:00:24. > :00:30.Hello and welcome to Film 2013. We're live and if you want to get in
:00:31. > :00:33.touch the details are on the screen now.
:00:34. > :00:37.Coming up on tonight's show: Daniel Radcliffe gets poetic as Allen
:00:38. > :00:43.Ginsberg in Kill Your Darlings. Are you a writer? No, I'm not. Well,
:00:44. > :00:50.you're not anything. Bruce Dern's on the road in
:00:51. > :01:00.Nebraska. Your old man is somebody. And Spike Lee remakes Korean classic
:01:01. > :01:07.Oldboy. Wherever you are, I will find you.
:01:08. > :01:11.Plus James Franco and Jason Statham team up for Home Front and we take a
:01:12. > :01:17.look at George Clooney in The Monuments Men. Danny is here and
:01:18. > :01:21.we're joined by guest critic, Kevin Maher. First up is Kill Your
:01:22. > :01:25.Darlings which recreates a chapter in the lives of the beat generation
:01:26. > :01:28.just before they were famous. Daniel Radcliffe leads the cast as poet,
:01:29. > :01:34.Allen Ginsberg. You want life, the want the world on fire. Security.
:01:35. > :01:43.What the hell are you doing? And you are? I play Allen Ginsberg. He goes
:01:44. > :01:55.to Columbia University. He falls head over in love. The illusion is
:01:56. > :02:00.this figure. Who introduces me to William Burrows and Jack and then
:02:01. > :02:05.everything goes wrong. I want you to meet our host. I have been in a
:02:06. > :02:11.relationship with an older man for seven years at this point and I am
:02:12. > :02:15.ready to get out of it. He is a professor who won't let me go. I am
:02:16. > :02:22.having trouble finding a way of freeing myself from him. So I murder
:02:23. > :02:30.him. Yes. We're going to make sure nobody remembers him. All the
:02:31. > :02:36.writers are caught up in sort of the aftermath of that murder. It is not
:02:37. > :02:39.a laughing matter, but I think it is important to take the fame of these
:02:40. > :02:47.characters or the fame they later achieved out of the equation and see
:02:48. > :02:52.if the story stands up on its own. Be careful, you are not in
:02:53. > :02:59.wonderland. I have heard the strange madness long growing in your soul.
:03:00. > :03:09.But you are fortunate in your ignorance, in your isolation. You,
:03:10. > :03:26.are who have suffered, find where love hides. Give, share, lose. There
:03:27. > :03:30.is something about their, you know, what they stood for at the time that
:03:31. > :03:34.I think is the reason they continued to find relevance with every
:03:35. > :03:44.generation of teenagers who are looking for some rebellions.
:03:45. > :03:50.The death of morality. It is a severe decline in standards. The
:03:51. > :03:55.relationship between Allan and us was important. The irony of these
:03:56. > :03:57.relationships is when you meet somebody and takes you under their
:03:58. > :04:01.wing and sees possibilities in you that you never saw before. They
:04:02. > :04:07.encourage you to grow, but never as high as themselves. You are ordinary
:04:08. > :04:12.and I made your life extraordinary and in the same way they tell
:04:13. > :04:16.writers and writing class that you have to metaphorically kill your
:04:17. > :04:19.parents, you have to surpass or cut this person out of why you are life
:04:20. > :04:29.in order to find your own voice and become yourself. And that to us, was
:04:30. > :04:34.the heart of the movie. I only want you both to be lovely about this
:04:35. > :04:38.film. With that in mind. Go ahead. You might be disappointed. Everyone
:04:39. > :04:42.knew Harry Potter was destined for a life of drug abuse and it does work
:04:43. > :04:46.on that level. I can't be as enthusiastic as you really. I think
:04:47. > :04:52.there has been a lot of terrible films made about the beat and this
:04:53. > :05:12.isn't a catastrophe. It needs mob more than likeable. The directing is
:05:13. > :05:19.over excited. The performances are sturdy. I love Daniel Radcliffe. I
:05:20. > :05:22.will be gentle with you, I think maybe there is two films here, isn't
