:00:24. > :00:27.We'd love to hear from you so do tweet us.
:00:28. > :00:41.No studio will ever employ a member of the communist party.
:00:42. > :00:44.Bryan Cranston stars as a blacklisted screenwriter in
:00:45. > :00:52.I will write your name for 12 hundred. And you don't want your
:00:53. > :00:55.name on it. Dad's Army marches on to the big
:00:56. > :00:59.screen with Bill Nighy, Godfrey, you look like you're on a
:01:00. > :01:07.cruise. Thank you. And Ralph Fiennes and Tilda Swinton
:01:08. > :01:11.let it all hang out in A Bigger Plus we'll take a look
:01:12. > :01:15.at the scary childrens classic, As well as Daily Telegraph film
:01:16. > :01:34.critic Robbie Collin. Why did you mention my birthday. You
:01:35. > :01:45.said you wouldn't. First Trumbo, Bryan Cranston stars as a
:01:46. > :01:50.blacklisted screen writer. This will make you the highest paid writer in
:01:51. > :01:55.Hollywood and that will make you the highest paid writer in the word. He
:01:56. > :02:01.was the highest paid Hollywood screen writer. He is a genius. Very
:02:02. > :02:03.prolific, very talented. He was a larger than life cashing term. --
:02:04. > :02:09.character. He loved to hold larger than life cashing term. --
:02:10. > :02:11.and drink and smoke and he wanted larger than life cashing term. --
:02:12. > :02:17.be the loudest voice in larger than life cashing term. --
:02:18. > :02:17.the room. He wanted to be all those things
:02:18. > :02:26.the room. He wanted to be all those is a good story in there.
:02:27. > :02:32.the room. He wanted to be all those Communist Party. Traitor.
:02:33. > :02:37.Communism's most dangerous agents are here. There was the House on
:02:38. > :02:42.American activities that thought anyone who was a member of the
:02:43. > :02:48.American Communist Party was a threat to overthrowing the country.
:02:49. > :02:49.See you in Washington. He and nine other people known as the Hollywood
:02:50. > :02:53.10 were sentenced to prison. other people known as the Hollywood
:02:54. > :02:57.your picnic. We find the other people known as the Hollywood
:02:58. > :03:03.guilty. Not because they committed a other people known as the Hollywood
:03:04. > :03:05.crime, but because this committee was displeased with the method in
:03:06. > :03:09.crime, but because this committee which they answered the
:03:10. > :03:12.crime, but because this committee Are you a member of the Communist
:03:13. > :03:14.Party. Stewed yes will ever employ a member of the Communist Party. They
:03:15. > :03:20.have no right to do this. stories need to be told. All right.
:03:21. > :03:23.It is frightening stories need to be told. All right.
:03:24. > :03:26.people are stories need to be told. All right.
:03:27. > :03:32.including myself, I stories need to be told. All right.
:03:33. > :03:37.what it was referring to. Why movie, why us?
:03:38. > :03:44.what it was referring to. Why movie, over as a cautionary tale.
:03:45. > :03:51.what it was referring to. Why movie, interested me. Since prison, you
:03:52. > :03:52.what it was referring to. Why movie, bark. I keep waiting for you start
:03:53. > :04:00.pounding the dinner table. I believe bark. I keep waiting for you start
:04:01. > :04:02.this story will always be relevant, because the
:04:03. > :04:06.this story will always be relevant, can be hijacked by any group that is
:04:07. > :04:15.in charge. can be hijacked by any group that is
:04:16. > :04:19.Preferably. My 35 million Reeders want read traitors.
:04:20. > :04:20.Preferably. My 35 million Reeders each other's work and we have little
:04:21. > :04:26.crushes on each other in terms each other's work and we have little
:04:27. > :04:29.work and Bryan has always BP always each other's work and we have little
:04:30. > :04:33.been one of those actors. That Oscar belongs to you. Get it. My God.
