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We're on Twitter so please get in touch. | :00:24. | :00:27. | |
Spielberg and Hanks reunited with tense | :00:28. | :00:37. | |
Is there any outcome here where I'm not either detained or shot? | :00:38. | :00:46. | |
Head over heels - Cate Blanchett and Rooney Mara star as 50s lovers | :00:47. | :00:49. | |
Johnny Depp and Benedict Cumberbatch star in violent crime drama | :00:50. | :01:00. | |
Plus we'll take a look at Pixar's latest offering The Good Dinosaur. | :01:01. | :01:11. | |
And joining us is the always animated, Tim Robey. | :01:12. | :01:18. | |
First up is Steven Spielberg's Cold War drama, Bridge of Spies. | :01:19. | :01:24. | |
In surprise casting, Tom Hanks stars opposite British | :01:25. | :01:27. | |
stage actor Mark Rylance, caught up in an East-West spy swap. | :01:28. | :01:36. | |
An American pilot was flying a spy mission over the Soviet Union, | :01:37. | :01:44. | |
taking pictures of installations. He was supposed to be flying so high no | :01:45. | :01:48. | |
Russian missile could shoot him down. Buff they had a missile and | :01:49. | :01:55. | |
they shot him down. They took a praise -- him prisoner. He remained | :01:56. | :01:59. | |
there for quite a long time. We've got a Soviet Spy. Years before, the | :02:00. | :02:06. | |
United States, a Soviet Spy was arrested and defended in court all | :02:07. | :02:11. | |
the way up to the Supreme Court by a lawyer that was assigned to the | :02:12. | :02:17. | |
case, that's who I play. I'm an insurance lawyer. Have you | :02:18. | :02:21. | |
represented many accused spies? This will be a first for the both of us. | :02:22. | :02:25. | |
The United States had a spy. The Russian has a pilot. Can we exchange | :02:26. | :02:32. | |
them somehow and by way of a lot of cloak-and-dagger. He was making | :02:33. | :02:37. | |
photographs from 70,000 feet when he was shot from the sky. People in my | :02:38. | :02:42. | |
country consider this an act of war. Tell me that you're not going to be | :02:43. | :02:47. | |
in any dangerer in Give me something to hold on to. I don't even care if | :02:48. | :02:53. | |
it is the truth. I'm doing this for us. | :02:54. | :03:00. | |
I'd never seen anything like this before. It's not completely | :03:01. | :03:02. | |
predictable. That's one of the reasons that I was attracted to | :03:03. | :03:06. | |
this. I didn't want the outcome, the end. We know there's going to be | :03:07. | :03:11. | |
some kind of two story lines that will converge. But how the | :03:12. | :03:14. | |
procedural part of Bridge of Spies evolves with the defence of the | :03:15. | :03:19. | |
accused Soviet Spy, that's where the mystery is. How did we do? In there? | :03:20. | :03:27. | |
Not too good. Apparently you're not an American citizen. That's true. | :03:28. | :03:32. | |
And according to your boss, you're not a Soviet Citizen either. Well, | :03:33. | :03:39. | |
the boss isn't always right. But he's always the boss. Stephen with | :03:40. | :03:44. | |
this film has particularly focussed on the people. It's a human story. | :03:45. | :03:48. | |
That's what is fascinating about. It it's why a lot of us watch a lot of | :03:49. | :03:52. | |
old films and enjoy them. There's more time for you to indulge | :03:53. | :03:55. | |
everyone's fascination with human beings. He's a threat to all of us, | :03:56. | :04:02. | |
a traitor. Cold War thrillers have been an interesting genre for human | :04:03. | :04:08. | |
behaviour. There are issues resolving around lit secrets and | :04:09. | :04:12. | |
intimacies. Do you never worry? Would it help? We all knew of Mark | :04:13. | :04:19. | |
and understood that here was this brilliant talent and I found him to | :04:20. | :04:23. | |
be very compelling character. It made me want to listen and wait for | :04:24. | :04:30. | |
him to deliver whatever the next emotional beat was. Standing man. | :04:31. | :04:37. | |
Standing man. It's a lot of noise and there's a lot of talk and a lot | :04:38. | :04:42. | |
of muse nick movies. Sometimes they're not nearly as powerful as | :04:43. | :04:45. | |
the silence, just waiting to see what's going to happen. I'm not sure | :04:46. | :04:53. | |
