, Jude Law makes

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people weak at the knees, which I saw in real life on a daily basis.

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It was obvious I had to let everything go because Dom had

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spiritually and physically to a point, so it was taking my face and

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maybe adding four or five unforgettable fights to it and years

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of booze - I didn't have to try too hard!

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I have a glorious tale to be passed down from generation to generation.

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Jude is playing somebody who is so out of control, but in order to play

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that part, he had to be so disciplined. He has huge long

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speeches that he had to keep repeating and we worried that his

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voice would give up because he had to shout so much. It was a big

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challenge for him. I'm stating what I'm stating. Stop stating what you

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are stating. State it again and I'll knock your teeth out! Can I state

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that I don't want you to be rude about it. Continue. That is quite a

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challenge. All of us grow up wanting to be something. I grew up wanting

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to be Mr T. This film wants to be Sexy Beast. It kind of almost gets

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there. There are moments when you think it is like a Pot Noodle and

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Haribo version of Sexy Beast. There is something to be said for any film

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that starts with an endless monologue of Jude Law. I'm going to

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say "penis" - it does set itself a high standard. OK. Antonia? In its

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dreams is it Sexy Beast! In its dreams it's Pipbter. -- Pinter. It

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ends up like that nice barman in Minder, you know. That is about as

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hard and dangerous as it gets. It is an extremely wet film and it has

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this incredible crisis of confidence about 40 minutes in. It is quite

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entertaining up till that point. Suddenly, it collapses and it has

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this sub-plot with the daughter. I found that very moving. It is

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interesting, isn't it, about villains and they seem to come in

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two types, the type that never says anything, the man with no name and

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the type that never shuts up, which is the kind of character we have

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here. It is a really difficult thing to keep up, that hyper articulate

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battering ram, lines like, "In my head, it's a disco in Manila full of

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transvestites suckling pigs." I'm a bit more charitable with it. There

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is enough ridiculous absurdity that you roll with it. Jude Law is from

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London, so I couldn't work out his action. Then there are moments when

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the film pauses. It does droop very badly after 40 minutes and Antonia

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is right. It turns into this weird, there is no-one kind like granddad

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type of thing. You have to give Jude Law lots of credit for the

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performance. You rate Law? I rate Law in it and Richard E Grant. He is

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interesting casting. What is quite funny is if you go into disreputable

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pubs in West London, you will see characters who look like Richard E

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Grant with fake hands. The thing about Law, you don't buy him as a

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killer, you don't buy him as a guy that is going to bite somebody's ear

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off. It is not that Jude Law can't be sinister. Think of him in The

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Talented Mr Ripley? Yes. He can do sinister. He can do that. Just

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not... I liked him in this. He was loyal. He was loyal to his boss so

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he stayed inside and he came out and he wanted his due. Can he go back

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inside? Next, is French love story Blue Is

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The Warmest Color and there is some very strong language.

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It's a common story, a meeting, a crush between these two girls. It is

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like a passion story. Everything involving that.

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You start from a script, but before the shoot, Abdellatif Kechiche told

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us we can improvise a lot. I could watch her for weeks - I

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could watch them both - but especially the young girl, Adele.

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Antonia? This is what the movie is about. It is about fixing a camera

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on a human being of tremendous wattage and allowing them to walk,

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talk, move, eat spaghetti, fall asleep. This is some of our greatest

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movies. Look at Goddard. Isn't she amazing? This is what the movie

:23:53.:23:56.

does. The movie - I can honestly say when I came out of this film, I

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wasn't sure where it was set - Paris? Who cares. All that matters

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is this incredible way in which it seemed to demonstrate perfectly what

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it feels like to be in love, the first flush of love, that utter

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concentration, the camera trying to puzzle her face out, the way it does

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that. There you are, three hours later, as you said, he could have

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carried on filming for another four hours and we would have sat there

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for another week. It is exceptional. One of the tell-tale moments in the

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film is there is a party scene and they have a movie screen up and the

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old silent movie icon, Louise Brooks is there. This is almost like a

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silent movie. It's a panoramic story which is told on the faces of the

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actresses and sometimes that is a tiny little glance and sometimes it

:24:49.:24:52.

is this huge explosion of emotion. It is all there. It is strange. We

:24:53.:24:56.

are going to end up talking about the sex scenes, but it is so funny.