:05:23. > :05:27.there? There is the film at the start which is about the beat poets
:05:28. > :05:31.and the great film is about writers are often about fictional writers,
:05:32. > :05:37.Wonder Boys and there is a reason that this is so which is because
:05:38. > :05:42.films about writing and about the creative process are boring. The act
:05:43. > :05:48.of writing is dull to watch and the mistake, the first-half of this film
:05:49. > :05:54.makes is to show you a film about creative writing which is nail my
:05:55. > :05:59.face to the seat! They get around that because you
:06:00. > :06:07.have this thing with Daniel Radcliffe where writing perhaps the
:06:08. > :06:11.most crazy, intense, physical act of anyone's life. Daniel Radcliffe
:06:12. > :06:17.stands up and pleasures himself. We have all done that. I am doing it
:06:18. > :06:22.wrong because I have never gone that far. It can't decide what kind of
:06:23. > :06:26.film it wants to be. It has this historical nugget at its heart, a
:06:27. > :06:33.true crime story, but it doesn't want to be that movie. It wants to
:06:34. > :06:39.be this rug rats history of the beats. Almost like a Jack Ass with a
:06:40. > :06:43.library card. The characters that you have been
:06:44. > :06:50.for the first 60 minutes have come across... You think it is a
:06:51. > :07:01.nightmare... For the first nightmare 60 minutes the protagonists have
:07:02. > :07:13.turned out to be twangers. I am going to be positive again about the
:07:14. > :07:19.performances. When you encounter Burrows sat in a bathtub. And Daniel
:07:20. > :07:22.Radcliffe, I can only quote a friend of mine who said Daniel Radcliffe is
:07:23. > :07:27.improving and that's true and that's not meant to be the grotesque
:07:28. > :07:31.backhander that it sounds like. He is working hard here. Allen Ginsberg
:07:32. > :07:35.was working hard to fit in and to find... You don't believe he is
:07:36. > :07:40.madly in love with that boy and then he is heart broken. I was hooked.
:07:41. > :07:49.Can I, because I think you are both adorable, but wrong. Freda Cooper
:07:50. > :07:53.sent a text, " One of the best films I have seen this year." I just
:07:54. > :08:03.wanted more. I wanted more of the murder. I wanted more, I wanted more
:08:04. > :08:08.of William Burrows to be honest. I was thinking, "What is William
:08:09. > :08:16.Burrows up to now?" The women were always sort of sent off to go and
:08:17. > :08:23.stick the kettle on and be shot at. It is hard to identify. At one point
:08:24. > :08:30.a character... You are not happy. A character at one point says,
:08:31. > :08:36."Hayman, let the prisoners out and let's have fun." What's the matter
:08:37. > :08:40.with that? A star, don't listen to them!
:08:41. > :08:43.Next, Director Alexander Payne follows up The Descendants with
:08:44. > :08:48.Nebraska. Veteran Bruce Dern stars as Woody Grant who thinks he's won a
:08:49. > :08:56.million dollars. We are now authorised to pay $1 million to
:08:57. > :09:03.Woodrow T Grant. You didn't win anything, it is a scram. I guess it
:09:04. > :09:11.is a father, son road trip from Nevada to Nebraska. It is none of
:09:12. > :09:17.your business. It is. I am your son. The son tries to give the father
:09:18. > :09:26.some shred of dignity. We can't drop everything and go to Nebraska. It is
:09:27. > :09:31.a selfless and a selfish act in that sometimes we try to give others
:09:32. > :09:36.dignity to make ourselves feel better for being associated with
:09:37. > :09:46.them in the first place. I never knew the son of a bitch wanted to be
:09:47. > :09:50.a millionaire. It was the perfect length for a screenplay. It was
:09:51. > :10:02.comic and sad. How much longer is he going to be around? The oldest
:10:03. > :10:09.cliche is the truest 90% of casting is directing. I choose actors that
:10:10. > :10:16.gave me a vivid version of real. Why didn't you tell us you was rich?
:10:17. > :10:20.David said not to. We would like to see what $1 million looks like.
