:00:24. > :00:29.We'd love to hear what you think about tonight's films,
:00:30. > :00:45.An all-star cast camp it up in Coen Brothers' Hollywood satire,
:00:46. > :00:56.Cate Blanchett and Robert Redford star in real-life news drama,
:00:57. > :01:05.I have to apologise for the story on air.
:01:06. > :01:08.And, puppets on the verge of a nervous breakdown.
:01:09. > :01:16.Do I look awful? I was just taking my make up off.
:01:17. > :01:18.Plus, we'll take a look at Austrian psycho-horror,
:01:19. > :01:29.and we're joined by the rambunctious Tim Robey, from the Daily Telegraph.
:01:30. > :01:34.First up is Hail Caesar!, a new cinematic romp from the Coen
:01:35. > :01:38.Set in the 50s, in the glory days of the Hollywood studio system,
:01:39. > :01:41.Josh Brolin, George Clooney, Ralph Fiennes and Scarlet Johannson
:01:42. > :01:51.Millions of people looked at us for information and entertainment and we
:01:52. > :01:58.are going to give it to them. Action. An army of technicians and
:01:59. > :02:04.artistic people are looking to bring our biggest release of the year,
:02:05. > :02:12.Hail, Caesar! Is the biggest pitch of the year, with a real star. --
:02:13. > :02:22.the biggest picture. If we had... If we had... Cut. I play is someone
:02:23. > :02:27.like Victor mature, inside the film, Hail, Caesar!, who is probably not
:02:28. > :02:33.the brightest of actors, but I thought he was the smartest guy.
:02:34. > :02:36.Shut up. You are going to go out there and finish Hail, Caesar! And
:02:37. > :02:40.you are going to believe every word you say. You will do this because
:02:41. > :02:44.you are an actor and that is what you do, just like the director does
:02:45. > :02:48.what he does, you will do this because the picture as worth and you
:02:49. > :02:52.have worked if you serve the picture you are never going to forget that
:02:53. > :03:03.again. -- you have worth. I won't forget it. Dam right, not as long as
:03:04. > :03:07.I run this dump. Eddie Mannix is the fixer, played by Josh Brolin, he
:03:08. > :03:11.runs the studio and he clears up the mess, the unwanted pregnancies. Gay
:03:12. > :03:16.people that want to pass the straight, that kind of nonsense.
:03:17. > :03:23.Based on a real person who did much darker deeds and managed to clear up
:03:24. > :03:29.people's node -- murders from the night before. Everyone only cysts
:03:30. > :03:34.because of Eddie Mannix. -- only exists. And what they do to Eddie
:03:35. > :03:44.Mannix and how they make his life difficult or easy. Studio, I need
:03:45. > :03:53.your help. She has been kidnapped. 20 million readers want the truth,
:03:54. > :04:00.Eddie. Based on this warring gossip columnist. The little bird told me
:04:01. > :04:06.that she disappeared from the set. Yes, he did have to take a break,
:04:07. > :04:09.minor injury. She will print anything to get more readers, which
:04:10. > :04:13.is a tendency which we have heard about, which may may not be
:04:14. > :04:21.fictional. Whenever you get a chance to be in a Coen Brothers film
:04:22. > :04:26.everyone says OK. They varied it on how complex it is and how big the
:04:27. > :04:29.dancing was going to be. It was about three sentences in the script,
:04:30. > :04:35.but the whole thing is tap dance and then they say, there's going to be
:04:36. > :04:43.some singing, I don't do any of this. Y2J cast me? LAUGHTER
:04:44. > :04:57.-- why did you cast me? # We ain't going to see a dame
:04:58. > :05:16.# Half a dozen clams # No dame
:05:17. > :05:21.# Cut. STUDIO: I love this film, but for that scene alone, I would say
:05:22. > :05:25.you have to go. I think so. Hollywood likes to make films about
:05:26. > :05:29.itself, always has, most of the time they paint itself as a dark and
:05:30. > :05:35.sinister place, the last place on earth you would want to work, but
:05:36. > :05:40.this has flitted on its head and has presented Hollywood as a fun loving
:05:41. > :05:46.place, and everything is OK, that is the film is, it is deeply silly. The
:05:47. > :05:49.Coen brothers very zany, but also deceptively smart, something quite
:05:50. > :05:54.knowing about this film, it feels it has more than one time in its cheek,
:05:55. > :05:59.that kind of film. You would have to be something of a mystery to not get
:06:00. > :06:02.on board. It is definitely fun, very knowing, they are always knowing,
:06:03. > :06:12.they know everything and they tell you about it, as well. But I found
:06:13. > :06:22.it rather bitty, every bit of it... Bitty like David Wiley 's? Exactly.