:24:57.:25:00.

The sex scenes aren't that relevant in a funny kind of way. The real

:25:01.:25:06.

excitement in Blue Is The Warmest Color all happens from the neck up.

:25:07.:25:10.

There's been all kinds of controversies because the actresses

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won't talk about it. Martin Sheen barely survived Apocalypse Now. This

:25:26.:25:31.

is the movies. Of course, both of these actresses have said very

:25:32.:25:36.

publicly that they felt exploited that the whole experience was a

:25:37.:25:41.

nightmare, the director was exploitative. It is a strange that

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they didn't look unhappy when they were walking the red carpet at

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Cannes. Nevertheless, these things... It can sometimes come

:25:51.:25:55.

late? It can. They are probably right. It is super-exploitative in

:25:56.:26:00.

as much as these girls are perfect. These are perfect bodies. If he was

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going to be really brave, let's two ordinary-looking people. It is about

:26:06.:26:09.

young love and young bodies are always magnificent. You have these

:26:10.:26:15.

romances and the role of sex, when you get together with someone, that

:26:16.:26:18.

is when sex is amazing and that is glossed over in romances. I do think

:26:19.:26:23.

the sex scenes are a bit of a problem. The film's weakness is it

:26:24.:26:31.

all feels a bit self-conscious and a bit pompous. These are pompous sex

:26:32.:26:35.

scenes and I don't know, I almost found it is a strange thing to say

:26:36.:26:39.

sitting here on live TV with two women, after the first five or six

:26:40.:26:44.

minutes of watching the beautiful actresses having sex with each

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other, I found my mind wandering to the Cannes Festival. That shouldn't

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be what happened. It does make you uncomfortable. It is seven minutes

:26:59.:27:03.

of a three-hour film. You are right that the grandstanding makes you

:27:04.:27:14.

uncomfortable. It is Levined by the naturalness -- leavened by the

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naturalness. Lea Seydoux is the girl with the blue hair. Adele

:27:20.:27:22.

Exarchopoulos is exceptional. Didn't you think it was interesting how

:27:23.:27:27.

this is an actress who doesn't wear any make-up in the movie and it

:27:28.:27:32.

physically slides off her face in front of you without a snot or a

:27:33.:27:37.

tear. It does. Very quickly, film of the week? Antonia should go first.

:27:38.:27:43.

Blue Is The Warmest Color. Are you going to go The Counselor? I might

:27:44.:27:47.

just. And Blue Is The Warmest Color will

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be in cinemas on 22nd November. That's all from us. We'll be back at

:27:58.:28:01.

the same time next week. We're going to leave you tonight with a look at

:28:02.:28:05.

Jack Ryan: Shadow Recruit, which will be in cinemas in January - and

:28:06.:28:08.

it's a bit violent. Goodnight. Somebody tried to kill me.

:28:09.:28:17.

Jack? Jack? Was work OK? Yeah. You sold this as an office job. Sit

:28:18.:28:34.

down. Talk me through your scary scenario. It is going to be a wipe

:28:35.:28:40.

out. We will never see it coming. You are not just an analyst anymore.

:28:41.:28:46.

You are operational now. You think this is game, Jack? They won't bring

:28:47.:28:54.

us to our knees without firing a shot. There is a real scenario here

:28:55.:28:58.

where we don't get out of this alive. We have been compromised. If

:28:59.:29:03.

you find the truth, will you believe it?

:29:04.:29:06.

Claudia Winkleman and Danny Leigh cast a critical eye over the latest movie releases. Films reviewed this week include Ridley Scott's The Counsellor, which features an all-star ensemble cast. Jude Law and Richard E Grant team up for Brit flick Dom Hemingway; plus Claudia and Danny take a look at Palme d'Or-winning French love story Blue is the Warmest Colour.


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