:04:34. > :04:36.been one of those actors. That Oscar we are about to do is the one thing
:04:37. > :04:44.everyone says we can't. We work. we are about to do is the one thing
:04:45. > :04:46.Fire Trumbo and the rest and you have got pickets
:04:47. > :04:50.Fire Trumbo and the rest and you will put you out
:04:51. > :05:05.Fire Trumbo and the rest and you I don't think you and me
:05:06. > :05:06.Fire Trumbo and the rest and you war. Danny, Trumbo is big and brash
:05:07. > :05:13.and knock about war. Danny, Trumbo is big and brash
:05:14. > :05:18.you have this big, brash and glorious performance from Bryan
:05:19. > :05:25.Cranston. I think he does live it to it. The film is trickier, because it
:05:26. > :05:32.is trying to be fun and glossy and tell the truth about the blacklist,
:05:33. > :05:37.that was ugly and shameful. I think the film ends up striking a bargain
:05:38. > :05:40.in order to do that. It says some things which particularly if you're
:05:41. > :05:43.in order to do that. It says some in America will be uncomfortable to
:05:44. > :05:48.hear, but to get away with that, some aspects are safe and smoothed
:05:49. > :05:55.over. So if you ask me to come down on one side or the other, I'm in
:05:56. > :05:59.favour of Trumbo, but I think it is a complicated film trying hard to be
:06:00. > :06:05.simple. That is tough. I see no discomfort in this film at all. It
:06:06. > :06:15.struck me as wall to wall... It goes to great length to say Trumbo was an
:06:16. > :06:25.eccentric character, writing in the bath, smoking, the Mus attach. It is
:06:26. > :06:36.70% moustache and there is no meat to the character. Helen Mirren is a
:06:37. > :06:44.deranged right-winger and it is pure good and evil and we have one
:06:45. > :06:49.character with an accent like the Count from Sesame Street. What it
:06:50. > :06:57.does is whitewash the politics and says, well, he was a communist, but
:06:58. > :07:02.actually he is mainly interested in free speech and sharing sandwiches,
:07:03. > :07:10.he explains to his daughter. But he was a hard line left-wing guy, which
:07:11. > :07:14.is fascinating, but the film is wary of scaring American audiences. I
:07:15. > :07:20.think he is brilliant. I thought what was, let me say this, it is a
:07:21. > :07:27.movie about a screen writer and the words, the script, you want it to
:07:28. > :07:33.move faster. It has been rewritten to within an inch of its life. In
:07:34. > :07:38.his scripts like Roman holiday, the genius is in the words. This film is
:07:39. > :07:44.what we are saying is clever all the time, every line is engineered for
:07:45. > :07:47.total... They refer to that. One character says does everything you
:07:48. > :07:52.say have to sound like it is inscribed on stone. You're right the
:07:53. > :07:57.way it smooths things over, but Hollywood doesn't tend to go near
:07:58. > :08:02.the blacklist and when it does, it fudges the issue and doesn't talk
:08:03. > :08:10.about the fact that John Wayne spent the Second World War in make up and
:08:11. > :08:17.Ronald Reagan was a snitch. And the communist is not usually the hero
:08:18. > :08:23.and usually a guy loses a girl and a dog and follows them and it is a
:08:24. > :08:30.communist. But Trumbo was as red as a pillar box. The blacklist was
:08:31. > :08:36.about communism and it is good to have a film that says even if he was
:08:37. > :08:38.a communist we should haven't chased him out of work.
:08:39. > :08:41.Dad's Army ranks as one of the greatest TV sitcoms ever made.
:08:42. > :08:44.Now the Walmington-on-Sea Home Guard have had a glitzy revamp.
:08:45. > :08:46.Bill Nighy, Catherine Zeta Jones and Toby Jones lead
:08:47. > :08:55.He was on the run, he will be tired and hungry. He won't come quietly.
:08:56. > :09:09.You know what to do. There he is Sir. Oh! Wilson - do something!