:10:21. > :10:24.Bruce Dern is a smart actor and he had a good sense of what the
:10:25. > :10:31.screenplay required, plus the guy had read the script. He had a bit of
:10:32. > :10:40.time to consider the character and to become that character to some
:10:41. > :10:45.degree. I was aspiring the acting style has a degree of the flatness
:10:46. > :10:53.of real life and in real life people can be quite flat. Everybody saying
:10:54. > :11:01.how Woody Grant is a millionaire. That's no big deal. If I met Woody
:11:02. > :11:07.Allen it would never occur to me to say, "Why did you shoot Manhattan in
:11:08. > :11:11.black and white. " It would never occur to he moo, I would accept it.
:11:12. > :11:15.I understand it is unusual in today's cinematic landscape to shoot
:11:16. > :11:21.black and white, but it is not unheard of and it is a perfectly
:11:22. > :11:27.beautiful form. You talk about having kids and how many you wanted
:11:28. > :11:31.and stuff like that? No. And why did you have us? Because I liked this
:11:32. > :11:38.girl and your mother is a Catholic so you figure it out. So you and mom
:11:39. > :11:44.never actually talked about whether you had kids or not? I figured if we
:11:45. > :11:51.kept on screwing, we would end up with a couple of you. You love this?
:11:52. > :11:54.Yes. Relax. Relax. When you see the plot and see the trailer, you have
:11:55. > :12:02.to approach a film like this with trepidation and caution because it
:12:03. > :12:08.seems, you know, preriged for an old person, child, on a journey, the
:12:09. > :12:12.straight story so many films that would use that device to jerk tears.
:12:13. > :12:20.Maybe because it is Alexander Payne and because it is the one director
:12:21. > :12:25.to doesn't have a number of people. He married this material beautifully
:12:26. > :12:30.and at every point he could be going for the emotional jugular it takes a
:12:31. > :12:36.left turn. Are you a fan of pain in general? I am a fan of pain. Not
:12:37. > :12:42.that, we are all a fan of pain. Pain is good. I am hit and miss with
:12:43. > :12:48.pain. Some of the films, they feel a bit cold, emotionally they feel
:12:49. > :12:51.cold. It feels like he doesn't be on the side of his characters. He has a
:12:52. > :12:56.big brain and he is a philosophy student and he has a bigger fish to
:12:57. > :13:00.fry when he is telling stories and sometimes he misses his characters.
:13:01. > :13:04.This film, it worked, the world view worked.
:13:05. > :13:12.People get hung up about things like 3 D, 3 D has never been a problem in
:13:13. > :13:18.Hollywood. In effect, this film, I think was what is so remarkable, it
:13:19. > :13:22.is the decheeser, it is the perfect antidote no to that. Alexander Payne
:13:23. > :13:26.is the perfect director for this material. There is times in the past
:13:27. > :13:34.that he felt like he is sniggering at his characters. He doesn't do
:13:35. > :13:40.that with Bruce Dern's character, Woody Allen, but is no one to be
:13:41. > :13:44.trifled with and he is the can TAsserous figure you don't see in
:13:45. > :13:50.movies. It is beautifully made. It is funny and brave as well because
:13:51. > :13:56.you know, it seems it is a wonderful life. American films told us, small
:13:57. > :14:02.places are wonderful places and full of people who would lay down and die
:14:03. > :14:06.for you. Actually what he says is small towns are terrible places. It
:14:07. > :14:09.is not cheaply cynical, but it is cynical enough and it is bracing, it
:14:10. > :14:14.is a movie that feels like because it is a faer and son -- father and
:14:15. > :14:19.son road trip, any moment it will give you a big cuddle, but it
:14:20. > :14:24.doesn't, it smacks you around the head and tells you to grow up.
