:00:29. > :00:36.Hello and welcome to the Christmas edition of Film 2016. I am Antonia
:00:37. > :00:44.Quirke and I'm glad you could stay up to join us. Coming up on To
:00:45. > :00:48.night's show: No sign of Princess Leia or Han Solo but you know who is
:00:49. > :00:55.back in action packed Star Wars spin off Rogue One. This is a rebellion,
:00:56. > :00:58.isn't it? I rebelled. Plus we take a look at what is coming up over
:00:59. > :01:05.Christmas and the New Year including... Crooners rejoice, Ryan
:01:06. > :01:15.Gosling in a modern musical, La La Land. Martin Scorsese returns with
:01:16. > :01:20.religious epic, Silence. Praying for your glory is their suffering. And
:01:21. > :01:23.Casey Affleck stars in family tragedy, Manchester by the Sea. They
:01:24. > :01:32.will do anything to get rid of me. That is not true. Plus we will be
:01:33. > :01:35.looking at contemporary fairy tale, A Monster Calls. Joining me in our
:01:36. > :01:40.moderately festive layer is Christmas cracker Ashley Clark and
:01:41. > :01:47.all I ever wanted for Christmas, Danny Leigh. Three wise men in one.
:01:48. > :01:50.You are going to make me blush! First up, Rogue One: A Star Wars
:01:51. > :01:54.Story is the latest addition to the Star Wars franchise following on
:01:55. > :01:57.from last year's 2,000,000,000-dollar crossing The
:01:58. > :02:01.Force Awakens. Gareth Edwards directs Felicity Jones and Ben
:02:02. > :02:07.revealing how the Rebel Alliance crack to the enigma of the Death
:02:08. > :02:19.Star. -- cracked the enigma. State your name for the record. Jyn Ursa.
:02:20. > :02:21.Forgery of imperial documents, possession of stolen property,
:02:22. > :02:29.aggravating assault and resisting arrest. This is a rebellion, isn't
:02:30. > :02:38.it? I rebel. Rogue One is the film that takes us
:02:39. > :02:41.into A New Hope, so if you are a fan of A New Hope, you will be very
:02:42. > :02:45.pleased because you will know this is an origin story described in the
:02:46. > :02:52.opening crawl of A New Hope. We have a mission for you. A major weapons
:02:53. > :02:59.test is imminent and we need to know what it is and how to destroy it. I
:03:00. > :03:05.think we wanted to be very true to those earlier films, the reverence
:03:06. > :03:11.and spontaneity that they have, but equally I feel like we wanted it to
:03:12. > :03:15.have a modernity to it and I think there is a serious mess to it that
:03:16. > :03:24.is true to the age that we are living in. When was the last time
:03:25. > :03:29.you were in contact with your father? What is this. It appears he
:03:30. > :03:35.is critical to the development of a super weapon. We tried to give the
:03:36. > :03:39.war photography in the film this feeling like the Crewe is also
:03:40. > :03:45.trying to survive, embedded with the troops. The ambiguity of everybody's
:03:46. > :03:48.character, there is no like, these guys are good and these guys are
:03:49. > :03:53.bad, everyone is a little grey. The bad guys do good things sometimes
:03:54. > :04:00.and the good guys do bad things. It is not quite as black and white as
:04:01. > :04:07.it was in the 70s. What we are dealing with here is immeasurable.
:04:08. > :04:14.Once the Empire has this kind of power, what chance do we have? I am
:04:15. > :04:20.a massive, massive Star Wars fan. I watched it every day as a kid,
:04:21. > :04:26.probably about 300 times. When I was 30 I went to visit Luke skywalker's
:04:27. > :04:31.house in Tunisia. I saw the sunset on the salt flats, and I thought
:04:32. > :04:35.that was about as extreme as you could get. It was my 30th birthday
:04:36. > :04:40.and my girlfriend said, you will never be able to beat this for your
:04:41. > :04:44.40th birthday. For my 40th, I was directing Rogue One. So I am screwed
:04:45. > :04:55.for my 50th. I will have to work on that. We will take the next chance.
:04:56. > :05:05.And the next. You are rebels, are due? -- Ireland you?