:06:23. > :06:25.It is very kind of choppy, every section is beautifully done, but I
:06:26. > :06:28.feel you could watch it in any order and it would still be quite jolly
:06:29. > :06:33.and fine, but it does not build and have momentum. By their own high
:06:34. > :06:38.standards, they are coming off one of their best and most profound
:06:39. > :06:41.films, Inside Llewellyn Davies, it is not the same as that, but I
:06:42. > :06:46.wanted this to go through the roof as a comedy, but it is just mildly
:06:47. > :06:58.good fun. Did you not find so many moments very memorable? I want H --
:06:59. > :07:03.to mention Ralph Fiennes. Channing Tatum in the dancing, George Clooney
:07:04. > :07:07.is brilliant. You're right, this is a film of bits, but you do not get
:07:08. > :07:11.sick of it, and it is not a film that takes anything seriously, but
:07:12. > :07:16.it is interesting. It is a film about believers, the priest and a
:07:17. > :07:20.rabbi, the joke is setup, and then you have Eddie Mannix, he believes
:07:21. > :07:24.in the of Hollywood. The Coen brothers on the choir also believe
:07:25. > :07:28.in the power of Hollywood. The singing and dancing, you can see how
:07:29. > :07:34.much that means to them, and in terms of Channing Tatum, this is
:07:35. > :07:39.overdue. When we were younger, you effort to Channing Tatum as a potato
:07:40. > :07:45.-- you referred. We have got to apologise. He's the of all the
:07:46. > :07:50.humans. The greatest human potato of all time. His dance number is
:07:51. > :07:54.fantastic, it stops the show. The film has got to wind up in gay to
:07:55. > :08:01.give more subplots, and I still think it is enjoyable, but there is
:08:02. > :08:08.a feeling, that is it. -- wind up in gear. It is trying to make a
:08:09. > :08:11.melancholic point, it is like A Serious Man, he is going through
:08:12. > :08:16.these ordeals, but I don't think it gels together into something which
:08:17. > :08:21.has anything much. It is just fun, and that is fine. I'm OK with that,
:08:22. > :08:26.at this stage of my life. What I really love, it feel so confident,
:08:27. > :08:32.it is not, let me make sure that all of this ties up, it is not do that,
:08:33. > :08:36.it is 90 minutes, and now go and have a kebabs. It is pulling our leg
:08:37. > :08:42.the whole time, that is what I like about it, we have done Sunset
:08:43. > :08:45.Boulevard, everyone knows that terrible things happen with terrible
:08:46. > :08:53.people, but this is the Hollywood film that would not normally be made
:08:54. > :09:00.by Hollywood. And it has not just one Tilda Swinton, it has two. Yes,
:09:01. > :09:06.that's right, she is one of the twins, separated at birth, and they
:09:07. > :09:13.turn up in the same hat, but that is One Show, which is funny. -- that is
:09:14. > :09:21.one joke, which is funny. We are going to see this film again. I have
:09:22. > :09:26.seen it twice. I did enjoy it. There is one guy, he walks away with it a
:09:27. > :09:34.little bit, it is a new star into the fold. You have a sweet kid on
:09:35. > :09:38.screen. And his date, where they are trying to set him up as a publicity
:09:39. > :09:43.stunt, that is very sweet. There is profundity to that, these kids are
:09:44. > :09:47.going to be fine. I liked it. Not convinced.
