:00:25. > :00:29.Welcome to the autumn run of Film 2016.
:00:30. > :00:38.Tweet us what tickles your ivories when it comes to musicals,
:00:39. > :00:54.Dark hearts and psychopaths, Amy Adams and Jake Gyllenhaal stars in
:00:55. > :01:01.Tom Ford's tale of revenge, Nocturnal Animals. Your number is
:01:02. > :01:07.up, maths and murder with Ben Affleck in the action thriller, The
:01:08. > :01:16.Accountant. Who is he? The Accountant. Like a CPA accountant?
:01:17. > :01:21.And Damien Chazelle talks about musicals. Everything is up to 11th
:01:22. > :01:23.and sugar-coated and over delivered and that's not what a musical has to
:01:24. > :01:25.be. And we'll also be chatting
:01:26. > :01:28.about Michael Fassbender and Alicia Vikander's new weepie,
:01:29. > :01:30.The Light Between Oceans. And joining me to talk
:01:31. > :01:37.movies is the doyenne of London film critics
:01:38. > :01:49.Ellen E Jones and south London's In flannel, looking delightful. Glad
:01:50. > :01:51.to be back? I am, I am busting some moves later on. That is a real
:01:52. > :01:55.promise. Very excited. Can't wait. Right, kicking off the series
:01:56. > :01:57.is fashion designer-turned-director, Tom Ford's Nocturnal Animals
:01:58. > :01:58.starring Amy Adams It's been seven years
:01:59. > :02:05.since his supremely stylish debut, A Single Man,
:02:06. > :02:08.so is his study of alienation, angst and lost love in modern
:02:09. > :02:10.America worth the wait? And can he avoid
:02:11. > :02:25.the sophomore slump? I am worried about you. Are you
:02:26. > :02:36.sleeping? Sleeping the last time we talked. You know me. I never sleep.
:02:37. > :02:43.This is a story about a woman played by Amy Adams who is a very
:02:44. > :02:49.successful art dealer. She lives an incredibly privileged life but she's
:02:50. > :02:53.very unhappy. Out of nowhere she receives a manuscript from her first
:02:54. > :03:00.husband of a book he has written. My ex-husband used to call me a
:03:01. > :03:05.nocturnal animal. What ex-husband? I have been thinking about him and he
:03:06. > :03:10.has sent me this book that he has written, violent and sad and he
:03:11. > :03:15.titled it Nocturnal Animals and he dedicated it to me. It brings us
:03:16. > :03:21.into a journey between the present, the story, and the past, which got
:03:22. > :03:26.her to where she is. What are we going to do? It's a question of how
:03:27. > :03:34.serious you are about seeing justice done. Tom takes a lot of time to let
:03:35. > :03:37.the shots breathe. He had this beautiful visual reference that he
:03:38. > :03:43.created that helps me to understand what Tony was going for. I thought
:03:44. > :03:50.of it in terms of look, three different stories. Amy's story in
:03:51. > :03:54.the present is quite cold, so it is not saturated, it is Gerrish, strong
:03:55. > :04:00.and sharp. She's remembering a time which for her becomes quite
:04:01. > :04:04.nostalgic and those colours are saturated, the 90s when she was
:04:05. > :04:09.married to this man. And then she is reading a book which is quite
:04:10. > :04:15.horrific and set in West Texas. It has a level of crime to it, it is
:04:16. > :04:20.very alive, the opposite of Amy's life, which is quite dead. What have
:04:21. > :04:23.you got to say about this man's wife's murder? What can you tell me
:04:24. > :04:34.about Ray? Who? Who? I think there's a bit of myself in
:04:35. > :04:39.each of those characters. Amy's character in particular, she
:04:40. > :04:42.inhabits a world of incredible luxury and of course in my other
:04:43. > :04:47.life as a fashion design I have helped create this world, this
:04:48. > :04:52.stream of products that consumer led culture tells us we need to be
:04:53. > :04:57.happy. However having grown up in New Mexico and Texas, I come from a
:04:58. > :05:08.place of greater simplicity and I often struggle with the value of our
:05:09. > :05:15.contemporary culture. He's killed people. Should try it sometime.