I want to pick that up. Tom as an actor is so fluid and natural. When | :04:54. | :04:58. | |
you put it that way it's an honour to be asked. Writers do seven, eight | :04:59. | :05:03. | |
drafts. Tom takes the line and doesn't change it. But he says it so | :05:04. | :05:09. | |
conversationally. It feels like he's making up the words when he goes | :05:10. | :05:12. | |
along. He doesn't change the dialogue, he says what is written | :05:13. | :05:15. | |
for him. But he has a way of presenting it to us that feels like | :05:16. | :05:18. | |
it's a friend talking to a lot of friends. Everyone deserves a | :05:19. | :05:23. | |
defence. Every person matters. What do we deserve - do you know how | :05:24. | :05:27. | |
people will look at us, the family a man trying to free a traitor? Don't | :05:28. | :05:33. | |
go Boy Scout on me. Definitely stay away from the wall. Cross it and | :05:34. | :05:38. | |
you'll be shot. A lot of people doesn't want this exchange to ever | :05:39. | :05:47. | |
take place. We're so familiar with Spielberg for so long. You forget | :05:48. | :05:51. | |
what a ninja master of a film maker he can be. The opening shot in | :05:52. | :05:56. | |
Bridge of Spies is so perfect. There's a moment where Mark Rylance | :05:57. | :05:59. | |
is a Russian spy, painting a self-portrait. He looks in the | :06:00. | :06:03. | |
mirror back to the canvas. It's a perfect opening for a spy movie. | :06:04. | :06:08. | |
Then three or four minute sequence where he's going about his business | :06:09. | :06:12. | |
as a spy. No dialogue. All you hear is a ringing phone. He picks it up, | :06:13. | :06:16. | |
doesn't say a word. Just gets on with his day. It's a spy movie that | :06:17. | :06:20. | |
is in love with the idea of being a spy movie. You don't need to be such | :06:21. | :06:27. | |
a strange herbert as me making notes to see this film is just impeccable. | :06:28. | :06:33. | |
Wow, go on. I'm too scared to speak. Mad is what I was missing. | :06:34. | :06:38. | |
Methodical. I like it. It's good. It's solid. It's Spielberg indulging | :06:39. | :06:42. | |
his obsession with war again. All his films seem to be about war these | :06:43. | :06:48. | |
days. He made five about the Second World War, War Horse and Lincoln. He | :06:49. | :06:53. | |
was saying the American Civil War was kind of fought in the courtroom | :06:54. | :06:57. | |
as much as on the battlefield. Here he's doing a similar thing, but | :06:58. | :07:02. | |
saying the Cold War as a bunch of guys in coats shivering, standing in | :07:03. | :07:05. | |
East Germany waiting for something to happen. That's more or less the | :07:06. | :07:09. | |
ending of the film. It's perfect the image of that bridge at the end is | :07:10. | :07:12. | |
beautiful and perfect. We do spend a lot of time waiting to get there. | :07:13. | :07:16. | |
It's quite ponderous along the way. A whole lot of time. I had forgotten | :07:17. | :07:21. | |
how brilliant that beginning was, there's a chase and there's Mark | :07:22. | :07:24. | |
Rylance, magnificent, even when he doesn't speak. Hi just has to be | :07:25. | :07:30. | |
there. Then there's what, eight hours, nine days... The Cold War | :07:31. | :07:34. | |
itself was a bit longer. Talk about the film. I'm not sure I loved it as | :07:35. | :07:38. | |
much as youment You clearly don't. No. It embraces the cliches of the | :07:39. | :07:47. | |
spy movies. It's a movie that has no shame about having chase scenes | :07:48. | :07:51. | |
through rain soaked streets and conversations with people who don't | :07:52. | :07:54. | |
exist and the conversations never took place. It does all that stuff | :07:55. | :07:58. | |
with aplomb. The look of cold scepticism on your face. I thought | :07:59. | :08:01. | |
maybe I was watching a film just about a man who had a cold. We | :08:02. | :08:07. | |
confuse the Cold War for that. Possibly I would like to be in that | :08:08. | :08:16. | |
meeting, "Should I have a cold? I didn't dislike it. And Spielberg, I | :08:17. | :08:24. | |
feel like I'm being unfaithful. Whatever you've done with Claudia, | :08:25. | :08:31. | |