:14:25. > :14:28.I found it moving, but it never goes, "This is what you are going to
:14:29. > :14:32.be." Those two boys who played the brothers, there was a clip there of
:14:33. > :14:39.them. They are funny, right? I'm going to take issue, I didn't laugh
:14:40. > :14:44.out loud. It is a wry chuckle movie, isn't it? If only because with the
:14:45. > :14:47.brothers, that's an Alexander Payne weak spot, he can't spot a fat
:14:48. > :14:54.person without letting the camera linger on them for a nudge in the
:14:55. > :15:03.ribs about that one. The amazing thing is president wife of Bruce
:15:04. > :15:09.Dern... June Squib. The wife of an 80 c-year-old man is
:15:10. > :15:16.an 80-year-old woman and not a dolly bird. Did you think when you first
:15:17. > :15:19.saw her, who is that? We are preprogrammed by Hollywood movies to
:15:20. > :15:22.think that a man of certain years will always have a younger woman
:15:23. > :15:29.with him. Even with nasal hair like that! She
:15:30. > :15:37.had great moments, didn't she? Bruce Dern is monumental here and Stacey
:15:38. > :15:42.Keetch. She has a flashy moment that I didn't go for. It seemed that the
:15:43. > :15:49.one moment was out of character. That's not what you said off camera!
:15:50. > :16:01.She was in Alexander Payne previous movie. If June Squibb's name is not
:16:02. > :16:04.being read out for awards, we need to go to LA!
:16:05. > :16:11.It is brilliant. Spike Lee has remade the 2003 Korean
:16:12. > :16:14.classic, Oldboy. It is a man obsessed with revenge and finding an
:16:15. > :16:29.explanation for why he was kidnapped and locked away for 20 years. There
:16:30. > :16:42.is strong language. Hello. Can anybody hear me on the
:16:43. > :16:48.outside? The suspect is the victim's former husband and father of the
:16:49. > :16:54.surviving child. This guy is put in prison for 20
:16:55. > :17:02.years and is confronted by his worst demons, himself. Your father has
:17:03. > :17:07.been missing for 20 years. If I could somehow bring him here, do you
:17:08. > :17:15.think you could forgive him? I could try. What happened? He showed up
:17:16. > :17:21.last night. I need your help. I haven't seen the guy in 20 years.
:17:22. > :17:26.Hello Joseph. How was your first day of freedom?
:17:27. > :17:33.Action! We had to respect the original stories, but make it
:17:34. > :17:41.different. The director gave his blessing to josh and myself and said
:17:42. > :17:44.whatever you do, make your own film. You might want to think about what
:17:45. > :17:51.you are doing here. I have been thinking about it for the last 20
:17:52. > :17:54.years. Spike creates an ambiance where anything goes. Everything was
:17:55. > :17:58.challenging emotionally and physically I still have muscles that
:17:59. > :18:03.haven't bounced back and it has been a year! I pushed it mostly because
:18:04. > :18:08.of Spike. Break it down -- when you break it
:18:09. > :18:17.down, it is a cold-blooded revenge film. You never stopped to ask the
:18:18. > :18:23.most fundamental question of all, why did I let you go? That voice is
:18:24. > :18:29.quite extraordinary. What did you think? I hope one day there will be
:18:30. > :18:33.a documentary about the making of Spike Lee's Oldboy. It would be
:18:34. > :18:36.incredibly depressing, but it will be required viewing. You will find
:18:37. > :18:39.out what happened when the executives turned around to Spike
:18:40. > :18:43.Lee and demanded the 40 minutes came out of this movie, making a screwed
:18:44. > :18:46.up idea more screwed up. You will find out what happened on set when
:18:47. > :18:50.Spike Lee had this weird identity crisis and spent half the movie over
:18:51. > :18:55.directing everything in sight and then spent the other half wandering
:18:56. > :19:00.out to get Starbucks and left the work experience kid in charge and
:19:01. > :19:03.you will find out what happened between Spike Lee and one of the
:19:04. > :19:09.stars of the film here. For some reason, I can only presume it was
:19:10. > :19:18.bad blood between them. He has been encouraged by spike Spike Lee to
:19:19. > :19:24.deliver an embarrassing performance. It starts out, I guess it is
:19:25. > :19:29.supposed tor more rid ate and it ends up Christopher Biggins.
:19:30. > :19:35.But it is not his fault, is it? I don't think it is. It is the script.