:05:16. > :05:21.I've got goose bumps even watching that. Danny, seven years since A
:05:22. > :05:26.Single Man, is this the follow-up that we were hoping for? Like that
:05:27. > :05:29.film it is very pristine and perfect and everything looks gorgeous and
:05:30. > :05:33.just so and I have no problem with that. You like the look of things
:05:34. > :05:39.and the surface. What I've struggled with is that everything looks
:05:40. > :05:47.gorgeous, everything looks gorgeous. This black, minimalist kitchen, and
:05:48. > :05:51.also these bodies left in the desert. I found that strange. There
:05:52. > :05:55.is a lot they liked about the film. I don't think Tom Ford likes the
:05:56. > :06:02.character that Amy Adams is playing, the centre of the movie. Because of
:06:03. > :06:06.that, it feels a bit mean-spirited. It feels like one of those fashion
:06:07. > :06:10.magazines you crack open and you get heady on the scent of the paper, the
:06:11. > :06:16.expense of everything but I'm not sure I want to buy what it is
:06:17. > :06:22.advertising. I love the idea of you with a thick fashion magazine! What
:06:23. > :06:26.was your take? I agree with some of that but for me it has a depth to
:06:27. > :06:29.it, it has moved on from A Single Man. It is still a beautiful film
:06:30. > :06:35.about shallow people but there is more depth. It is good value for
:06:36. > :06:39.money. Going to the cinema is expensive but we get three films for
:06:40. > :06:44.the price of one. Almost grotesque over the top LA lifestyle film, the
:06:45. > :06:50.safari around their lives, and then you have this West Texas
:06:51. > :06:54.emasculation revenge thriller, which is pared back and then there is
:06:55. > :07:01.another level, the New York Roman, come when they first get to know
:07:02. > :07:05.each other. -- the magic coming -- mantic comedy. I think they
:07:06. > :07:09.interweaved quite perfectly. They reflect off each other and they make
:07:10. > :07:15.you wonder which one is the real one, the fiction of the fiction or
:07:16. > :07:19.is her real life so fake? Tailored is a cliche because he makes clothes
:07:20. > :07:24.but it is tailored. I think that the stories are lopsided. There is a
:07:25. > :07:27.sequence where Jake Gyllenhaal and his family are being chased off the
:07:28. > :07:31.road, this empty highway, the middle of the night and if you've seen a
:07:32. > :07:39.horror movie, you've seen that before but somehow he makes it come,
:07:40. > :07:45.you are getting short of breath -- the way that he executes it. It is
:07:46. > :07:50.grotesque and funny and Michael Sheen pops up and you want to follow
:07:51. > :07:55.him through the door. It feels strange to me because you can't take
:07:56. > :07:58.Tom Ford out of the equation. Every second of this screams Tom Ford and
:07:59. > :08:02.for him to make a film that is pointing the finger at people for
:08:03. > :08:07.their Charlotte senator, they are his customers, these the people who
:08:08. > :08:12.allowed him to become for -- pointing the finger at people for
:08:13. > :08:17.their shallow obscenity. These people are going to wear Tom Ford
:08:18. > :08:22.cardigans. I don't know if it is some kind of cry for help. That's
:08:23. > :08:29.what I liked about it, it is bold and brave, almost a self hating
:08:30. > :08:33.film. Assuming that's how he lives. There are some incredible cameos in
:08:34. > :08:38.the film as well. We can talk about Amy Adams and Jake Gyllenhaal.
