Browse content similar to The Big Short, Our Brand is Crisis, The Assassin. Check below for episodes and series from the same categories and more!
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Hello and welcome to the first Film 2016 of the year. | :00:28. | :00:29. | |
We'd love to hear from you, so do tweet us. | :00:30. | :00:32. | |
Gosling, Bale and Pitt in credit crunch drama, | :00:33. | :00:44. | |
You know you're not supposed to use this line. | :00:45. | :00:51. | |
Sandra Bullock in political satire, Our Brand is Crisis. | :00:52. | :00:57. | |
How far are you behind? 28 points. I'm ready for this. | :00:58. | :01:03. | |
And Charlize Theron seeks out the truth in murky thriller, | :01:04. | :01:06. | |
Plus, we'll take a look at award-winning martial arts epic, | :01:07. | :01:10. | |
Joining me as ever is Danny Leigh and alongside us tonight | :01:11. | :01:14. | |
is The Independent's critic, Ellen E Jones. | :01:15. | :01:17. | |
Hello. Happy New Year Hello. Etc. And to you. And to you. | :01:18. | :01:26. | |
When the US property market collapsed and threatened | :01:27. | :01:29. | |
Credit crunch and collateralised debt may not make for easy viewing, | :01:30. | :01:33. | |
The Big Short stars Christian Bale, Ryan Gosling and Brad Pitt. | :01:34. | :01:41. | |
Michael, how are you? I found something really interesting. The | :01:42. | :01:49. | |
whole housing market is propped up on these bad loans. They will fail. | :01:50. | :01:58. | |
It's a time bomb. And then that happens. What is that? That's | :01:59. | :02:04. | |
America's housing market. It's the story of a group of outsiders in | :02:05. | :02:09. | |
Wall Street who saw what no-one else saw, which was the impending 2008 | :02:10. | :02:16. | |
collapse. How do you know the bonds are worthless I read them. No-one | :02:17. | :02:21. | |
reads them. It's about the crash in 2008 in the United States. It's | :02:22. | :02:26. | |
about a handful of people who bet against the US economy and won. It's | :02:27. | :02:34. | |
like insurance, if it goes bust you can make 10-1 even 20-1 return and | :02:35. | :02:39. | |
it's already slowly going busts. You were rooting for them. At the same | :02:40. | :02:44. | |
time you're thinking - their win is everyone else's fail. They know that | :02:45. | :02:48. | |
too. I think there's that moral dilemma that's going on inside of | :02:49. | :02:51. | |
these characters. Everyone is walking around like they are in an | :02:52. | :02:55. | |
Enya video. They are getting screwed. You know what they care | :02:56. | :02:59. | |
about, the ball game or what actress went into rehab. Each one is a | :03:00. | :03:06. | |
strange outsider character, Christian Bale, Steve Carell, Ryan | :03:07. | :03:10. | |
Gosling, Brad Pitt. You guys said you wanted to get rich, now you're | :03:11. | :03:16. | |
rich. I haven't seen a good debt comedy in months. This figured to be | :03:17. | :03:22. | |
- at least the best one this year! How can you sleep at night knowing | :03:23. | :03:27. | |
that you're ripping off working people? We made a choice to not just | :03:28. | :03:34. | |
gloss over the financial terms but to really let people know what | :03:35. | :03:41. | |
happened. Adam brings a unique perspective. I think he has a great | :03:42. | :03:47. | |
quality of being outraged about something without losing his sense | :03:48. | :03:51. | |
of humour. How did the banks let this happen? It's fuelled by | :03:52. | :03:56. | |
stupidity. That's not stupidity, it's fraud. The banks acted like it | :03:57. | :04:00. | |
was all so complicated. It's complicated. We'll fix it. Don't | :04:01. | :04:06. | |
worry about it we are the professionals. It's not that | :04:07. | :04:09. | |
complicated. They use terms to make it seem like it is. It's moving debt | :04:10. | :04:13. | |
and capital around. That is all it is. The banks got greedy. I can | :04:14. | :04:19. | |
profit off their stupidity. I didn't know what had happened much I didn't | :04:20. | :04:24. | |
know the level of fraud and it's shocking and kind of terrifying | :04:25. | :04:27. | |
while being funny at the same time. Do you smell that? What is that | :04:28. | :04:35. | |
What? What is that smell. Cologne. No. Opportunity. No, money. That | :04:36. | :04:43. | |
doesn't make you laugh immediately? It's fun and it's accessible. Even | :04:44. | :04:50. | |
if you don't get every little part of it, it's fine because you'll | :04:51. | :04:58. | |