:05:06. > :05:12.Danny, the thrill and the height of Star Wars films. Your thoughts? This
:05:13. > :05:16.time last year we had The Force Awakens, which was the first of the
:05:17. > :05:19.new Star Wars movies and this was a great reunion and a celebration, but
:05:20. > :05:24.this is a different time and this is a different sort of movie. It is
:05:25. > :05:29.heavier, physically darker, murkier and cold and wet. And it is Star
:05:30. > :05:32.Wars as a war movie. But in another sense, it is lighter, because it
:05:33. > :05:36.feels like a stand-alone movie, outside of the Star Wars canon.
:05:37. > :05:41.Felicity Jones says that you can connect this with A New Hope if you
:05:42. > :05:45.want, and that is right. But you can also look at it as a stand-alone
:05:46. > :05:50.action movie. I saw this last night at Leicester Square, just across
:05:51. > :05:55.from where I saw the first Star Wars movie and the reason the kids fell
:05:56. > :05:59.in love with star was back then was not because it was the foundation of
:06:00. > :06:04.a saga, it was because it was a great tale. It started and ended. I
:06:05. > :06:07.forgot how much I loved that. He said crackling and spunky, I am not
:06:08. > :06:12.sure if I can beat that. Do you think this has the water into wine
:06:13. > :06:16.quality of the movies that Danny is talking about seeing? As a norm Star
:06:17. > :06:23.Wars diehards, it's ticked the boxes for me. I did not need to know much.
:06:24. > :06:27.It proceeds with a real clarity and speed. The storytelling is good and
:06:28. > :06:33.the cast is fantastic, arguably as good as there has been assembled for
:06:34. > :06:36.a Star Wars movie. Mads Mikkelsen, Ben Mendelsohn, Forest Whitaker,
:06:37. > :06:41.Felicity Jones, they do a lot with not a great deal. I was hooked by
:06:42. > :06:45.it. It took me to intergalactic places and I was with it all the
:06:46. > :06:48.way. And there is a freedom to those characters because they do not have
:06:49. > :06:53.to be thinking, is every line of dialogue going to link into
:06:54. > :06:57.something in 2019. I disagree. I think the movie chases that sends
:06:58. > :07:02.all the time. There is a sense that it is trying to give that this is
:07:03. > :07:06.bigger than this movie. There were spontaneous eruptions of applause in
:07:07. > :07:09.the screening we were in. It was obviously connecting with Star Wars
:07:10. > :07:14.diehards in some way but I choose to ignore that. There are place names
:07:15. > :07:17.of planets popping up and I thought, I am not fussed about the
:07:18. > :07:21.intricacies of the world. I am interested in the quality of the
:07:22. > :07:27.storytelling. But the sense of the expanding universe is incredible. We
:07:28. > :07:32.are in planets, labour camps, deserts, canyons, amongst all sorts
:07:33. > :07:38.of different groups. It is dizzying. Ashley is right, you can tune it out
:07:39. > :07:42.if you do not wanted. The film can exist unto itself. Do you not think
:07:43. > :07:45.that what is so terrific about the original films, and it is annoying
:07:46. > :07:48.to go on about the original films but it still stands that they
:07:49. > :07:55.clearly come from the mind of one idiosyncratic man. He was a showman,
:07:56. > :07:59.a marketeer, and also a movie brats. And this is now a talented John
:08:00. > :08:04.MacGregor who has got his hands on it. This feels less burdened by
:08:05. > :08:09.pressure than The Force Awakens, which adds so much more weight on
:08:10. > :08:13.its shoulders. It is good, enjoyable, but it felt glib, like it
:08:14. > :08:16.was taking too many boxes. This feels, and I guess I am repeating
:08:17. > :08:22.myself, like solid genre film-making. Gareth Edwards comes
:08:23. > :08:27.from spectacle and Fx. But that makes room for funny little
:08:28. > :08:33.curlicues and great characters. For its Whitaker channelling the spirit
:08:34. > :08:39.of Frank Booth from blue Velvet. And the best role goes to android, the
:08:40. > :08:46.anti-C3PO, this seventh at bachelor. Does it have the cross general
:08:47. > :08:49.relation appeal -- crossgenerational appeal of the originals? Your son,
:08:50. > :08:53.if this was his first film, would he be a fan? I have mixed feelings as
:08:54. > :09:00.to whether or not he will be a die-hard Star Wars fan. At the final
:09:01. > :09:04.moment of the film, there was a child who are rotted in applause. In
:09:05. > :09:09.many sense, is he a better judge than I? I think it is great but it
:09:10. > :09:14.does not quite cast that spell. The first of our Christmas treats,
:09:15. > :09:18.Damien Chazelle's follow-up to Whiplash, La La Land. Nominated for
:09:19. > :09:21.seven golden globes, a contemporary musical starring Ryan Gosling and
:09:22. > :09:37.Emma Stone as two dreamers shooting for the stars. I just heard you
:09:38. > :09:43.play. And I want it. It is pretty strange that we keep running into
:09:44. > :09:46.each other. I doubt it. You can just write your own rules, write
:09:47. > :09:53.something as interesting as you are. I could have my own club. Is that
:09:54. > :10:05.going to happen every time? I don't think so. How are you going to be a
:10:06. > :10:10.revolutionary if you are such a traditionalist? You hold onto the
:10:11. > :10:16.past but jazz is about the future. Maybe I'm not good enough for you.