:08:39. > :08:43.Michael Shannon. Amazing, he's playing a part in a film within a
:08:44. > :08:47.film. Michael Shannon is a bit like Christopher Walken, he is 5 degrees
:08:48. > :08:54.to the side of the film everybody else is in so it makes sense for him
:08:55. > :09:01.to be in this role. My pick of the performances, airing Taylor Johnson,
:09:02. > :09:04.who plays a scary West Texan hick in the central narrative but what I
:09:05. > :09:07.like about him, there's something slightly unreal about it so you get
:09:08. > :09:15.the impression he is playing a New York writer's idea of what is a
:09:16. > :09:19.scary Texan. I like that idea. There was some critique for A Single Man
:09:20. > :09:22.for being style over substance. I think that works in this film
:09:23. > :09:28.because she hates her life and what she's become. I don't think that's a
:09:29. > :09:34.fair accusation for the film. You can say that about A Single Man but
:09:35. > :09:39.this film, what is clever about it, it has a depth to it. I preferred A
:09:40. > :09:44.Single Man, style over substance isn't a problem, I'm OK with that,
:09:45. > :09:49.there is substance here. It is the substance I have an issue with. It
:09:50. > :09:56.is like going to a very expensive restaurant. Part of that is what
:09:57. > :10:00.going to a restaurant is like, the waiting staff are beautiful and it
:10:01. > :10:06.is lit like a Tom Ford movie but then they bring you the food and the
:10:07. > :10:09.food is cold. Maybe the opulence of the restaurant is enough to have a
:10:10. > :10:14.good night but I want a decent meal inside me. I loved it and it held my
:10:15. > :10:19.attention to the last frame. I thought that the editing was superb
:10:20. > :10:21.and the score, I walked the streets afterwards still slightly in the
:10:22. > :10:22.mood. Next up, the most unlikely title
:10:23. > :10:25.for an action thriller ever dreamt up, The Accountant,
:10:26. > :10:27.starring Ben Affleck as a mathematics genius,
:10:28. > :10:42.who's great with numbers, Your son is a remarkable young man.
:10:43. > :10:49.He has highly advanced cognitive skills. He has more in common with
:10:50. > :10:54.Einstein or Mozart than he does with us. I'd like to work with your son.
:10:55. > :11:00.Help him develop the skills he'll need to lead a full life. Not going
:11:01. > :11:05.to happen. The world isn't a friendly place and that's where he
:11:06. > :11:11.needs to learn to live. Essentially I play a guy who is autistic and is
:11:12. > :11:14.very good at maths and numbers, he's kind of sensitive and he spends his
:11:15. > :11:18.life using a combination of his skills doing accounting work for
:11:19. > :11:25.criminals. Do you like puzzles Western Mark tell me what you see.
:11:26. > :11:31.-- do you like puzzles? That's the same person. That's the question of
:11:32. > :11:38.the movie, who is The Accountant, is Christian Wolff, how has he become
:11:39. > :11:45.this person? We see that over the course of the movie. I'm not wearing
:11:46. > :11:49.a mask so it is harder to get the stuntman to do the scenes but I
:11:50. > :11:54.ended up having to do a lot of my own stuff. A lot of work but
:11:55. > :11:58.satisfying, you rehearse a lot and when you get there on the day, you
:11:59. > :12:06.don't have much time to do it. We put a lot of work into it so it's
:12:07. > :12:12.satisfying when it comes together. I would come onto the set to watch the
:12:13. > :12:16.beauty and grace and majesty of men, you know, flooring themselves at
:12:17. > :12:21.each other and the walls. Fulfilling for me personally!
:12:22. > :12:30.We should go. I just think it's a really unique, smart take on what
:12:31. > :12:34.you would think is your standard thriller. There's nothing standard
:12:35. > :12:41.about it, it feels very smart and different. The protagonists of The
:12:42. > :12:46.Accountant, really inspired choice, the different characteristics that
:12:47. > :12:47.make up who he is. In my mind, I can't think of another character
:12:48. > :13:00.like this. I had heard some less than
:13:01. > :13:04.favourable reviews of the film before I saw it, so I had low
:13:05. > :13:11.expectations. I was pleasantly surprised. I think it's quite daft.