wow. I feel bad. But it's too, Mark Rylance is brilliant, Hanks is | :08:32. | :08:37. | |
brilliant. Rylance nails it. He's magisterial in this part. It's like | :08:38. | :08:41. | |
he's playing a poker game and hasn't told anyone else they're doing it | :08:42. | :08:46. | |
and he's winning. He holds everything back. Cohen brothers is | :08:47. | :08:54. | |
there with his lines. They've made this character an emblem of mystery. | :08:55. | :08:59. | |
There are amazing double acts. Rylance and Hanks are the double act | :09:00. | :09:04. | |
on screen. There's a saying in boxing, styles make fights. And if | :09:05. | :09:08. | |
films too. Rylance disappears. You don't see him. You just see a | :09:09. | :09:11. | |
strange, tough, little question mark of a man on one side of the table. | :09:12. | :09:16. | |
On the other, a great movie actor, Tom Hanks can't ever leave his Tom | :09:17. | :09:23. | |
Hanksness behind. One actor disappears inside his character, one | :09:24. | :09:26. | |
that is the great every man. That's fascinating to see. You have this | :09:27. | :09:30. | |
other double act, the Spielberg connection with the Cohen brothers. | :09:31. | :09:34. | |
They're vital to this. Spielberg likes his rousing scores and he | :09:35. | :09:42. | |
likes his hymns to America. The Cohens come in and there's a twist | :09:43. | :09:46. | |
of lemon, prick things a bit. It's great. I'll ask you this, answer | :09:47. | :09:53. | |
truthfully, was it tense for you at any point? It lacks tension. It has | :09:54. | :09:58. | |
wit but it lacks the momentum. I feel that Spielberg let himself down | :09:59. | :10:02. | |
slightly. I still feel tense now just thinking about it. | :10:03. | :10:06. | |
Director Todd Haynes work stands out from the Hollywood mainstream. | :10:07. | :10:09. | |
In Far From Heaven he put the spotlight on married gay men | :10:10. | :10:12. | |
Cate Blanchett and Rooney Mara are the star-crossed lovers. | :10:13. | :10:21. | |
What's your name? Therese. And yours? Carol. It really is a classic | :10:22. | :10:35. | |
love story. What makes a love story memorable on film, which of the | :10:36. | :10:42. | |
lovers are we rooted with as viewers and why? Thank you. Merry Christmas. | :10:43. | :11:00. | |
Merry Christmas. I like the hat. It has a timeless feel. It's about the | :11:01. | :11:05. | |
volcanic, exciting, heart-stopping, painful feelings of falling in love | :11:06. | :11:12. | |
deeply and truly. Would you like to come visit me this Sunday? Yes. An | :11:13. | :11:21. | |
older woman w, a child, in a fairly loveless marriage. And a young shop | :11:22. | :11:26. | |
girl who fall in love. Carol? I miss you.. So it's the fallout from that. | :11:27. | :11:33. | |
Obviously in the 50s, such a love was not only frowned upon, it was | :11:34. | :11:39. | |
illegal. This is really about the early 1950s. Obviously, this is a | :11:40. | :11:47. | |
kind of love that would disturb or challenge the Status Quo at the time | :11:48. | :11:51. | |
and does so for both women. It shouldn't be like this. I know. | :11:52. | :11:59. | |
Carol is such a true love story. Were there love stories in the past | :12:00. | :12:03. | |
that you drew from? When I thought of it first off and for people who | :12:04. | :12:09. | |
know the film, I'm sure many British viewers would, was Brief Encounter. | :12:10. | :12:21. | |
You know, it's the story of two very middle class, familiar subjects, | :12:22. | :12:23. | |
each settled in their own marriages and how they find each other and | :12:24. | :12:30. | |
have this infatuation, upsets the sort of order and reliability of | :12:31. | :12:35. | |
their lives, even just the structure of it, the way this conversation | :12:36. | :12:39. | |
between the two central characters gets interrupted at the beginning of | :12:40. | :12:42. | |
the film. Laura, what a lovely surprise... You don't know who they | :12:43. | :12:47. | |
are yet. You don't know whose story it is yet. These are the questions | :12:48. | :12:52. | |
that interruption poses. We do something similar in the structure | :12:53. | :12:58. | |
of Carol. Is that you? What do you know. We're so obsessed in 2015 with | :12:59. | :13:07. | |