:09:48. > :09:49.Next is Truth, starring Robert Redford as American news
:09:50. > :09:51.anchor, Dan Rather, and Cate Blanchett as producer,
:09:52. > :09:59.They dared to question the military record of the President of the
:10:00. > :10:05.United States. They do 's and gentlemen, I give you my friend, and
:10:06. > :10:13.the reason I have this job, Dan rather -- ladies and gentlemen. He
:10:14. > :10:17.was one of the biggest names in the news, at CBS, they have this amazing
:10:18. > :10:23.heritage and history of the people that they could have in News and he
:10:24. > :10:27.had been the anchor 26 years, he was the longest standing anchor in US
:10:28. > :10:33.history, an enormous figure in journalism. Let's start from the
:10:34. > :10:37.beginning. I might have something for the election. The President of
:10:38. > :10:43.the United States might have gone a while from the military. He never
:10:44. > :10:48.even showed up. -- might have gone absent without leave. This is a very
:10:49. > :10:52.controversial story, it points to the fact that he went absent without
:10:53. > :10:56.leave, and if you do that you go to a military prison and if you do that
:10:57. > :11:03.you cannot become president. It was a very contentious piece. You have
:11:04. > :11:08.three hours. You're out of time. Go, go, go. They ran the story and
:11:09. > :11:13.immediately they were called into question for the process in which
:11:14. > :11:17.they put the story together and the whole thing it's bloated. These
:11:18. > :11:26.blocks said the memo can be recreated -- the whole thing
:11:27. > :11:33.exploded. Pretty soon they were looking at the authenticity of the
:11:34. > :11:40.documents and the argument was that the story was true. How long have we
:11:41. > :11:44.been together? Is it that bad. We are going to start an investigation,
:11:45. > :11:47.CBS would like to appoint an independent panel to have a look at
:11:48. > :11:56.how the story was put together, and I will announce it. Tomorrow. It was
:11:57. > :12:06.big, a fuller, personal and professional for Mary and also for
:12:07. > :12:09.Dan. -- big and profound. He stepped down and Mary has not worked in
:12:10. > :12:16.television journalism since. They do not get to do this, just for asking
:12:17. > :12:21.the question. It is about journalism and politics and the presidential
:12:22. > :12:23.election. It is about the process of investigative journalism, shining a
:12:24. > :12:30.light on what investigative journalism has become, in its place,
:12:31. > :12:32.in our everyday lives. I did my job, believe me. I don't have to believe
:12:33. > :12:55.you. It's got Kate Blanchett, how bad can
:12:56. > :13:01.it be? -- Cate. Very bad. He did not like it. They set it up, they are
:13:02. > :13:07.fighting the good fight, and then there is the film with Cate
:13:08. > :13:16.Blanchett, she is operating a level above the script, she watches her
:13:17. > :13:20.entire career as the journalist get carted and taken away from her, and
:13:21. > :13:26.that was compelling, and if it was anyone else I might throw that film
:13:27. > :13:30.all out the window, but it is interesting. You have the news
:13:31. > :13:38.agenda being fought over by both sides politically. She is not blame
:13:39. > :13:41.free, but on the other hand you have the Conservative witchhunt going on,
:13:42. > :13:46.and I found it compelling, despite the mistakes the film makes as a
:13:47. > :13:50.first-time film-maker's debut. He wrote Zodiac, which is a much better
:13:51. > :13:58.script. It is doing much of the same stuff, Danny hates it. I know. You
:13:59. > :14:05.are trying to find the positive. You are a nicer person than us. I've
:14:06. > :14:12.tried to find the positive, you can't help thinking about Spotlight,
:14:13. > :14:17.and I think when they were making this, they were trying to make a
:14:18. > :14:21.bold, brave film about American journalism, and they were going to
:14:22. > :14:24.walk away with the Oscars, but the film about American journalism dead,
:14:25. > :14:33.but that was the wrong one for them. -- did. Spotlight did something
:14:34. > :14:39.amazing, but this takes the worst of TV news, Truth, everything is puffed
:14:40. > :14:44.up and slightly silly and the music is circulating the whole time,
:14:45. > :14:47.deafening you. The self-importance, it pinned me down and sprayed me
:14:48. > :14:50.with its muscular aroma of self-importance. Oh my goodness.
:14:51. > :16:26.I've had dates like that. He lives in physical pain, what he
:16:27. > :16:31.is doing, and you are waiting for him to be hit by a tranquilliser
:16:32. > :16:35.gun, to be put out of his misery. We have to talk about the other films.
:16:36. > :16:39.We tried. He really did. Next up is Anomolisa,
:16:40. > :16:42.a stop-motion film from the writer of Being John Malkovich,
:16:43. > :16:56.Charlie Kaufman. What is it to be human? What is it
:16:57. > :17:00.to ache and be alive? Figuring out what the characters were going to
:17:01. > :17:06.look like was important and we mixed and matched and got these puppets.
:17:07. > :17:12.We were able to take advantage of the medium, and it was not going to
:17:13. > :17:14.look like the actors that were cast, you can make them specific and
:17:15. > :17:20.unique and also very average and available. They are puppets we can
:17:21. > :17:25.project ourselves onto, in a way you can't maybe when it is a real
:17:26. > :17:29.person. Most people don't like to look at me too much.