:13:12. > :13:15.I want to stick up for Ben Affleck because he makes lots of good films
:13:16. > :13:19.but he makes one real stinker every couple of years and this might be
:13:20. > :13:24.it. I don't want to stick up for him too much where I think this isn't a
:13:25. > :13:31.bad film, because it is. I don't think that the premise is a problem,
:13:32. > :13:34.the idea of a Bond movie with the anti-bond as the hero, they could
:13:35. > :13:37.have done something interesting but they gave up with the premise
:13:38. > :13:43.halfway through and it becomes a different film. At the beginning we
:13:44. > :13:48.find out that this character has autism and that is dealt with in
:13:49. > :13:52.quite a sort of clumsy way. It is tasteless, kind of tasteless because
:13:53. > :14:00.you don't need that. The Eureka moment for the script writer, an
:14:01. > :14:04.accountant who is also a killer and the autism stuff is not dealt with
:14:05. > :14:09.very well and it doesn't need to be there dramatically. You can see the
:14:10. > :14:12.script writer getting excited about it and the producers getting excited
:14:13. > :14:19.but I think they forgot to write the script and when it came to that
:14:20. > :14:24.moment, it was a very hurried state. What you get is the Bourne identity
:14:25. > :14:31.made of jelly, it is ridiculous. He's very good with a gun, I have to
:14:32. > :14:36.say. You bring in Anna Kendrick and it is like they tried to bring in a
:14:37. > :14:42.bit of romance. There is a whole storyline that is extraneous to
:14:43. > :14:45.this, and especially with the romance, it is awkward because they
:14:46. > :14:48.are established the character as someone who struggles making
:14:49. > :14:53.emotional connections but for the sake of the plot, he has a long life
:14:54. > :14:58.-- love life and he starts having these long looks with Anna Kendrick
:14:59. > :15:03.which don't make sense. I used to work in a video shop in 1996 and
:15:04. > :15:07.every second movie was just like The Accountant, there were shelves given
:15:08. > :15:12.over to films like this. If the budget had been big enough it would
:15:13. > :15:18.have had Bruce Willis. Maybe one of the Baldwin brothers. John Lithgow
:15:19. > :15:23.would be playing the same character. I had a better time with it than
:15:24. > :15:29.you. It is terrible but I found it warm and fuzzy at the same time.
:15:30. > :15:32.There are flashbacks and back story and you find yourself getting quite
:15:33. > :15:36.confused but when you get to the Indonesian martial arts flashback it
:15:37. > :15:42.is John Claude Van Damme. That is what is strange. They made
:15:43. > :15:47.everything yellow and then it is like the karate kid. You have JK
:15:48. > :15:51.Simmons as well. Does he save it? He's another one of these wasted
:15:52. > :15:56.characters coming from this extraneous plotline that we don't
:15:57. > :16:00.need. It could have been more pared down. I would have liked to have
:16:01. > :16:05.seen a film that didn't have the assassin, just a film about making
:16:06. > :16:07.accounting interesting. You don't need to make it sexy and exciting by
:16:08. > :16:18.writing on the wall. It's to borrow from his own film
:16:19. > :16:23.Good Will Hunting. He writes in a chalk board on that. There is an
:16:24. > :16:29.awful lot of window to clean up. It's an action filler whether it's
:16:30. > :16:32.flashback, another flashback and dudes shooting each other. They
:16:33. > :16:36.leave me thinking I've missed something in a plot. You imagine a
:16:37. > :16:42.dog's experience of watching a film. That is how I felt watching that.
:16:43. > :16:49.It's not unpleasant, it's confusing. There is a moment where they say,
:16:50. > :16:54."what's happening?" Yeah. There were times when it wasn't tide up.
:16:55. > :16:59.Characters disappeared for an hour in the film. They went on holiday.
:17:00. > :17:03.Not missed. A-a plot twist where the ability for the actors not to fall
:17:04. > :17:08.about laughing. The audience will fall about laughing. It's fun to
:17:09. > :17:11.spot the obvious twist plot coming. Good luck with that at home.
:17:12. > :17:14.Two years ago drum-drama, Whiplash, trumpeted the arrival of a hot
:17:15. > :17:15.new directing talent, Damien Chazelle.
:17:16. > :17:19.At 31, he's now king of the hill, top of the Hollywood heap and he's
:17:20. > :17:23.But can he breathe new life into the Musical?