:09:10. > :09:18.Bravo! Eyes front, shoulders back, you're not a sack of potatoes. It is
:09:19. > :09:25.all hands on deck. An enemy spy is here. What does he look like? We
:09:26. > :09:28.don't ethat is the point with spies. I'm doing an article on the home
:09:29. > :09:34.guard. You come recommended. You remind me of someone, Winston
:09:35. > :09:45.Churchill. I like to think if we met we would be both richer for it. I
:09:46. > :09:53.speak a little German. One of my nannies was from Leipzig. Have you
:09:54. > :10:00.brushed your teeth, my angel? Welcome to wauming on the. I saw
:10:01. > :10:06.that you slipped her a sausage. You look like you're on a cruise to the
:10:07. > :10:15.south sea. Thank you so much. Don't panic. We have discovered something
:10:16. > :10:24.exciting. It is a code. What sort of language that is. German perhaps? On
:10:25. > :10:32.my command... Come on, look lively. I will be damned. Fire! The jack
:10:33. > :10:36.boot will not tread upon his hall load land while there is breath in
:10:37. > :10:45.this voice... . Gone down the wrong way! You're not taking this
:10:46. > :10:50.seriously are you Walker? How did you know it was me? Robbie? So
:10:51. > :10:55.before I saw the remake of Dad's Army I was fascinated to find out
:10:56. > :11:00.who this film was being made for. Having now seen it still have no
:11:01. > :11:06.idea. If you think about when the original was broadcast, late 60s, a
:11:07. > :11:10.generation on from the end of the war, and the series was about
:11:11. > :11:17.people's military ranks and people's social ranks in England, not being
:11:18. > :11:21.compatible. You have the central character who, ranks above sergeant
:11:22. > :11:26.Wilson in the military, but Wilson is socially his superior and went to
:11:27. > :11:29.Oxford and good breeding. And that in itself is something that will
:11:30. > :11:35.work in that particular context. When you remove that context, it
:11:36. > :11:42.gets reduced to its most superficial level which in the film is old
:11:43. > :11:47.duffers in uniforms repeating catch phrases and being chased by animals.
:11:48. > :11:53.That is all the film is. That is not true. It was enjoyable. I don't know
:11:54. > :11:58.which bit of that you say we shouldn't see it. Wonderful actors.
:11:59. > :12:04.I will exempt the actors, this film will get a lot of terrible things
:12:05. > :12:10.landing on it. The actors must be exempt. They have nothing to work
:12:11. > :12:16.with. They're working hard. Toby Jones does wonders with nothing.
:12:17. > :12:23.Michael Gambon does wonders with nothing. Catherine Zeta Jones never
:12:24. > :12:27.condescends to this. It never feels like she is going back to the hotel.
:12:28. > :12:37.But the script gives them nothing to work with. Did you not laugh? Its a
:12:38. > :12:42.squandering of talent. Blake Harrison is a brilliant actor and he
:12:43. > :12:52.does some funny business, but the camera misses it. The real hero I
:12:53. > :13:00.Toby Jones, there an element of the impersonation of Arthur Lowe, but he
:13:01. > :13:05.builds him from the the ground up and the scene in the clip where he
:13:06. > :13:10.is cuffing on a crumb of Victoria sponge is the funniest thing in the
:13:11. > :13:16.film and he does that perfectly. That is not necessarily funny on
:13:17. > :13:22.paper. The others have work with this awful... There fs a clip of the
:13:23. > :13:31.line up and Michael Gambon. That is interesting. The film feels like it
:13:32. > :13:37.is built for the directors with the line up scene is funny and you have
:13:38. > :13:42.these great actors and the camera moves from one to the other and it
:13:43. > :13:46.is simple. The reason they stopped making films from sitcoms, you don't
:13:47. > :13:52.need much situation in a situation comedy, if you have good enough
:13:53. > :13:59.actors. Dad's Army was all in the village hall. Now you have the great
:14:00. > :14:09.actors bouncing off each other, but the director elbows in and they are
:14:10. > :14:16.confusi simplicity with a lot of narrow trousers-based humour. Funny
:14:17. > :14:20.vegetables. The marrow. There is a whole punchline involving Bill
:14:21. > :14:24.Paterson's buttocks, which in themselves are not funny and he has
:14:25. > :14:31.to be facing the right way to make accepts. -- sense. And then they
:14:32. > :14:36.realise they have only half of the catch phrase and start piling them
:14:37. > :14:40.in. Tom Courtney pokes his head through a bush and said, they don't
:14:41. > :14:52.like it up them. Because they have not said that. I feel warm towards
:14:53. > :14:57.it. You're high on it. Peter Bradshaw said wouldn't be great to
:14:58. > :15:01.take this cast and put them in an original film. It would be.