:10:17. > :10:20.Yes, you are. I'm not. It's like a pipe dream. This is the dream,
:10:21. > :10:50.conflict, compromised, and very exciting.
:10:51. > :10:56.Ashley, here we have a grown-up musical with an original score that
:10:57. > :11:03.channels the umbrellas of Cherbourg. Is this a movie that by definition
:11:04. > :11:07.we should be applauding and congratulating? To paraphrase Harvey
:11:08. > :11:10.Keitel in Reservoir dogs, this film dreams of comparing itself to the
:11:11. > :11:14.umbrellas of Cherbourg, it better wake up and apologise. You cannot
:11:15. > :11:19.fault the ambition and technical quality, as anyone who has seen
:11:20. > :11:26.Whiplash will know. But I find it would be lacking in heart and soul.
:11:27. > :11:29.Completely lacking! It felt very plasticky. It might be on purpose,
:11:30. > :11:33.because of the LA environment but crucially, it lacked chemistry
:11:34. > :11:37.between Ryan Gosling and Emma Stone. And I think it lacked memorable
:11:38. > :11:41.songs, and great dancing. So the complete opposite to what a lot of
:11:42. > :11:44.people are saying. Danny, I bumped into some reviewers over the last
:11:45. > :11:48.couple of weeks he said have you seen La La Land and they said, they
:11:49. > :11:51.have seen it twice or three times, clearly the result hungered for this
:11:52. > :11:57.and now seven golden Globes. Why? Film fans and film journalists have
:11:58. > :12:00.a professional interest in people seeing movies like this. It is in
:12:01. > :12:03.their interests to talk it up. I like it more than Ashley does. It
:12:04. > :12:09.has moments of funniness and loveliness. But it has big wontons
:12:10. > :12:12.of melancholy floating in it. It is a film that wants to be, for various
:12:13. > :12:21.reasons, telling an audience, reminding them that if you have this
:12:22. > :12:24.big gorgeous experience, you have all human life and experience. The
:12:25. > :12:29.audiences watching Netflix with one hand and looking at their phones
:12:30. > :12:36.with the other. How could it fail to be melancholy. Do you think it
:12:37. > :12:40.suffers from being too charming? There is a self-consciousness that
:12:41. > :12:44.comes with the charm, and a smugness. No. I don't think it
:12:45. > :12:53.suffers from an overburdening of charm. I find it quite tiresome, to
:12:54. > :13:01.be jazzplained from Ryan Gosling, who seems like an 81-year-old guy. I
:13:02. > :13:08.know this is not Jazz Club from the fast show but it did grind me down.