text, with what's said, but I'm often fascinated by whats not said. | :13:08. | :13:11. | |
I really should run. Are you sure? Of course. Of course, subtext, it's | :13:12. | :13:17. | |
fantastic stuff to play with as an actor. Because it means that you can | :13:18. | :13:25. | |
create characters or -- who are enigmatic and mysterious which draws | :13:26. | :13:28. | |
in an audience. You two have a wonderful night. Every sign, every | :13:29. | :13:35. | |
little gesture is subject to interpretation. Does this woman love | :13:36. | :13:42. | |
me back? What is this love even comprise itself of since there's no | :13:43. | :13:46. | |
real social, cultural example TV that she knows of. Make sure the | :13:47. | :13:54. | |
loaf's on his way. Back in a flash. Throughout your career, you've been | :13:55. | :13:59. | |
closely associated with Julie Ann Moore, and now Cate Blanchett. Can | :14:00. | :14:03. | |
you imagine putting the two of them together in a film. My God, it would | :14:04. | :14:07. | |
explode. I've been so lucky. I've worked with such amazing women and | :14:08. | :14:17. | |
certainly Julie-Ann Moore I was associated with early on.er Frank? | :14:18. | :14:32. | |
It called for a different kind of acting outside the language of | :14:33. | :14:37. | |
naturalism. Something very, very specific, in this case, based on and | :14:38. | :14:44. | |
inspired by the Mella drama, the high Mella drama era of Hollywood | :14:45. | :14:45. | |
film making in the late 50s. More recently I've had two | :14:46. | :15:00. | |
extraordinary experiences with Cate Blanchett. I doubt very much I would | :15:01. | :15:05. | |
have gone with lunch with him. You are always the most beautiful woman | :15:06. | :15:10. | |
in a room. I love Todd, he has the hunger of a student film-maker, able | :15:11. | :15:14. | |
to work on a shoestring and passionate, but the visual landscape | :15:15. | :15:17. | |
he creates, if you see Far From Heaven it is this jewel-like Douglas | :15:18. | :15:22. | |
Sirk homage, and you think OK, that's what we are going to do in | :15:23. | :15:27. | |
Carol and then he presents an entirely different palate working | :15:28. | :15:30. | |
with a whole load of visuals from female photographers in the 50s | :15:31. | :15:33. | |
unlike a very different take on the same aesthetic will stop he is | :15:34. | :15:41. | |
endlessly creative. I admit, I am drawn to the frame that various | :15:42. | :15:47. | |
moments in the past provide the present. And action! | :15:48. | :15:55. | |
In a way it sort of gives the viewer this sort of slight distinction | :15:56. | :15:59. | |
between where we are now and what we are looking at, to kind of draw some | :16:00. | :16:05. | |
of their own conclusions about the contemporary moments, and also how | :16:06. | :16:09. | |
far we may or may not have travelled from that moment in the past. I want | :16:10. | :16:20. | |
it and I will not deny it. You may have got the impression I | :16:21. | :16:23. | |
slightly like this film, I've been banging on about it since me and | :16:24. | :16:26. | |
I've reached the point where every time I mention it I feel like a | :16:27. | :16:31. | |
parody of myself, one day I will shut up but everybody must see it, | :16:32. | :16:34. | |
it is wonderful. We're lucky to have it now, it's the only featured Todd | :16:35. | :16:39. | |
Haynes has made this decade, he's chosen the right time with this | :16:40. | :16:44. | |
cast. He's been trying to make this film for 20 years since the | :16:45. | :16:47. | |
screenwriter drafted it in the 90s and it never came good and we | :16:48. | :16:51. | |
finally have it and with his Erick Thohir will control and hand all | :16:52. | :16:54. | |
over it. He's just the master of this stuff. -- directorial. The way | :16:55. | :17:03. | |
it breaks with sadness all the way through, every scene with these | :17:04. | :17:06. | |
women when we are willing it to happen and hoping it will and we | :17:07. | :17:09. | |
know the problems they are facing and the obstacles between them. It | :17:10. | :17:13. | |
is glorious and heartbreaking and great and everyone needs to see it. | :17:14. | :17:21. | |