:15:02. > :15:03.Next Tilda Swinton, Matthias Schoenaerts and a loose-
:15:04. > :15:05.limbed Ralph Fiennes star in A Bigger Splash.
:15:06. > :15:07.A sinister take on sexual angst in the sun.
:15:08. > :15:17.And as with any good holiday there is also some swearing.
:15:18. > :15:34.I hate that sound. I can see you. Four people on a southern Italian
:15:35. > :15:40.island. Marry Ann with a pop rock singer. Recovering from a throat
:15:41. > :15:49.operation on the island with her young lover, Paul. You should stay.
:15:50. > :15:56.Harry, myself, ex-lover of Mariann with young girl in toe, who they
:15:57. > :16:01.think is his young lady. I knew you would bring a protege. But it is his
:16:02. > :16:11.daughter, the result of an affair many years ago. There is an
:16:12. > :16:15.emotional psycho sexual dynamic of desire and regret and frustration
:16:16. > :16:23.and the tensions rise and explode I suppose.
:16:24. > :16:32., those headaches, is that a problem? We have all heard... I
:16:33. > :16:40.don't care what he said. Nothing is a problem here. There was nothing I
:16:41. > :16:47.can take care of. Of course, Ralph mastered these amazing hectic
:16:48. > :16:54.characters, tragic characters. What is your favourite colour? I have
:16:55. > :17:01.always been drawn to playing brooding, intense, melancholy... And
:17:02. > :17:11.then I thought, hang on, this guy has also the interest in playing
:17:12. > :17:17.comedy, like something, a Dick. -- like something comedic. The dancing
:17:18. > :17:22.was a challenge because I am not known for my fancy footwork. But I
:17:23. > :17:29.worked with this fantastic woman, who I met in a theatre production. I
:17:30. > :17:34.had seen the way she had helped the actors with a modern, sexy dance
:17:35. > :17:41.number. And I thought, I want to be that person. She was great because
:17:42. > :17:47.she did not want him to repeat the movement but she wanted to unleash
:17:48. > :17:57.that dance from him. She was almost like a psychoanalyst. You are
:17:58. > :18:03.obscene. Everyone is obscene, that is the whole point. She is the woman
:18:04. > :18:10.of the century. And now look what I have done. We were friends. Better
:18:11. > :18:14.than brothers. I like the fact that all of us were just staring at it
:18:15. > :18:17.because we want to watch it again. I really like this film a lot. What
:18:18. > :18:21.surprised me is how long it stayed rattling around my head. The reason
:18:22. > :18:24.it is doing that is because I was taken by surprise by the film. As
:18:25. > :18:29.soon as you see the setup of the couple and the ex partner, and the
:18:30. > :18:34.younger women, you think you are going to know how it plays out. And
:18:35. > :18:39.it does play out like that, but not as you expect. At times, it veers
:18:40. > :18:44.into a different direction. It wrong foods you. And I love that. Even the
:18:45. > :18:51.location, in southern Italy, and we are sitting here in Britain and we
:18:52. > :18:54.can almost feel the heat. You're expected to be leisurely, people
:18:55. > :18:58.lying around the pool, but actually the camera is moving quickly,
:18:59. > :19:04.zipping, and the film is cut really quickly. I recommend this film, go
:19:05. > :19:09.and purchase a ticket to the cinema. I will take Robbie for his birthday.