:13:09. > :13:15.It is trying to be won from the heart. We spoke about how neo-noir
:13:16. > :13:22.came back in the 90s, psychological westerns. I hope that La La Land,
:13:23. > :13:25.and I am being a bit harsh, it is not a terrible film, but I hope it
:13:26. > :13:29.kick-starts a real interest in musicals and we get a lot of young
:13:30. > :13:33.directors riffing on it in more interesting ways. I hope it kicks
:13:34. > :13:38.something off. I have more time for Damien Chazelle but I think the
:13:39. > :13:41.contrast between this and Whiplash is interesting. Because that tapped
:13:42. > :13:46.into Damien Chazelle's darkness. He is a great young man, but he's only
:13:47. > :13:50.31. You do not get his career at 31 without being able to channel
:13:51. > :13:54.ambition. Whiplash admitted to that, it was all about ambition. You did
:13:55. > :13:59.not want to get stuck in. Myles Teller and you did not want to get
:14:00. > :14:03.stuck in a lift with him, he was consumed by ambition. And this film
:14:04. > :14:06.is about people in LA, desperate to perform. And actually this is a film
:14:07. > :14:12.about failed ambition, empty cinemas. This is about careers that
:14:13. > :14:17.wither on the vine. If you turn it to one side, it is Mulholland drive.
:14:18. > :14:25.For all the moments, there are scenes when the camera trains on a
:14:26. > :14:33.roof that is sagging with damp, and the noise... I just want good songs.
:14:34. > :14:37.This a memorable song? I think go with me on this, the I think there
:14:38. > :14:43.are a couple of memorable tunes and the tunes are steering away from
:14:44. > :14:52.jazz-hands and from the show tunes. It is the same with the dance moves,
:14:53. > :14:58.I think it is supposed to be charming and scuffed and Ryan
:14:59. > :15:04.Gosling is a graduate of the Micky Mouse club. He is great when he gets
:15:05. > :15:22.to be funny. I prefer the early stages of film to writ ends up.
:15:23. > :15:29.Released on new year's day is Martin Scorsese's Silence about ridgeous
:15:30. > :15:39.persecution in 17th century Japan. He is lost to us. He denounced God
:15:40. > :15:45.in public and surrendered the faith. That is not possible. It seems our
:15:46. > :15:55.mission is more urgent than ever. We must find him. Silence is set in the
:15:56. > :16:06.1,600s in Japan, Christianity was banned and ruthlessly put down.
:16:07. > :16:12.Christians, Japanese Christians were brutally tortured. And we have two
:16:13. > :16:21.young Jesuits who go there to try and find me, a priest who Mentored
:16:22. > :16:27.them years before. The two priests who have never gone on a mission
:16:28. > :16:32.before have to travel outside of Portugal, travel to Japan to find
:16:33. > :16:40.their kind of mentor. And along the way their faith is being tested. The
:16:41. > :16:48.prayers for your glory is their suffering. It is too dangerous. We
:16:49. > :16:52.asked for this mission. There is a handful of great film directors. I
:16:53. > :16:58.have made about 70 films, Martin is one of the great directors. He is
:16:59. > :17:06.the tip of the pyramid of film makers. Our Lord said to them, go
:17:07. > :17:12.into the whole world and preach the gospel to every living creature.
:17:13. > :17:20.Will this be seen as a Scorsese high point? I think it is better than The
:17:21. > :17:29.Departed. I get it is not good fellas, but nobody could have made
:17:30. > :17:32.his film but him. You still have the incredible violence bubbling, the
:17:33. > :17:45.horror of it and the vision and precision. In good fellas, it is 60s
:17:46. > :17:54.New York and here is Japan. Where the geography may seem unlikely. You
:17:55. > :17:58.realise you have a classic loner character like Charlie from Mean
:17:59. > :18:06.Streets. It is territory he has trod before. It is very punishing and it
:18:07. > :18:11.is a gruel film, a long film, but it is necessary. Do you think it is a
:18:12. > :18:16.film about the impossibility of religious fundamentalism and it
:18:17. > :18:21.maybe one reason why he now wants to make it. It is about crisis of faith
:18:22. > :18:26.and spirituality, I say that as somebody who is Godless. So this is
:18:27. > :18:35.foreign territory to me. But he brings it alive. The conversations
:18:36. > :18:41.about spirituality, they played like verbal fight scenes. It goes on for
:18:42. > :18:44.so long. You don't see scenes like that going on the, long
:18:45. > :18:52.conversations and faith and God that you know is coming from Scorsese. He
:18:53. > :19:00.was famously born and raised Catholic. It is strange to say it is
:19:01. > :19:03.refreshing. But it is to see difficult art about an unfashionable
:19:04. > :19:09.subject. I wouldn't say it was difficult. For the first half, I
:19:10. > :19:13.don't want to sell the movie to people under false pretences. It wis
:19:14. > :19:21.out in January -- it is out in January, I don't want to say go and
:19:22. > :19:29.see it, but it is like Apocalypse Now. And to find this character.