understand the sort of over arching dilemma these guys are facing. Stop. | :04:59. | :05:02. | |
Dude, talk to the director, he asked me to do this. I would never do | :05:03. | :05:09. | |
this. Danny, what did you think? Funny, back in 2008 when the | :05:10. | :05:12. | |
entirely global financial system was melting down around us, I can't | :05:13. | :05:18. | |
claim that I sat there and thought - I know who I need to explain it is | :05:19. | :05:24. | |
the director of Anchorman. He was the perfectman for job. The Big | :05:25. | :05:34. | |
Short is unusual. It's wildly entertaining and does a good job | :05:35. | :05:38. | |
than the media do in how we got in the mess and how many of us have | :05:39. | :05:44. | |
been eating cold beans out of a tin. It's smart about a stupid moment in | :05:45. | :05:47. | |
human history. It will also, as well as being very, very funny, it will | :05:48. | :05:51. | |
make you furious. Hollywood, it is's interesting, Hollywood has been | :05:52. | :05:54. | |
taking a bit of a beating, rightly so, I think because of what we could | :05:55. | :05:59. | |
call a traditional approach to the Oscars, this is what Hollywood | :06:00. | :06:03. | |
should be doing. This is where they earn its stripes. The movie is great | :06:04. | :06:07. | |
and Audley important. I thought it would be impossible to do. Lots of | :06:08. | :06:12. | |
us read the book. We were like - ah, they said they were turning it into | :06:13. | :06:17. | |
a movie with the guy who made all of these - go what, how? Cleverley | :06:18. | :06:21. | |
done. It's not just the big names that make it an Oscar contender, | :06:22. | :06:27. | |
it's the format. It has fun breaking moments, the dialogue is punchy. | :06:28. | :06:40. | |
There are these archive clips about pop culture. It works on lots of | :06:41. | :06:44. | |
different levels. When you are watching that clip, all three of us | :06:45. | :06:48. | |
weres like - we want everybody to see this film whether you are | :06:49. | :06:50. | |
watching at home, everybody in here, you go - you need to see this and | :06:51. | :06:54. | |
pass it on. It's one of those, isn't it? It's really smart, smart way of | :06:55. | :06:59. | |
approaching it. The more crazy and slap stick it gets, the more it | :07:00. | :07:02. | |
feels like it's getting to the heart of the matter what was going on in | :07:03. | :07:05. | |
Wall Street and the City at that point. A giant children's party with | :07:06. | :07:12. | |
a mountain of Haribo and the other side sub-prime mortgages. It's the | :07:13. | :07:18. | |
Messi, manic genius of the film is identifying that. We have seen a | :07:19. | :07:25. | |
smart films about the financial crisis, inside job, 99 Homes, came | :07:26. | :07:29. | |
out last year. Great films, the only film about big money I have seen the | :07:30. | :07:36. | |
audience whoop for was Wolf of Wall Street. He has gone in with that | :07:37. | :07:42. | |
approach, a wild roller coast of a film. Because the subject matter is | :07:43. | :07:48. | |
so serious, I'm ancient, I didn't find it a comedy. They say it's a | :07:49. | :07:53. | |
comedy, funny? There are laughs in it because the performances are so | :07:54. | :07:56. | |
good. They bring out the laughs in it. They are jarring laughs. | :07:57. | :08:01. | |
Ultimately, this is a story about a situation where some people were | :08:02. | :08:03. | |
laughing all the way to the bank and other people were having their lives | :08:04. | :08:07. | |
destroyed. How comfortable do you feel laughings about that? That is a | :08:08. | :08:11. | |
question the movie asks you about it. It is lovely it has so many | :08:12. | :08:17. | |
Oscar nominations. We should talk about individual performances and | :08:18. | :08:21. | |
Christian Bale. He has the hardest job of all, he has a drumstick and | :08:22. | :08:26. | |
in a room by himself? Exact bely. Everyone is bouncing off each other | :08:27. | :08:30. | |
and it's this comedy. Christian Bale is acting opposite a white board and | :08:31. | :08:34. | |
a computer screen most of the time. I'm glad he is getting the | :08:35. | :08:40. | |
recognition and I'm gladded aam McKay is getting the recognition. | :08:41. | :08:43. | |
It's very difficult to make a period piece about a really recent time | :08:44. | :08:48. | |
inries, 2006. We look the same. How do you do that? There is a Nokia | :08:49. | :08:53. | |