:19:10. > :19:14.I think the fact that it does not abide by the rules of modern film
:19:15. > :19:19.making is totally key. It reminded me of the great beauty, and it seems
:19:20. > :19:25.to be saying, remember these desolate Italian films of 50 years
:19:26. > :19:30.ago? Well, we can still do that. And while the great beauty was very much
:19:31. > :19:36.like a Fellini movie, this was like a mandatorily film, which means
:19:37. > :19:46.rich, beautiful people, sitting in the sun. -- thyme. This idea that
:19:47. > :19:50.this kind of drama, could still play in cinemas, with this kind of cast,
:19:51. > :19:54.it is exciting. And that is four brilliant performances. Tilda
:19:55. > :20:01.Swinton, playing this androgynous rock star. And she has some kind of
:20:02. > :20:05.vocal problem, and that is why she is on the island. So for large
:20:06. > :20:10.stretches of the film, her character cannot really speak. And of course
:20:11. > :20:16.she does not needs to be able to speak in order to act. You can take
:20:17. > :20:20.the emotions from her, freestyle. So we have this alpha prat swaggering
:20:21. > :20:27.around, but Ralph Fiennes finds this sadness and tragedy around this
:20:28. > :20:31.banter, jumping into the swimming pool, changing the music when he
:20:32. > :20:37.comes into the room, these are annoying habits, and you would not
:20:38. > :20:40.wish to spend time with them, but he is very watchable. He is
:20:41. > :20:44.eye-popping, dancing to the Rolling Stones, and it is nothing like I
:20:45. > :20:48.have seen before. It is interesting, because you need all four actors to
:20:49. > :20:51.really excel for it to work. If there was a weak link, it would not
:20:52. > :20:55.work. And Matthias Schoenaerts, sometimes I think he is not an actor
:20:56. > :21:02.cut out for speaking parts but actually, it works here because he
:21:03. > :21:06.is slightly dim and lumbering, and that is how he fits into the
:21:07. > :21:10.quartet. And it is dated in that way, because it has that David
:21:11. > :21:16.Bowie, Rolling Stones quality to it. The camera is a little bit like Nick
:21:17. > :21:22.Roca. I was reminded of Performance, and David Essex. -- Nic Roeg.
:21:23. > :21:23.For years, American children's writer RL
:21:24. > :21:25.Stine has terrified youngsters with stories of zombies,
:21:26. > :21:27.werewolves and evil ventriloquist dummies.
:21:28. > :21:29.Now, the Goosebumps anthology comes to life in one bumper movie.
:21:30. > :21:41.Jack Black stars as the author who's lost control of his creations.
:21:42. > :21:47.So you are the new neighbour? I am Jack, by the way. Anna, get away
:21:48. > :21:52.from the window. I have got to go. The movie is about a kid who has
:21:53. > :21:57.moved from New York to the small town. And he moves in next door to
:21:58. > :22:02.this weird, strange guy, who has a daughter that he falls for, and one
:22:03. > :22:07.night he thinks she is in trouble and sneaks into the house. But he
:22:08. > :22:16.discovers this set of manuscripts. Accidentally, he opens one, and an
:22:17. > :22:27.abominable snowman appears. And it is on. Nobody make a sound.
:22:28. > :22:34.SCREAMING. . The challenge for the writers was to
:22:35. > :22:38.capture the magic of RL Stine. An abominable snowman just crawled out
:22:39. > :22:41.of the book. That does not happen. There are so many monsters and
:22:42. > :22:45.characters that we had to choose from because there are like 100
:22:46. > :22:50.books. And a stroke of genius was just, let's do all of the monsters
:22:51. > :22:54.in one movie. You just released every monster I have ever created.
:22:55. > :23:00.All of these classic creatures that I grew up reading, all in one movie,
:23:01. > :23:06.I thought it was a cool concept. You read them, all right? Action. The
:23:07. > :23:14.bog monster, or the jack-o'-lanterns, or the snake lady.