:19:30. > :19:34.Autumn that stuff is going on. The first half the film maker is so
:19:35. > :19:38.beautiful and there is stuff I haven't seen for a long time. Let's
:19:39. > :19:45.talk about the film making. There is a scene in a prison court yard,
:19:46. > :19:51.where the way the films Orkney strapted -- orchestrated you are
:19:52. > :20:01.watching the work of a master film maker and you should see it on the
:20:02. > :20:11.big screen. Do you think this is Scorsese's Joan of Ark. This seems
:20:12. > :20:19.to be that type. Yes it is such a personal thing. It is not just about
:20:20. > :20:30.Catholicism, but he was 78 before he made Raging Bull. He was bleeding
:20:31. > :20:34.from the cocaine and you talk about the moments of spiritual crisis,
:20:35. > :20:46.that is what he has lived through. Wonderfully performed as well. Next
:20:47. > :20:58.is Kenneth Lonergan's Manchester by the Sea. This is Lee. What happened
:20:59. > :21:04.to my brother? Sorry you couldn't get here in time. I got to get up
:21:05. > :21:11.there before school lets out. That is Lee? Manchester by the Sea it set
:21:12. > :21:16.in a town in Massachusetts called Manchester by the Sea. Lee is
:21:17. > :21:21.returning home, because his brother has passed and he has been charged
:21:22. > :21:28.with looking after his nephew who has no parents and he is reluctant
:21:29. > :21:34.to do. So It thought you had spent a lot of time here? Your brother has
:21:35. > :21:39.provided for Patrick's upkeep. I can't be the Guardian. I assumed Joe
:21:40. > :21:49.had discussed this with you. He didn't. He suffers a loss and it is
:21:50. > :21:53.a part of life and it doesn't mean life is all bleak. I did some
:21:54. > :21:59.terrible things. My heart was broken. I know yours is broken. I
:22:00. > :22:04.don't understand why it is such an off limits subject. There is a fear
:22:05. > :22:09.they won't sell tickets if everything doesn't work out in the
:22:10. > :22:14.end and there is no longer a belief that a good cry can be just as
:22:15. > :22:19.enjoyable as a good laugh. The truth is it can be and hopefully provide a
:22:20. > :22:25.bit of both in this film. Do you want me to call your friends. What
:22:26. > :22:29.do you want me to do? Many of the scenes sound like conversations you
:22:30. > :22:35.would overhear in a store or something. But those scenes sort of
:22:36. > :22:38.by the end really add up to something quite moving. You feel
:22:39. > :22:49.like you have learned a lot about these people. I won't bother you. I
:22:50. > :23:04.will sit till you calm down. . A film about grief that Isola Connick
:23:05. > :23:10.too. -- that is laconic. Rvegts Yes it is at its best in quiet rooms
:23:11. > :23:16.that move between comedy and tragedy. Comedy is there. Yes, but
:23:17. > :23:23.it is rooted in tragedy and sadness. The scenes that work are the ones
:23:24. > :23:30.that nail that. Lonergan is a great playwright and this is a very good
:23:31. > :23:35.playwright's idea of a good film. It films, I'm grateful to be
:23:36. > :23:41.complaining, but every line of dialogue is pristine and it sits
:23:42. > :23:44.within a dramatic framework and you have fine actors, I think I have
:23:45. > :23:53.described a good night out at the theatre that. . I found it
:23:54. > :23:59.cinematic. The section in the middle with an eight minute sequence that
:24:00. > :24:04.we can't discus, but it is like a stations of the cross and it is
:24:05. > :24:08.super filming. That we can't go into it is a problem. The extent that a
:24:09. > :24:12.film is trying to go for the gut. But it is structurally very
:24:13. > :24:20.contrived. That is an issue. Because it is not, it feels stagey, the film
:24:21. > :24:24.has the mood, every extra in the movie, he was talking about Casey
:24:25. > :24:31.Affleck said you see characters in shots, every run is a trained actor.