phone here - Spot on. That kind of stuff that is the craft of it. | :08:54. | :08:57. | |
Because this movie is completely deranged it would be easy to miss | :08:58. | :09:01. | |
the craft that is going on there. Yet, it's interesting because you | :09:02. | :09:04. | |
have to root for these characters who, yeah, as you say, will be, the | :09:05. | :09:08. | |
rest of the world burns, they will get rich. That is fascinating about | :09:09. | :09:13. | |
the film. It's not like a movie like Trading Places, you get these toxic | :09:14. | :09:17. | |
old guys, everything goes back to normal. It's not rotten apples, this | :09:18. | :09:25. | |
whole farm is screwed. I have one mini gripe. The most exciting female | :09:26. | :09:30. | |
role is of the woman in the bath. It's not like there was no women | :09:31. | :09:39. | |
involved in the book. There is a real person profile called Meredith. | :09:40. | :09:43. | |
They could have done that. That was the casting. . | :09:44. | :09:47. | |
Sandra Bullock stars as a burnt-out spin doctor persuaded to come back | :09:48. | :09:52. | |
She is the brightest and most innovative... The best campaign | :09:53. | :10:00. | |
strategist in the game. Responsible for the greatest political upset in | :10:01. | :10:09. | |
history. When we fist meet Jane boat Bodine she has had to remove herself | :10:10. | :10:13. | |
from the world she spent most of her life in. She's fragile. She has some | :10:14. | :10:19. | |
instability issues. What are you doing here, I thought you retired or | :10:20. | :10:25. | |
gave up or something? No. Not retired, working. They have a | :10:26. | :10:30. | |
history. They know each other. She... It's like, here he he comes. | :10:31. | :10:36. | |
I'm like, oh, good there she is. Action. Are you sure you are OK, you | :10:37. | :10:41. | |
look like you're about to have a panic attack. Billy Bob is the right | :10:42. | :10:45. | |
person because he can say the thanksest things and you still love | :10:46. | :10:47. | |
him. That hes a a specific thing that comes with a great actor that | :10:48. | :10:52. | |
has specific type of charisma. All is forgiven when he had gives you | :10:53. | :10:56. | |
that Billy Bob smile. What happened to your hair? You've still got a | :10:57. | :11:01. | |
great sense of humour. It's a great relationship. I love these sort of | :11:02. | :11:10. | |
relationships that have just a hint of affection. I don't believe this. | :11:11. | :11:15. | |
I don't believe it. That's Candy's bus. You see that bus, overtake that | :11:16. | :11:22. | |
bus. How do you say overtake? How do you say overtake? Jane, what are you | :11:23. | :11:29. | |
going to do when you catch up? You cannot let him get ahead. Go, go! | :11:30. | :11:39. | |
Hey. She doesn't care how she gets the win as long as she wins. You're | :11:40. | :11:45. | |
going down. She will use any tactic that she needs to in order to do it. | :11:46. | :11:50. | |
These people are not educated. I'm sorry. "These people" why can can | :11:51. | :11:55. | |
can you not say what you're supposed to say. Because I'm not just a | :11:56. | :11:59. | |
puppet? Of course you are. Of course you're a puppet. We're just pawns. I | :12:00. | :12:06. | |
wanted to make sure that the movie that deals with politics, that deals | :12:07. | :12:10. | |
with poverty, that deals with some difficult subject matter is | :12:11. | :12:16. | |
approached with a respectful wit. If you fight with monsters for too | :12:17. | :12:20. | |
long, you become a monster. You should feel something during the | :12:21. | :12:24. | |
interview, tears. Look at him. This is it. Yes. Oh... You know there are | :12:25. | :12:31. | |
so many films that fit so cleanly into a genre, but this one here, | :12:32. | :12:37. | |
it's like - you have a story that is at its heart dramatic and yet it's | :12:38. | :12:43. | |
very funny. Everyone... I'm guess if you had to you would say it's a | :12:44. | :12:47. | |
comedy drama about the world of political consultants. Oh. No, no, | :12:48. | :12:55. | |
Marco! It's like he killed himself rather than be in one of our | :12:56. | :13:00. | |
commercials. I start off by saying that basically I'm looking for | :13:01. | :13:04. | |
Sandra Bullock in most films. It could be a documentary. There is | :13:05. | :13:10. | |
somebody who looks like Sandy? So were the producers of this film her | :13:11. | :13:14. | |