:17:24. > :17:46.# Here's to the ones who dream # Foolish as they may seem... #
:17:47. > :17:50.Damien Chazelle, hello. Hi. Did La La Land have to be a muse cull? It
:17:51. > :18:00.was always conceived as a musical. What came first was a musical in Los
:18:01. > :18:07.Angeles and the barest story that it would be a love story and the ups
:18:08. > :18:10.and downs of love. But it was always inseparable from the genre and from
:18:11. > :18:14.what I wanted to do with the genre which was again trying to invest it
:18:15. > :18:18.with real-life as much as possible. # There's so much that I can't
:18:19. > :18:22.say... # Ryan Gosling and Emma Stone. Does
:18:23. > :18:26.every muscle have to have this great double act it the its heart or is
:18:27. > :18:35.that every movie has to have a great double act? Every love story. It was
:18:36. > :18:39.one of the lucky strokes of casting. The tricky thing chemistry, an actor
:18:40. > :18:43.Haying to know when to listen, stop talking, when to take over, when to
:18:44. > :18:47.lead and follow. It's like dancing. It helps Ryan and Emma had worked
:18:48. > :18:50.together before. They are able to ground it and make it human and make
:18:51. > :18:56.it feel real. That was the most important thing of all. Do you
:18:57. > :19:00.remember the first musical that you saw and how you felt about it? It
:19:01. > :19:05.depends on what you call a "musical". Thericals Disney's
:19:06. > :19:12.Cinderella. I think that was the first movie I saw - period.
:19:13. > :19:16.# Put them together and what have you got... #
:19:17. > :19:20.I wanted to make movies since I was a little kid.
:19:21. > :19:32.I drew a lot. I think I was into animated movies. I just watched all
:19:33. > :19:36.the Disney musicals. # Put them together and what have
:19:37. > :19:39.you got... #
:19:40. > :19:46.That was my first taste of, I guess, the genre. It's a different kind of
:19:47. > :19:51.take on the genre than Fred and Ginger and the movies I came to love
:19:52. > :19:56.later. # Heaven, I'm in heaven... #
:19:57. > :20:01.It was the audacity of it that wound up making an impression on me.
:20:02. > :20:07.# When we're out together dancing cheek to cheek...
:20:08. > :20:10.# It's a simple conceit, if you feel emotional enough you break into
:20:11. > :20:13.song. If you are feeling in love enough, you break into song. If you
:20:14. > :20:19.feel sad enough, you break into song. The emotions dictate the
:20:20. > :20:23.music. It's a simple, powerful, beautiful, completely timeless idea
:20:24. > :20:27.and concept. It's why we still watch the Fred and Ginger movies today.
:20:28. > :20:36.That the a least was the type of musical I wanted to make. Can you
:20:37. > :20:40.sing L- and dance? Was there ever a part of you that wanted to be Fred?
:20:41. > :20:44.A part of everyone I think wants to be Fred. There is never a part of me
:20:45. > :20:51.that could be Fred, let's put it that way.
:20:52. > :20:58.If you are picking one movie from cinema history to make the case for
:20:59. > :21:10.the musical, Singing in the Rain Top Hat? Yeah, Sipping in the Rain is
:21:11. > :21:13.hard to top. Gene Kelly and the idea of communicating love and emotion
:21:14. > :21:19.through dance, it's one of the most important things for me.
:21:20. > :21:22.# Everybody dance... # We are not used to dance musicals.
:21:23. > :21:30.We are not used to musicals period any more. Dance musicals especially
:21:31. > :21:36.are an endangered species. # Sing and dance...
:21:37. > :21:40.# Why do you think people fell out of love with musicals? Was it the
:21:41. > :21:47.studios that fell out of love with them? For better or worse, in the
:21:48. > :21:54.60s and 70s audience tastes changed. The mood was more favouring realism
:21:55. > :21:59.and a certain idea of kind of over the top fantasy, it just went out
:22:00. > :22:04.the window. With this movie I wanted to have my cake and eat it, too.