:24:32. > :24:39.He will bring in trained actors and everything is rehearsed. So it feels
:24:40. > :24:45.like a theatre writers idea of a film. I couldn't disagree more. It
:24:46. > :24:52.is, there is a rawness, the characters feel alive and at the
:24:53. > :25:02.last seen, Casey Affleck could have had done one of ten things. Don't
:25:03. > :25:05.say it was predictable. He gives an internalised psychological
:25:06. > :25:10.performance. But at times the subtlety can almost go overboard.
:25:11. > :25:18.Maybe I'm picking. He is fantastic in the film. He is going to win a
:25:19. > :25:23.Golden Globe and an Oscar. His style is very unique. He is good and the
:25:24. > :25:29.film is the kind of film we should hope for more. It is an awkward
:25:30. > :25:37.adult, not that kind of adult move you, blue a film for adults about
:25:38. > :25:42.emotions. This some magnificent things in it. I think in other weeks
:25:43. > :25:48.I would be falling over it. There is a problem, about the fact that we
:25:49. > :25:53.can't talk about the moment that the film pivots on because it is a
:25:54. > :26:01.spoiler and this huge tragedy and unveiling it like a plot point, that
:26:02. > :26:11.feels a little cheap and exploitive. It is a powerful film. Do you think
:26:12. > :26:18.it understands grief? No. I disagree it is the most vivid film. I think
:26:19. > :26:28.it is a beautifully written drama about grief. Now Christmas comes in
:26:29. > :26:42.many forms. This is A Monster Calls, a fantasy about a boy facing his
:26:43. > :26:47.mother's death. How does it begin? With a boy who is too old to be a
:26:48. > :26:57.kid. You're coming to live with me. Don't touch anything. Too young to
:26:58. > :27:01.be a man. I no longer see you. It is about a 12-year-old boy who is
:27:02. > :27:07.struggling with dealing with the sickness of his mother and the only
:27:08. > :27:15.help he will find will be in the shape of a 40 feet tall monster that
:27:16. > :27:25.comes every night at 12.07. He called. The monster. I play Carter
:27:26. > :27:31.in the film. He is confused a lot in the film. He has a lot of things
:27:32. > :27:37.going on in his head and sees this tree, this monster. It is grown up
:27:38. > :27:42.and in his backyard. The tree comes and helps him formulate what he is
:27:43. > :27:53.thinking. It is OK that you're angry. I'm angry too. If you need to
:27:54. > :27:58.break things by God you break them. We all need support. That what is
:27:59. > :28:05.the film says. Unfortunately Connor in the film has nobody to share it
:28:06. > :28:09.with except this fantasy monster he has created. If there is a message,
:28:10. > :28:17.it is trust your family, trust your friends. Open up. I'm afraid. Of
:28:18. > :28:25.course you are. But you will make it through. Can I just say that I think
:28:26. > :28:32.this movie is a classic. It is the best children's film I have seen in
:28:33. > :28:40.English in years. It has elements of Pan's labyrinth and the best part of
:28:41. > :28:44.Ted Hughes The Iron Man and it is heart rending, I was surrounded by
:28:45. > :28:50.people weeping. It is a tremendous film.
:28:51. > :28:56.I couldn't agree more. My only worry is it says it is a story of a boy
:28:57. > :29:00.who is too old to be a kid and too young to be a man. The concern is
:29:01. > :29:04.that will apply to the audience. There will be kids at the other end
:29:05. > :29:08.to find it is an emotionally gruelling film, and at the same time
:29:09. > :29:13.anyone over the age of 13 or 14 is going to think it is a kids movie.