character is Inamoto vented for the film much. You can tell that. She | :13:15. | :13:19. | |
has quirks that only exist in movie characters. Stuffs crisps in her | :13:20. | :13:28. | |
mouth and obsession with ceramics. Somebody in the immediate meeting | :13:29. | :13:33. | |
said - maybe I should just eat - no, don't that. | :13:34. | :13:37. | |
It is just a random collection of character traits that don't really | :13:38. | :13:43. | |
belong to a real person. And there is some slapstick, almost like Miss | :13:44. | :13:55. | |
Congeniality. They are just waving around for 20 minutes at one point, | :13:56. | :13:59. | |
and you don't see what the point of that is in the context of the film. | :14:00. | :14:03. | |
She is a blessing and a curse, Sandra Bullock. She is so intensely | :14:04. | :14:09. | |
likeable, you forget George Clooney who produced this film. You can't | :14:10. | :14:15. | |
help rooting for her. So that puts this really intriguing spin on that | :14:16. | :14:19. | |
by having her as this amoral black-hearted spin doctor, and then | :14:20. | :14:24. | |
the film loses its nerve, and I don't know if that is down to her or | :14:25. | :14:27. | |
the film, but she has to have redemption, so punches get pulled, | :14:28. | :14:35. | |
and it all ends up feeling touchy-feely. There is a time for | :14:36. | :14:42. | |
that, but this wasn't it. Christmas! Exactly. Her comic timing is | :14:43. | :14:50. | |
fantastic, whether she is coaxing a suicidal llama onto screen or being | :14:51. | :14:54. | |
sick in a bin, but you wish the film had messed with our expectations a | :14:55. | :14:59. | |
bit more. She should either have been funnier or darker. And | :15:00. | :15:05. | |
everything we know about spin doctors getting terrible people into | :15:06. | :15:09. | |
power, it makes you want to watch Wag the Dog. But it doesn't delve | :15:10. | :15:17. | |
into that enough. They decided to make it a story of personal rivalry | :15:18. | :15:21. | |
between Sandra Bullock and Billy Bob Thornton. The script isn't funny | :15:22. | :15:26. | |
enough to make that work on that level, and it means we are omitting | :15:27. | :15:30. | |
deeper global political things that they touched on just enough to make | :15:31. | :15:32. | |
us curious, but doesn't follow through. Yes, it doesn't feel like | :15:33. | :15:38. | |
it deals with anything. Billy Bob Thornton is good fun as well, his | :15:39. | :15:43. | |
tongue could flick out and catch a fly on the wall at any moment, but | :15:44. | :15:49. | |
they are not interested in that really, so this film has space to | :15:50. | :15:52. | |
fill, see you have scenes where they think, we have ten minutes, what | :15:53. | :15:56. | |
will we do? Bus chase! And it ends with Sandra Bullock mooning out of | :15:57. | :16:01. | |
the bus window, and some people will like that. Wag the Dog is an | :16:02. | :16:06. | |
interesting comparison, but it doesn't have that edge, or even the | :16:07. | :16:14. | |
edge of something like the Big Short. People this week in what | :16:15. | :16:20. | |
Donald Trump ongoing campaign, and that is a lot darker and more | :16:21. | :16:23. | |
frightening than anything you will see in this film. You are totally | :16:24. | :16:27. | |
right, they should have pushed it more. | :16:28. | :16:29. | |
A hit at the Cannes Film Festival last year, Taiwanese historical epic | :16:30. | :16:32. | |
The Assassin follows a female killer hired to kill | :16:33. | :16:34. | |
She is amazing, the main actress, I could just watch her. I sort of fell | :16:35. | :18:00. | |
in love with this. Did you? I am a real admirer of The Assassin, but I | :18:01. | :18:05. | |
think people and do need to be aware that it is a film that very much | :18:06. | :18:11. | |
moves at its own pace. It is gorgeous and hypnotic and very slow. | :18:12. | :18:16. | |
It is cinematic and ravishing and very slow. Jackie Chan would have | :18:17. | :18:23. | |
been in, cleaned out the bad guys, gone home, had his tea, died, been | :18:24. | :18:29. | |
reincarnated, all while we watch one scene. It sounds lazy for critics to | :18:30. | :18:34. | |
talk about things being beautiful, but it is not the kind of beauty you | :18:35. | :18:39. | |
see everyday. Action scenes are few and far between, and when they come, | :18:40. | :18:43. | |
they are fleeting but exquisite. It is not even certain who has lost | :18:44. | :18:52. | |
until the moment a body hits the floor, and everything is so quiet, | :18:53. | :18:56. | |