It is so beautiful, isn't it? It's a phenomenal time machine and | :17:22. | :17:25. | |
as the credits roll, you think 2015, because you were so immersed in the | :17:26. | :17:28. | |
50s and it's interesting how he did that, the production design, the | :17:29. | :17:33. | |
brand of cigarettes, the hair design. And the costumes! It is | :17:34. | :17:38. | |
perverse to talk about this film and not get too Cate Blanchett and | :17:39. | :17:42. | |
Rooney Mara. It's about the extras as well, one of the weather films | :17:43. | :17:47. | |
comes to life, in a period drama you will often have a solitary extra | :17:48. | :17:50. | |
standing in the corner wondering whether they have the role of the | :17:51. | :17:54. | |
corpse in the CSI and they are done up and it feels incredibly stilted | :17:55. | :17:58. | |
and artificial. You know that just out of shot there is a man in a | :17:59. | :18:02. | |
fleece and people with walkie-talkies and having Starbucks. | :18:03. | :18:05. | |
Todd Haynes, I guarantee he will have gone to the extras, 25 to 30 | :18:06. | :18:10. | |
people in the scene, everyone will have something the character is | :18:11. | :18:13. | |
doing, even if it is a nonspeaking part. They are on a mission. They | :18:14. | :18:18. | |
will go to see the dentist, pick up dinner, they will be going to have | :18:19. | :18:22. | |
an affair. That means that when Rooney Mara and Cate Blanchett come | :18:23. | :18:25. | |
out onto the street in New York it feels alive and real and almost like | :18:26. | :18:29. | |
documentary. He has got that from the photographs as they were saying, | :18:30. | :18:33. | |
from the era, from the paintings from people like Edward Hopper, tiny | :18:34. | :18:36. | |
figures in the background that would pop up in those paintings. Cate | :18:37. | :18:42. | |
Blanchett and Rooney Mara, how different they look and their | :18:43. | :18:45. | |
energies together, how the older woman is pretending not to be | :18:46. | :18:47. | |
vulnerable and it seems to be in charge but she is not because her | :18:48. | :18:51. | |
life is falling apart and Cate Blanchett manages to do those two | :18:52. | :18:55. | |
layers, she is kind of controlled and flirty, and kind of seems to be | :18:56. | :18:59. | |
the queen of her domain, but actually underneath it she is | :19:00. | :19:03. | |
absolutely distraught. Meanwhile, Rooney Mara plays her role as | :19:04. | :19:06. | |
someone who has not discovered herself yet, waiting to be brought | :19:07. | :19:11. | |
out of herself forced up she is extraordinary. I've never liked | :19:12. | :19:16. | |
Rooney Mara as much as this. She threw herself into it emotionally | :19:17. | :19:21. | |
the best and I think she is great. Anyone who appreciates in a film | :19:22. | :19:26. | |
what it is to have perfect colours balancing each other and come | :19:27. | :19:28. | |
plummeting each other in every frame I think will get a lot out of this, | :19:29. | :19:33. | |
it is a film to go back to again and again. The layers, I know this | :19:34. | :19:38. | |
sounds hilarious, but the cutlery, the wallpaper, the drapes, her | :19:39. | :19:43. | |
skirt, what they eat. Now I only ever want spinach and poached eggs | :19:44. | :19:51. | |
and a Martini, it sounds odd but watch the film. It is the dynamic, | :19:52. | :19:56. | |
Cate Blanchett looks at home in the 50s, as an actress, this golden age | :19:57. | :20:01. | |
of Hollywood, it makes sense for her to be in the 50s. You could imagine | :20:02. | :20:14. | |
Oscars awards and Cate Blanchett would be alongside those actors from | :20:15. | :20:22. | |
the 50s. It is like gonzo from the Muppets, there is a line in the | :20:23. | :20:25. | |
script that may have been taken from the book. She says what a strange | :20:26. | :20:30. | |
girl you are, flung out from the space. One of the beta full line is | :20:31. | :20:34. | |
that the screenwriter realised he has to have in the screenplay. It is | :20:35. | :20:40. | |
very economical, very pared down. Cate Blanchett says everything is | :20:41. | :20:43. | |
obsessed by text, it is what they say. It is a love story, so, | :20:44. | :20:49. | |