:17:30. > :17:42.This was a challenging film to make. We started out with so little money.
:17:43. > :17:50.It it was a huge strain to produce this. Each animator had a goal of
:17:51. > :17:55.two seconds. 48 individual frames of animation per day. You are watching
:17:56. > :18:00.this thing that has been hand made, created by people. That's been
:18:01. > :18:06.manipulated by animators. Can see that, you can feel it. Everything is
:18:07. > :18:12.so small and detailed and beautiful. That's the thing about stop-motion.
:18:13. > :18:20.Every single thing is made. Each person you speak to has had a
:18:21. > :18:25.childhood. Each has a body. Each body has eggs. It was exciting to me
:18:26. > :18:30.for many different reasons, one of which is that I was a huge fan of
:18:31. > :18:34.Charlie's to have the opportunity to potentially work of something of his
:18:35. > :18:37.was very exciting to me. Do you feel that you've changed? What are you
:18:38. > :18:45.talking about? I don't know. I don't know. Also the material itself, just
:18:46. > :18:49.purely as a screenplay was very evocative and relatable and
:18:50. > :18:53.authentic and just beautiful. I think you're extraordinary. Why? I
:18:54. > :18:57.don't know yet. It's just obvious to me that you are. That relatable
:18:58. > :19:03.human experience that connects us altogether. That's the magic for me.
:19:04. > :19:08.Keep talking. I think he's a genius I don't use that word lightly. It's
:19:09. > :19:13.told with such great, gentle humour. Sorry I grabbed your hand. It's OK.
:19:14. > :19:21.It's a reflex. I don't like to fly. I said it's OK. You can let go now
:19:22. > :19:24.though. It's forgiving. I sweat on to my pillow every night. I think
:19:25. > :19:30.there's something very, very wrong with me. I wanted it to be for
:19:31. > :19:35.adults. That was the important thing about it. I wanted it to be
:19:36. > :19:45.naturalistic and emotional. Anomalisa. I want people to see this
:19:46. > :19:49.movie. Yeah. I wish there was another word I could find to
:19:50. > :19:53.describe it rather than uncomfortable. It's magnificently
:19:54. > :20:00.uncomfortable. The reason it's so uncomfortable is because, you are in
:20:01. > :20:03.the head of this glum, gloomy author Michael Stone. The movie in our
:20:04. > :20:07.head. It felt that way to me. Every terrible thought you had about
:20:08. > :20:14.yourself or humanitarian, making small talk with a kabbi or getting
:20:15. > :20:17.your key card to work in a hotel. The movie knows every one of those
:20:18. > :20:24.thoughts. It's a disturbing experience. The film is create. It
:20:25. > :20:29.will speak loudly to self-loathing middle-aged man, but I feel it would
:20:30. > :20:33.reach the self-loathing middle-aged man everywhere. I might be an old
:20:34. > :20:36.aged woman. I loved it. To the point where I would question a friendship
:20:37. > :20:51.with somebody who didn't like it. Too much? Genius is not a want to
:20:52. > :20:57.use often. He is a genius. It's This film, as usual with him, profound
:20:58. > :21:00.currently kurnel of an idea at the middle of it. The stuff in the hotel
:21:01. > :21:03.room, between the two of them. Everyone in the world speaks with
:21:04. > :21:07.the same voice in this film. That is the idea of the play it's based on,
:21:08. > :21:11.Tom Noonan voices everyone. Except her. He finds her. She is the
:21:12. > :21:14.possible ray of sunshine who is going to transform things until he
:21:15. > :21:18.starts getting a bit bored of her the next morning. That is so sad. So
:21:19. > :21:22.touching. It's so profound. For me, in a way, the film almost is over
:21:23. > :21:27.there. For the rest of it's almost as if I fall out of love with, it I
:21:28. > :21:33.have to say. I found her so moving and so brilliant. She has a little
:21:34. > :21:40.singing bit which - So good. I can't get enough of her. He's cruel and I
:21:41. > :21:46.thought - you know, horrible. Yeah. The way it all just, sort of, un -
:21:47. > :21:49.it's a brilliant depiction - Most human film I've seen in a very long
:21:50. > :21:52.time iechl don't want to lower the tone much you know me. We have to
:21:53. > :21:56.talk about the puppet sex scene. It's one of the most extraordinary
:21:57. > :22:01.thing I've seen on a cinema screen. It captures the magic of the film
:22:02. > :22:08.really. It's so, disturbingly realistic. You realise just watching
:22:09. > :22:14.actors carrying out a sex scene is phoney in comparison. You don't
:22:15. > :22:18.forget you are watching puppets you are are aware the entire time. It
:22:19. > :22:23.feels like it's talking loudly and clearly because of that. Sad art
:22:24. > :22:26.house equivalent Next is Austrian horror
:22:27. > :22:28.film, Goodnight Mommy. Twin boys begin to question
:22:29. > :22:31.if the bandaged woman back from hospital is
:22:32. > :24:04.really their mother. I still can't watch it unless my
:24:05. > :24:07.hand is up in front of my face. Tim. I've got friends who twins later.