you just hear word song and drums. It is a powerful piece of | :18:57. | :19:01. | |
film-making. After the two films we have just talked about, it is a | :19:02. | :19:07. | |
world of, quite long, world of silence. I have to disagree with | :19:08. | :19:14. | |
both of you. The polite word I know is contemplative, but I think it is | :19:15. | :19:21. | |
just very boring. The landscapes are beautiful, but I could have done | :19:22. | :19:23. | |
with a few more close-ups of people's faces, and I know that is a | :19:24. | :19:27. | |
decision the director has made, but the option it is -- the upshot is | :19:28. | :19:34. | |
you can't work out what is going on. It has interesting characters like | :19:35. | :19:40. | |
the vengeful kung fu none, because it sounds like something Quentin | :19:41. | :19:45. | |
Tarantino would come up with, but she doesn't get involved in many | :19:46. | :19:50. | |
scenes. -- nun. The problem is people will come to this wanting the | :19:51. | :19:58. | |
Crouching Tiger Hidden Dragon experience, and don't go expecting | :19:59. | :20:04. | |
that. And that was action, that is all I remember about it, and speed. | :20:05. | :20:09. | |
This is not that. It is not that, and meditative is the other word, | :20:10. | :20:16. | |
that is a very personal reaction to it, but it does have still, I'm | :20:17. | :20:21. | |
moving scenes sometimes, and this is where I might lapse into sounding | :20:22. | :20:25. | |
unhinged, but when you have the ancient Chinese landscape, these | :20:26. | :20:31. | |
incredibly grand interiors, after a while, you find yourself almost | :20:32. | :20:33. | |
getting sucked into them, and sitting there thinking I am part of | :20:34. | :20:38. | |
this now, in the fine silks and the robes and fake beards. And the | :20:39. | :20:53. | |
lacquered wood. But it is sumptuous. Hollywood calls that immersive, that | :20:54. | :20:57. | |
you are being drawn in. It did make me think that this is probably a lot | :20:58. | :21:01. | |
more like what life was like in 19th-century China than any of the | :21:02. | :21:04. | |
other films we have seen, but the problem is the answer is quite | :21:05. | :21:10. | |
boring. When they invent time machines, I won't go back there, I | :21:11. | :21:15. | |
will stick with ancient Rome. It is with the people who will see that on | :21:16. | :21:18. | |
the telly, because this is something you should really see on the big | :21:19. | :21:21. | |
screen, and that is a division treasured itself. The Big Short is | :21:22. | :21:30. | |
something that you could watch from three seats away on summary's phone | :21:31. | :21:33. | |
with a cracked screen, and you would still get the gist. I wouldn't have | :21:34. | :21:40. | |
been sucked in. If there had been that speed to it, I might have | :21:41. | :21:43. | |
wanted more action, but because pretty early on you go, this is | :21:44. | :21:53. | |
going to be quite a long piece about miss... -- mist. | :21:54. | :22:03. | |
Next, psychological thriller Dark Places. | :22:04. | :22:04. | |
While investigating the murder of her family, Charlize Theron | :22:05. | :22:06. | |
is forced to confront traumatic childhood memories. | :22:07. | :22:13. | |
Since I was seven, I had only seen flashes of Ben, like some evil | :22:14. | :22:21. | |
entity in the haunted house. But I had forgotten there was once just | :22:22. | :22:29. | |
Ben, my brother. You meet with this woman, damaged, and the reason she | :22:30. | :22:32. | |
is like that is because when she was eight years old, she was the only | :22:33. | :22:36. | |
witness to the mass murder of her family. | :22:37. | :22:40. | |
And as the only which, her testimony sent her brother to jail. Here comes | :22:41. | :22:49. | |
my little sister after all these years. He is a freak. Just go into | :22:50. | :22:56. | |
his room, he has all sorts of weird stuff. She testified in court that | :22:57. | :23:01. | |
she saw her brother commit the murders, which kind of throughout | :23:02. | :23:07. | |
this story you start to realise it may have been misleading her, they | :23:08. | :23:10. | |
might have coached to get the answers they wanted out of her. It | :23:11. | :23:17. | |
was Ben. He killed them, right? 25 years later, she is contacted by | :23:18. | :23:23. | |
this weird organisation of geeks and weirdos obsessed with famous | :23:24. | :23:28. | |