located. Not just about finding each other and being happy, it has so | :20:50. | :20:53. | |
many layers. And the chemistry, you don't have a film this good by | :20:54. | :20:57. | |
having one good performance, not even two, it has to be three or | :20:58. | :21:02. | |
more. As soon as their eyes cross across the department store you are | :21:03. | :21:07. | |
aware something is going on. There is not a sexless couple. It is a | :21:08. | :21:11. | |
real love story with heartbreak and sex and all the points in between. | :21:12. | :21:15. | |
Next, Black Mass, starring an almost unrecognisable Johnny Depp | :21:16. | :21:17. | |
as Boston gangster Whitey Bulger. I need to know everything you know | :21:18. | :21:27. | |
about your former boss and now fugitive James "Whitey" Bulger. In | :21:28. | :21:35. | |
the beginning Jimmy was a small-town player. He's a very smart, | :21:36. | :21:42. | |
disciplined man. Black Mass tells the story of two brothers in the | :21:43. | :21:48. | |
city of Boston in the 1970s and 80s, one is the most notorious criminal | :21:49. | :21:52. | |
in the city's history, played by Johnny Depp. Look at his face! His | :21:53. | :21:58. | |
brother is the most powerful politician in the city played by | :21:59. | :22:01. | |
Benedict Cumberbatch. Joel Edgerton's character is one of the | :22:02. | :22:05. | |
heads of the FBI who brings Johnny Depp in as an FBI informant. I can | :22:06. | :22:09. | |
help you, Jimmy command you can help me. He gives him a Licence to Kill. | :22:10. | :22:17. | |
The idea they are from the same womb, these two political polar | :22:18. | :22:21. | |
opposites came into being, it is fascinating and Shakespearean. It is | :22:22. | :22:30. | |
some great drama. God help us. Why has nobody nailed "Whitey" Bulger? | :22:31. | :22:36. | |
He seems to be involved in every crime and the bureau says he is | :22:37. | :22:41. | |
clean. What has Bulger done? What has he done? Everything. I want to | :22:42. | :22:48. | |
see a man who is extremely cold, calculating and violent, who could | :22:49. | :22:55. | |
be humourless with his mum, tender with his girlfriend. The biggest | :22:56. | :22:58. | |
challenge is because it is a true story there are so many victims in | :22:59. | :23:06. | |
the victim's family. It is still very fresh so my aim was not to | :23:07. | :23:15. | |
trivialise or glamorise the events. It was done in an unflinching | :23:16. | :23:16. | |
manner. Johnny is probably one of the most | :23:17. | :23:27. | |
famous people in the world so we had to make him look as much as "Whitey" | :23:28. | :23:31. | |
Bulger as possible. Johnny has dark brown, almost black eyes and | :23:32. | :23:36. | |
Whitey's eyes were big and blue and extremely piercing, so piercing that | :23:37. | :23:39. | |
people would have a difficult time maintaining eye contact with him. | :23:40. | :23:41. | |
You're welcome. I think when the film is good, and | :23:42. | :23:52. | |
it is sometimes very good, it lives up to its title, it is essentially a | :23:53. | :23:56. | |
horror movie and when it is at its best Johnny Depp makes your skin | :23:57. | :23:59. | |
crawl in a way he has not done before. He's playing a character | :24:00. | :24:05. | |
somewhere like every psycho in a pub who threatened to blast somebody | :24:06. | :24:08. | |
over a spilled point, there is something authentically queasy about | :24:09. | :24:11. | |
him, certain points when you can smell him, the cheap cologne and bad | :24:12. | :24:16. | |
breath, the sense of rotten in him. In those moments the film works | :24:17. | :24:20. | |
brilliantly. There are other times where I would not say it goes as far | :24:21. | :24:25. | |
as glamorising violence, as the director said, but it wants to | :24:26. | :24:29. | |
introduce you to this exciting young director called Martin Scorsese, | :24:30. | :24:33. | |
those moments I feel I have seen those films and I don't necessarily | :24:34. | :24:37. | |
need to see another version of them, no matter how wonderful Johnny | :24:38. | :24:41. | |
Depp's contact lenses are. I absolutely loved it and didn't think | :24:42. | :24:45. | |