:19:36. > :19:39.And it is also, it is hard to talk about this film. It is hard for me
:19:40. > :19:43.to find any positivity towards it. There is a million ways you can
:19:44. > :19:47.approach it and everyone of them is a criticism and you don't want to be
:19:48. > :19:51.too snooty about it and you don't want to feel the original was so
:19:52. > :19:54.much better, but there is a fundamental difference and it sounds
:19:55. > :20:00.pretentious, but it is not. It is important in the Korean film it was
:20:01. > :20:03.about a bad, angry man who gets sent to prison for 20 years and he
:20:04. > :20:07.becomes badder and more angry and on his first day out of prison he tries
:20:08. > :20:16.to rape somebody and there is a twist that kind of gives him the
:20:17. > :20:21.tiniest slither of redemption. He goes to prison. He is redeemed and
:20:22. > :20:26.he becomes a superhero killer. He is transformed. Is it that you are both
:20:27. > :20:34.grumpy, that they made a remake at all? In no, it pains me to say this
:20:35. > :20:40.because the arguments put up about remakes are similar policic. I love
:20:41. > :20:44.Spike Lee. He is a talented director and a lot of the early movies he
:20:45. > :20:47.made are important to me and a lot of other people. This doesn't feel
:20:48. > :20:50.like a Spike Lee movie because it always has something of him in it
:20:51. > :20:54.and has a spark and signature and humour and this is the most
:20:55. > :20:59.humourless film. It is like a Christmas cracker that had the joke
:21:00. > :21:10.taken out of it and the toy taken out of it. There is all these
:21:11. > :21:15.flamboyant moments. There is men in cravets and it is so joyless and you
:21:16. > :21:19.have to, in the end, it becomes like an autopsy. You are dissecting it
:21:20. > :21:23.and pointing the finger and trying to work out what went wrong. I think
:21:24. > :21:28.the executives came in with the pruning sheers and taking out 40
:21:29. > :21:33.minutes... That might have done it. It is the middle is troubled. There
:21:34. > :21:40.is no middle. There is a beginning and an end and what should be the
:21:41. > :21:44.second act, are you have a couple of jokes and references to the original
:21:45. > :21:47.Oldboy and then the explanations of what's going on in the plot because
:21:48. > :21:51.the film seems afraid it will forget what is going on in the plot. But if
:21:52. > :21:56.you are a 16-year-old kid and you are going with your mates, do you
:21:57. > :22:00.think they would like it as a bit of violence to watch? I'm trying to
:22:01. > :22:05.think of something positive to say and it is really hard. Maybe with
:22:06. > :22:11.the original Oldboy in mind and with the bench mark set lower, it is a
:22:12. > :22:18.technically made film. It looks nice. Josh Brolin loses his beer
:22:19. > :22:25.belly. This is like a superhero movie. This film is made in America
:22:26. > :22:29.and it made $850,000 and you make $850,000 just from people who want
:22:30. > :22:42.to come in out of the cold and have a hot dog.
:22:43. > :22:48.The next film has Sylvester Stallone. Why did we move out?
:22:49. > :22:55.Beautiful house. Horse trails. What else could we ask for? I miss mum.
:22:56. > :23:01.Me too. It is about a family who suffer a tragedy. I leave my old job
:23:02. > :23:07.behind and I try to be a stay at home dad. We move to a part of the
:23:08. > :23:13.country where we try to live a happy life together. Loser. Give it back.