:29:14. > :29:17.In fact I think it is one of the most beautiful films I have seen for
:29:18. > :29:24.a long time, wrecking the beautiful. It tells the truth more than films
:29:25. > :29:29.aimed at adults. Naming no names. I think it talks on about how messy
:29:30. > :29:32.and complex that stuff is. It is a wonderful coming-of-age story and I
:29:33. > :29:35.am not sure who I am supposed to recommend it to but I want to
:29:36. > :29:44.recommended to everyone. I think Liam Neeson is well cast. As a tree
:29:45. > :29:48.that will find you and kill you. I wonder whether I am completely
:29:49. > :29:53.heartless. We were wondering that too. But I don't respond well to
:29:54. > :29:58.films that really try to jerk the tears out of me. And this setup is
:29:59. > :30:03.sad enough. They've only bullied boy whose mother is dying. I did not
:30:04. > :30:08.need the emotional heavy lifting and swelling strings but it is a
:30:09. > :30:11.powerful movie. It is well performed, particularly Lewis
:30:12. > :30:20.MacDougall, the boy, who reminded me of David Bradley from Kes, he has
:30:21. > :30:25.that vulnerable quality to him. But I think it is a powerful movie. We
:30:26. > :30:29.should say that visually it is highly unusual. There are moments,
:30:30. > :30:32.because it disappears into different animation styles, and there are
:30:33. > :30:36.moments where the screen seems like a piece of blotting paper that is
:30:37. > :30:42.just dissolving. It is a beautiful film. Visually very imaginative. And
:30:43. > :30:47.outlandish visually. I do not agree that it is manipulative. I disagree
:30:48. > :30:51.with the critics that said it was too big. I think that is how it will
:30:52. > :30:55.year rolled sees the world. It is interesting to see the thing, which
:30:56. > :30:59.is English and Gothic and suburban. My memory of being 12 is that when
:31:00. > :31:01.you were wondering around the cul-de-sacs, you always had a
:31:02. > :31:06.suspicion something else was going on, something weird and dark. It
:31:07. > :31:09.taps into that. It is how a 12-year-old sees the world, that it
:31:10. > :31:13.is opening up underneath them. Don't you think it is an unusual
:31:14. > :31:21.commendation of things, a Spanish British American co-production? --
:31:22. > :31:24.combination of things. It is set in Devon, and suddenly Sigourney Weaver
:31:25. > :31:31.turns up and the guy who played Rob Bratton in 24 hour party people. We
:31:32. > :31:35.are very lucky this week in all five films, which are very ambitious and
:31:36. > :31:40.do different things. It is a good week for cinema. A Monster Calls, I
:31:41. > :31:44.have not seen anything like it. Even though I did not fall in love of it,
:31:45. > :31:49.I appreciate that it is trying to do something different. And this is all
:31:50. > :31:53.very subjective and there will be people who will follow the feet of
:31:54. > :31:57.Manchester by the Sea and whom are -- and you are moved deeply. It did
:31:58. > :32:01.not work for me but A Monster Calls, hot tears were flowing down my face
:32:02. > :32:08.and I almost sobbed. I was surrounded by sobbing. And we should
:32:09. > :32:11.say that this is based on an award winning children's book by Patrick
:32:12. > :32:16.Ness which is spectacular. How many children's books open with the line,
:32:17. > :32:21.you are only young once, they say, but doesn't it go on for a long
:32:22. > :32:25.time? More years than you can bear. A great line from a great book and a
:32:26. > :32:29.great film. And I hope the movie taps into the same audience that the
:32:30. > :32:36.book did. It was deservedly very successful. Film of the year, guys?
:32:37. > :32:42.A film that has taken a lot of flak. Everybody wants some by Richard Link
:32:43. > :32:47.later. I am going to go for American Honey but with Creed in for
:32:48. > :32:51.distinction. Forget the other one. I will go for Victoria. Nick Browne
:32:52. > :32:56.also says that. Victoria, logistically mind-boggling. As it is
:32:57. > :33:00.to me. That is it for this week and this year. The show will be back in
:33:01. > :33:04.January but last week we asked you for your favourite Christmas film
:33:05. > :33:09.and there were lots of inventive suggestions including a film about a
:33:10. > :33:13.horse race across the Saudi Arabian desert. But the winner, no surprise.
:33:14. > :33:19.Take a guess. Happy Christmas and good night. Good idea, Ernie, toast,
:33:20. > :33:30.to my big brother George, the richest man in town. # May old
:33:31. > :33:40.acquaintance be forgot. # And never come to pass. Should old
:33:41. > :33:47.acquaintance be forgot, for the sake of auld lang syne. What that? It's a
:33:48. > :33:54.Christmas present from a very dear friend of mine. Look, daddy, teacher
:33:55. > :33:57.says every time a bell rings and Angel gets his wings. That's right,
:33:58. > :34:03.that's right. Atta boy, Clarence. This is it, the mission we've been
:34:04. > :34:10.preparing for our entire lives.