:23:15. > :23:22.What the client. -- or the client. I'm OK. I am still OK. I am just so
:23:23. > :23:26.thrilled that this Goosebumps movie will be around forever. After 22
:23:27. > :23:35.years, what a wonderful thing to see your work capped off in a way by
:23:36. > :23:41.this great film. Goosebumps? For me, this falls into the same bracket as
:23:42. > :23:45.the Lego movie in that it is an advert and entertainment. It is
:23:46. > :23:49.nowhere near as good as the Lego movie but it has the same agenda,
:23:50. > :23:52.taking something but love it from your childhood and deconstructing it
:23:53. > :23:56.in a post-modern way, but also a way that makes you want to go out and
:23:57. > :23:59.buy more of this thing. The masterstroke with Goosebumps is
:24:00. > :24:05.working out the way in which they do it, to turn the writing of the
:24:06. > :24:10.series into its own story. And then you have the monsters come off the
:24:11. > :24:19.page. It is a good device. It is so predicated from the Amblin movies.
:24:20. > :24:24.You have a child arriving in the suburbs, a spooky house, not fitting
:24:25. > :24:31.into school. And then the overall, fantastical stories, it becomes
:24:32. > :24:40.analog for his struggle to fit in. For me, it is interesting. There is
:24:41. > :24:45.a lot of Joe Dante's Gremlins. The best sequence was when Jack Black
:24:46. > :24:49.was plagued by garden gnomes. We have him holding a garden gnome up
:24:50. > :24:54.to his face, as if it is trying to strangle them. It was not predict
:24:55. > :24:59.the expensive or elaborate, but it was very funny. Specifically, it is
:25:00. > :25:07.made 14-year-old boys. And they are tough crowd. I share crowd with one.
:25:08. > :25:11.-- I share a house with one. Anything smaller the Li Na aimed at
:25:12. > :25:16.younger kids, they don't want it, but they are not ready for Henry,
:25:17. > :25:23.portrait of a serial killer. It is a tough task to make things look just
:25:24. > :25:27.nasty enough. I think it works for that specific audience, the
:25:28. > :25:30.10-year-old boy. If you do not like the werewolf, then you can have the
:25:31. > :25:33.giant praying Mantis. And if you don't like that, that is when the
:25:34. > :25:38.garden gnomes come in. I thought it was a shame because I could not work
:25:39. > :25:42.out who it was for. The grown-ups who I was watching with, we were
:25:43. > :25:46.bored. It wasn't funny enough. The bits that should've been funny, they
:25:47. > :25:53.weren't funny enough. But bits of it worse to scary. Too scary for a
:25:54. > :25:56.10-year-old. -- bits of it were too scary. Bits of it were of the jump
:25:57. > :26:01.scare variety. There was nothing lingering. What I wanted was a scene
:26:02. > :26:06.like in gremlins where you have Phoebe Cates talking about a
:26:07. > :26:09.Christmas rank that went wrong. It leaves you with that eeriness. There
:26:10. > :26:14.is none of that, just excitement. Towards the end, this pile-up of CGI
:26:15. > :26:18.started to annoy me because it loses sight of the cleverness of the
:26:19. > :26:22.original idea. As Danny says, this is not a film for me. The fact that
:26:23. > :26:26.we were exhausted by it is probably a good sign. And the film was going
:26:27. > :26:31.to be directed by Tim Burton for a long time. Since the mid 90s, any
:26:32. > :26:37.film which is not directed by the... Tim Burton, that is a big tick for
:26:38. > :26:46.me. Film of the week? A Bigger Splash. A Bigger Splash. There is
:26:47. > :26:50.also a film from Iceland out called Rams. I have a thing about it on my
:26:51. > :26:55.blog. It is about a sheep former, rival brothers who have not spoken
:26:56. > :26:57.for 40 years, rival farmers, and the tormentor that consumes. It is
:26:58. > :26:58.brilliant. Fantastic. Playing us out tonight
:26:59. > :27:01.is The Witch - supernatural shenanigans set in 17th
:27:02. > :27:04.Century New England. It's a bit scary. Hold on tight.
:27:05. > :27:31.Well done, Claudia. What went we out into this
:27:32. > :27:37.wilderness to find? Leaving our country, kindred, our fathers'
:27:38. > :27:59.houses. For what? For the kingdom of God. Let us pray.
:28:00. > :28:32.You have cursed this family. Who is there a?
:28:33. > :29:03.My Lord, help me and I will leave my seven.
:29:04. > :29:06.As we'll be discussing, cosmologists are studying...