murderers. And despite a startling lack of physical evidence, he was | :23:29. | :23:33. | |
convicted based largely on rumours that he was involved in devil | :23:34. | :23:39. | |
worship. These people want to re-evaluate the crime, and she needs | :23:40. | :23:43. | |
money so badly, she is going to get paid to reinvestigate her own life. | :23:44. | :23:51. | |
Who do you think did it? There are lots of theories. It's devil | :23:52. | :24:01. | |
worship. I'm ready for this. It is like a lot of different things. It | :24:02. | :24:06. | |
has a lot of layers. There is a very strong plot, very strong characters. | :24:07. | :24:11. | |
It is pulpy bit elevated at the same time, so that is what attracted me. | :24:12. | :24:17. | |
It is time to tell the truth. I'm sad for you, little girl. You are | :24:18. | :24:25. | |
just as imprisoned as I am all stop so, brilliant actors, Nicholas | :24:26. | :24:33. | |
Hoult, who is always fantastic. You have a very interesting book | :24:34. | :24:36. | |
written by the same woman who wrote gone girl, so this should be raped. | :24:37. | :24:45. | |
Yes, I think everybody was hoping for another Gone Girl. But where | :24:46. | :24:51. | |
they went wrong was the adaptation of the book to the screen. There is | :24:52. | :24:55. | |
this splits timeline, and we go back and forth between when the crime was | :24:56. | :25:00. | |
originally committed and the present day, and that makes us lose | :25:01. | :25:04. | |
momentum. And there is a weird relationship between Charlize | :25:05. | :25:12. | |
Theron's character and the rest of the film. You are totally right, | :25:13. | :25:16. | |
just as you said that, she is slightly distant. It seems very | :25:17. | :25:24. | |
still. And Gobble had that kind of playfulness, and partly because of | :25:25. | :25:27. | |
what this film is about, it touches on this greenback history, it can't | :25:28. | :25:34. | |
be fun. -- Goggle had that playfulness. This is the sullen | :25:35. | :25:45. | |
teenage Goth's answer to Gone Girl. I wonder if they filmed this before | :25:46. | :25:49. | |
or after Mad Max, but it is almost like they shared a set going to the | :25:50. | :25:56. | |
next set. Chloe Rees Brett came out with a good performance on this | :25:57. | :26:00. | |
film, and it is a great bridge between being a child actress and an | :26:01. | :26:05. | |
adult actress. There are problems with it from the word go, but it is | :26:06. | :26:09. | |
a botched job. The director has butterfingers here. These different | :26:10. | :26:15. | |
timelines, you have to much plot altogether, and then timelines 30 | :26:16. | :26:19. | |
years apart, and sometimes that involves... And sometimes characters | :26:20. | :26:24. | |
disappear. And different characters come on screen, and they little | :26:25. | :26:31. | |
physical resemblance, you can't tell who is who, in sometimes it is the | :26:32. | :26:35. | |
same actor with talcum powder in their beer to signify they are | :26:36. | :26:38. | |
older, and Charlize Theron chuntering on in the voice-over. | :26:39. | :26:44. | |
Nicholas Hoult does the best of a bad job, and Christina Hendricks | :26:45. | :26:56. | |
needs to fire her agent. She needs to have a female agent. | :26:57. | :26:58. | |
It has got to be The Big Short. I like the Assassin, but yes, it has | :26:59. | :27:12. | |
to be. And if Room is playing anywhere near | :27:13. | :27:15. | |
you, I say this all the time, go and see it! | :27:16. | :27:16. | |
Playing us out tonight is one of the late, great Alan Rickman's | :27:17. | :27:20. | |
last films, military thriller Eye in the Sky. | :27:21. | :27:22. | |
Released in April, Rickman and Helen Mirren star as military | :27:23. | :27:25. | |
top brass in a world of drone warfare. | :27:26. | :27:27. | |
We have information they will be in Nairobi today. We need an eye inside | :27:28. | :27:44. | |
that house. Well, this changes things. It is | :27:45. | :28:01. | |
happening. We can see a suicide vest. We need to put something | :28:02. | :28:05. | |
through that roof right now. We need a decision, Minister, right now. We | :28:06. | :28:14. | |
need clearance from the PM. What is that? A child. | :28:15. | :28:20. | |
Those men are about to disperse. Engage now. I will not release until | :28:21. | :28:28. | |
this girl gets out of the way. We have a situation that could result | :28:29. | :28:35. | |
in massive loss of life in minute s. | :28:36. | :28:38. |