:24:08. > :24:12.Several sets of friends. I have to warn them never to see this or to
:24:13. > :24:15.let their twins see it. It's going to implant extremely sinister ideas.
:24:16. > :24:18.Like every to implant extremely sinister ideas.
:24:19. > :24:22.does a good job of making you not want to go to Austria. It's quite
:24:23. > :24:27.successful at that. Very well made, very creepy. I love the production
:24:28. > :24:30.sign, the house is kind of clinically weird and the greys and
:24:31. > :24:35.everything. When the twins bring back this diseased cat, which dies,
:24:36. > :24:38.they put it in a tank and put it on the living room table. That fits
:24:39. > :24:42.right in. You barely notice it. Perfect. It kind of goes very cruel
:24:43. > :24:45.and nasty. It's the stuff towards the end where I think it becomes
:24:46. > :24:48.very uncomfortable to watch. It's almost laying it on too thick. They
:24:49. > :24:52.start messing with their mother's face. She had this face lift. They
:24:53. > :24:57.start doing these sadistic things to her face. They are not really
:24:58. > :24:59.believable. I don't believe you could super glue someone's lips
:25:00. > :25:05.together that easily. What do you think? The dreamy ambience of the
:25:06. > :25:09.theme. You know you are in trouble when you see that pristine,
:25:10. > :25:15.beautiful, modernist lake house, you know nothing good is going to
:25:16. > :25:19.happen. Austrian cinema, like The Cabin in the Woods, terrible things
:25:20. > :25:24.are going to happen. Once you have that house in that location, once
:25:25. > :25:29.you have a character covered in bandages and the twins, twins are
:25:30. > :25:33.instringsically scary. Once you have that stuff - don't email in. That is
:25:34. > :25:38.not true. I think you're lovely. I don't. Don't email me, you creep me
:25:39. > :25:42.out as it is. The once you have that stuff going on you don't need much
:25:43. > :25:48.else. There is a dreamy atmosphere which sets you on edge. It has a
:25:49. > :25:51.similar feel of everything is fine, everything is I duddic, nothing is
:25:52. > :26:02.fine and everything is terrible. Fill of the week? Go and see Hail
:26:03. > :26:06.seesor. And Anomalisa. A three film week. Why not.
:26:07. > :26:08.Well, that's all for this week and for the series.
:26:09. > :26:10.We'll be back in the Autumn - can't wait!
:26:11. > :26:14.We'll leave you with a look at some of the films coming out
:26:15. > :26:22.Have a lovely summer, and spring and beginning of autumn.
:26:23. > :26:41.Now then little Miss Foster, make me proud.
:26:42. > :26:58.That's just typical! We need the perfect weapon.
:26:59. > :27:12.Never get out of bed. It must be dumping out. I'm getting my pants
:27:13. > :27:19.on. Stay away. I know what I want. I focus on getting it.
:27:20. > :27:28.Don't open that door. You're going to get us all killed.
:27:29. > :27:50.Young lady, you're time is up. Ha-ha.
:27:51. > :28:02.Tarzan! Seriously, what the hell's wrong with you people? We're bad
:28:03. > :28:15.guys, it's what we do. I can't wait to show you my toys.
:28:16. > :28:30.I remembered something. That's not possible, is it? What was I talking
:28:31. > :28:32.about? Yesterday it was a case full of magical creatures. Unfortunately,
:28:33. > :28:49.some have escaped. It was open? Just a smidge. The
:28:50. > :28:59.greatest Gladiator match in the history of the world. God versus
:29:00. > :29:01.man. Day versus night. Something's coming.