:23:14. > :23:16.You want it, get it? There is a little fight in the playground which
:23:17. > :23:24.you take part of, right? Yeah, I kind of start the whole thing. I
:23:25. > :23:29.want this thing settled and I mean now. This is my fault, I taught her
:23:30. > :23:39.to defend herself. Under that happy lifestyle is something quite
:23:40. > :23:45.sinister. Feuds, they exist. If someone has an issue with me,
:23:46. > :23:57.keep it down. Don't want my kid involved. Jason kind of stumbles
:23:58. > :24:09.across the hornets nest of bad characters. I am the ringleader. I
:24:10. > :24:16.have worked with Sylvester Stallone many, many times. I recognise what a
:24:17. > :24:22.brilliant writer he is. It has a great quality to it and that's what
:24:23. > :24:33.got me in. Take him out. It is never that easy. There is man with a gun
:24:34. > :24:40.trying to get into the house. I got the kid. Help. Dad. I'm really
:24:41. > :24:47.scared. Please hurry. Kevin? Can I say I saw this film 20
:24:48. > :24:57.minutes after seeing Oldboy so this to me was like a purifying, edifying
:24:58. > :25:00.balm after a merciless shower of sheet. It is a script that's been
:25:01. > :25:10.knocking around for ages. It feels like a lovely innocent throw back to
:25:11. > :25:16.the 80s. It is a sour drug deal that goes wrong and an attempt to lay low
:25:17. > :25:38.in the middle and a bullet, bullet laden climax at the end, job done. I
:25:39. > :25:43.had high expectations, it is Staham. Jason Statham, James Franco, this
:25:44. > :25:50.film should be fantastic. It is not fantastic. Come on. I am not going
:25:51. > :25:57.to complain about a film that's insular, small town, and no one ever
:25:58. > :26:03.says top him, "Why is your accent like Jason Statham, the famous
:26:04. > :26:07.English actor?" I am going to complain about the action scenes.
:26:08. > :26:10.Maybe I'm being picky, but I think for an action movie, the action
:26:11. > :26:16.scenes and the fighting should be fantastic. I just want a fight that
:26:17. > :26:21.takes place comprehensively. If this film was being shot, I don't think
:26:22. > :26:25.because it is an action movie you can toss this stuff off. If it was
:26:26. > :26:28.someone's leaving do being shot on a camera phone, you would remove the
:26:29. > :26:36.camera phone and give it to the woman in accounts. This man has no
:26:37. > :26:48.idea how to shoot a fight sequence. Bobbing up and down behind a pillar.
:26:49. > :26:54.Lovely cross cutting all the way through. The bald guy He is not
:26:55. > :27:01.there anymore. He has gone. Your expectations are too high. I did
:27:02. > :27:06.like it. What about the supporting cast? They are brilliant. James
:27:07. > :27:12.Franco is doing this for some kind, there is some private little joke
:27:13. > :27:14.going on. He is chuckling away to himself.
:27:15. > :27:23.You are, I don't know what to say, what's your film of the week? Home
:27:24. > :27:29.Front and Nebraska. It is Home Front and Nebraska. No! That's all from us
:27:30. > :27:35.and we will be Back next week when we review The Hobbit: The Desolation
:27:36. > :27:44.of Smaug. Phone me! Fill The Void and Robert Redford in All is Lost.
:27:45. > :27:48.To play us out, we have the new trailer for the monuments man. Thank
:27:49. > :27:52.you for watching. Good night. Mr President, we are at the point in
:27:53. > :27:59.this war which is the most dangerous to the greatest historical
:28:00. > :28:04.achievements known to man. The Nazis, Amsterdam, Paris. Let's
:28:05. > :28:13.protect what's left and find what's missing. How many men? For now, six.
:28:14. > :28:21.Well, with you, it is seven. We are going to need your knowledge. We are
:28:22. > :28:28.going to need your skill. We went through basic training in England.
:28:29. > :28:33.Oh boy. We have been tasked with the fining
:28:34. > :28:42.and protecting of over myself million pieces of stolen artwork.
:28:43. > :28:47.This is why Hitler didn't bomb Paris. Well, he bombed London. I
:28:48. > :28:53.know that. You are not going to have the equipment a or the man power.
:28:54. > :29:00.The Nazis are taking everything with them. I am interested in what you
:29:01. > :29:08.saw there? Thousands of pieces. We are going to have to jump ahead of
:29:09. > :29:11.the third army and get into Germany. You can wipe out an entire
:29:12. > :29:15.generation and you can burn their homes to the grown and somehow they
:29:16. > :29:20.will still find their way back, but if you destroy their history and
:29:21. > :29:24.destroy their achievements it is as if they never existed. That's what
:29:25. > :29:27.Hitler wants and that's what we're fighting forment