I would. Often these things are about expectations, I thought it was | :24:46. | :24:48. | |
going to be so bad. There are some parts that are excessively violent, | :24:49. | :24:52. | |
but he is terrifying. Family times have you seen somebody when you | :24:53. | :24:57. | |
think, oh no! Who you never want to cross paths with? I resist the kind | :24:58. | :25:02. | |
of film this looks like sometimes, the gangland biopic, about a dude | :25:03. | :25:10. | |
who killed lots of people and has the FHM reader lad appeal which I | :25:11. | :25:13. | |
don't like but this film fails on that and does not have truck with | :25:14. | :25:16. | |
it. It has gone more in the horror direction and instead of trying to | :25:17. | :25:19. | |
tell us what the real "Whitey" Bulger was like, which is not | :25:20. | :25:23. | |
interesting, it decides he's not really human, at least 50% snake, | :25:24. | :25:29. | |
he's like this weird creature. Folder mort. He does not grow or | :25:30. | :25:36. | |
evolve as a biopic would normally have him do. Johnny Depp is still | :25:37. | :25:39. | |
doing essentially a 1 note performance but it's a brilliant | :25:40. | :25:42. | |
note all stopped it is not this brilliant new career direction he's | :25:43. | :25:46. | |
gone in when he's going to show real acting again, he's doing sort of the | :25:47. | :25:51. | |
great stunt performance, but the thing that keeps the film inflow | :25:52. | :25:55. | |
beyond him is the fact everyone else around him is good. Except Benedict | :25:56. | :26:01. | |
Cumberbatch. The Boston accident is not great. He's only in two seems. | :26:02. | :26:08. | |
It is interesting casting, because Johnny Depp even fits this role. Men | :26:09. | :26:13. | |
who are made of sausage meat in sweaty dry nylon. Because of the | :26:14. | :26:16. | |
kind of character he's playing, the one good man in Boston, it makes | :26:17. | :26:19. | |
sense to have this fine boned English man. I don't think is meant | :26:20. | :26:23. | |
to be that good, he's trying to be that caught in the middle. Joel | :26:24. | :26:27. | |
Edgerton is very good. Joel Edgerton is extraordinary. He almost has as | :26:28. | :26:32. | |
much green time as Johnny Depp and he goes on a journey with his | :26:33. | :26:36. | |
character, he has to sell himself out he becomes a ridiculous parody a | :26:37. | :26:42. | |
strutting peacock that the FBI think is a laughing stock. He's very funny | :26:43. | :26:47. | |
and squirmy and a bit stupid. He plays the character bit dim and all | :26:48. | :26:50. | |
of these things work. And also what I love is the change is slow. There | :26:51. | :26:57. | |
is the scene with his wife, where she goes, you are walking | :26:58. | :27:01. | |
differently. You can see it happen. The female roles in this kind of | :27:02. | :27:04. | |
film can often be real windowdressing. But both Dakota | :27:05. | :27:07. | |
Johnson and Julianne Nicholson who plays his wife both put up some | :27:08. | :27:12. | |
fight, they have really good scenes and even Temple, who is jail bait, | :27:13. | :27:21. | |
does it well. Peter Sarsgaard, on the film is threatening to come in | :27:22. | :27:24. | |
to a low zone, you wonder how much cocoa has been done. I just wish | :27:25. | :27:29. | |
there was less latex and he looks like Mars attacks at times and that | :27:30. | :27:32. | |
is not what they were going for. Next is The Good Dinosaur, | :27:33. | :27:37. | |
Pixar's latest. Arlo, a young dinosaur, sets out to | :27:38. | :27:40. | |
find his lost family with the help of cave boy toddler, Spot. | :27:41. | :27:46. | |
Family. Yes, that's your family. It's about a young boy becoming a | :27:47. | :28:01. | |
man, it's a survival story where Arlo is going through these | :28:02. | :28:03. | |
tribulations but being helped out by this friend, Spot, and achieves | :28:04. | :28:09. | |
things he never thought possible. In our story we flipped the concept of | :28:10. | :28:14. | |
the boy and the dog where the boy is the dinosaur and the dog is a little | :28:15. | :28:19. | |
human boy. Come here, Spot! You are the cutest thing. Spot steals the | :28:20. | :28:26. | |
movie in some ways. He's this little animal but you do see humanity in | :28:27. | :28:30. | |
the character. Jack Reacher protected you. Why? -- that | :28:31. | :28:37. | |
creature. Visually trying to find the boy inside Arlo in terms of how | :28:38. | :28:43. | |
to do it would be difficult. If you threw them out in the nature we | :28:44. | :28:46. | |
created you would say you are an animal, eat the leaves and drink the | :28:47. | :28:51. | |
water but we pushed elements you can empathise with, he's still that kind | :28:52. | :28:56. | |
of growing kid. Hey, you are a great kid. His knees are not bully and his | :28:57. | :29:01. | |
eyes are bigger and when he is thrust out there who feels like a | :29:02. | :29:05. | |
stranger out there wondering if he can survive. | :29:06. | :29:14. | |
Wow. LAUGHTER | :29:15. | :29:26. | |
I loved Jurassic World but at the same time we were trying to do | :29:27. | :29:30. | |
something different. A lot of dinosaur movies, the ending is | :29:31. | :29:35. | |
always being attacked by a monster or a carnival and we were pushing | :29:36. | :29:42. | |
for something emotional. -- carnivore. What? | :29:43. | :29:53. | |
I'll let you guys start. Yes, well, I mean Pixar, two films of the year, | :29:54. | :30:01. | |
unusual. Inside Out was the A side, clever, conceit, funny. This is | :30:02. | :30:04. | |
definitely not that. It's something else. It's sort of... Depressing? | :30:05. | :30:09. | |
I'll go with that. You really hate it. It's like a vegan, pacifist, | :30:10. | :30:14. | |
hippie love-in. It's not that. Because I'd like to see that. I like | :30:15. | :30:17. | |
those things about it. The other thing I thought about it was that | :30:18. | :30:20. | |
you don't get much plot. You don't get plot. No. He's doing the same | :30:21. | :30:26. | |
thing. So he keeps doing the same thing. If there is a plot, you go he | :30:27. | :30:31. | |
doesn't like that, then he does it again. It's an odyssey. It's not! | :30:32. | :30:41. | |
You get an add lessent dinosaur tripping and looking into the sky. | :30:42. | :30:45. | |
That sounds fantastic. Which film due see. He didn't just feed me | :30:46. | :30:52. | |
something weird before it. There were bits that you love about it. | :30:53. | :30:58. | |
Because he's so young and sweet and will attract small people, | :30:59. | :31:03. | |
five-year-olds, then it's a very sad film. I don't really understand. | :31:04. | :31:12. | |
He's a dufus. I like a dufus but he's uncredibly unlucky and it's | :31:13. | :31:16. | |
repetitive. I don't think it's depressing. My ten-year-old son saw | :31:17. | :31:21. | |
it and found it depressing. It's the amount of peril here. For modern | :31:22. | :31:29. | |
Pixar, there are super communities who could take over humanity. | :31:30. | :31:33. | |
There's are hyperrealistic breaths of wind through the feeds. I liked | :31:34. | :31:39. | |
the fields. Yeahs it's not -- yeah it's not - The baddies aren't scary | :31:40. | :31:43. | |
enough, but it's just sad. There is peril. It reminds me of Incredible | :31:44. | :31:49. | |
Journey and kids find that really hard to deal with. I've seen kids | :31:50. | :31:54. | |
burst into tears and wailing. It's a bit with this. Real kids might find | :31:55. | :31:58. | |
it, three and four-year-olds attracted by the cute face. They'll | :31:59. | :32:02. | |
not understand. Film of the week. Carol. Carol of Spies. Carol. | :32:03. | :32:06. | |
Playing us out tonight is David Lean classic, Dr Zhivago, | :32:07. | :32:11. | |
Now it's being re-released in cinemas nationwide, | :32:12. | :32:16. | |
part of the British Film Institute's Love Season. | :32:17. | :32:20. | |
Thanks for watching. Sorry to the dinosaur. Night-night. | :32:21. | :32:29. | |
Get in. Come. How many? All of us. Not | :32:30. | :32:40. | |
enough room. There's got to be room. It's all right I have to bring our | :32:41. | :32:45. | |
sledge. This train can't wait. There are important people on it. You | :32:46. | :32:57. | |
start, I'll catch you up. We'll see you. | :32:58. | :32:59. | |
Hurry! For the sad old earth | :33:00. | :33:54. | |
must borrow its mirth, | :33:55. | :34:13. |