:22:05. > :22:06.Like take some of that fantasy, but try to actually have it be informed
:22:07. > :22:22.by realism. In the 60s the musical becomes more
:22:23. > :22:29.real it's all singing and all dancing? Maybe my favourite movie
:22:30. > :22:32.made. It's one of several movies I would are would pick to showcase
:22:33. > :22:48.what only a musical can do. It's such a simple story on paper,
:22:49. > :22:55.you know. It's a story of, you know, a girl and boy. You set it to that
:22:56. > :23:08.music, you film it that way and it becomes meditation on love, loss and
:23:09. > :23:10.growing up. Sgljtsds jtsds jtsds it beingsed all
:23:11. > :23:16.it becomes all these bigger things but by virtue of being a musical.
:23:17. > :23:22.Can you use the language of the musical to elevate the every day.
:23:23. > :23:26.Elevate the small things in life. You can make anything feel like an
:23:27. > :23:30.epic with the right approach and the musical as a genre I think is just
:23:31. > :23:41.that kind of approach. It elevates our emotions to something grander.
:23:42. > :23:47.There will be people watching who are still even now sceptical about
:23:48. > :23:53.the whole idea of a musical. You have this platform to persuade them,
:23:54. > :23:55.persuade them? I think I would say that musicals are actually much
:23:56. > :24:01.closer to real-life than we give them credit for. We all live in our
:24:02. > :24:06.own little musical universes and we do use music and songs to score our
:24:07. > :24:11.lives. I think that's part of what the appeal of the musical is.
:24:12. > :24:17.I think I'm in love with that film and Damien Chazelle already. You
:24:18. > :24:21.have seen it. I'm incredibly jealous. Danny, I'm interested, do
:24:22. > :24:25.you like musicals? I do like musicals. Well, I like some
:24:26. > :24:32.musicals. That surprises me. Why? I don't know. I have this opinion -
:24:33. > :24:40.rethink your opinions Zoe Ball. Any in particular? West side Story. It's
:24:41. > :24:46.about awkward men who are uncertain about their status in musicals say
:24:47. > :24:52.is their favourite. You are not alone.
:24:53. > :25:12.What is your favourite? All of them. I like all musicals - EVER.
:25:13. > :25:21.Kale lem says, singing in the" Rain no matter what mod mood I'm in. Gene
:25:22. > :25:27.is great. " Thank you for our tweets. She had to witness me
:25:28. > :25:31.dancing to Ghostbusters theme from start to finish. You don't appear to
:25:32. > :25:35.remember it. I blanked it out. Only reason you are still talking.
:25:36. > :25:37.Next, Michael Fassbender and Alicia Vikander team-up
:25:38. > :25:39.on-and-off screen in period weepie, The Light Between Oceans.
:25:40. > :25:41.They play a childless couple who find a baby
:25:42. > :25:54.I think you can guess it ain't going to turn out well.
:25:55. > :26:02.Janus, my island. My life. Isabel, my love. The Light Between Oceans is
:26:03. > :26:07.a love story about a couple that lives on an island in 1920s
:26:08. > :26:11.Australia, based on Stedman's great book. When I first saw you, I felt
:26:12. > :26:15.like I knew you and I couldn't stop seeing my life with you. They get
:26:16. > :26:19.married and they move to the island together. It's their own private
:26:20. > :26:25.island, as they put it themselves. They try to start having a family.
:26:26. > :26:35.Isabel suffers from two miscarriages. No. What can I do?
:26:36. > :26:39.What can I do? Then, quite like in a fairytale, a rowboat arrives up on
:26:40. > :26:46.the shore of the island with a baby inside and a dead man. It can't just
:26:47. > :26:55.be a coincidence. She's a lovely baby. You can't keep her. She needs
:26:56. > :26:58.us. We're not doing anything wrong. Whatever decision they are making,
:26:59. > :27:01.even if it's not a good one, throughout the film I know it's only
:27:02. > :27:13.done with the intention of doing good. I know you're going to be
:27:14. > :27:18.aened woerful father. For my da, da with love ever and ever. I feel in
:27:19. > :27:21.my own life every time I make emotional choices I usually regret
:27:22. > :27:27.them. My characters in this film they don't make logical choices
:27:28. > :27:34.really. They make emotional choices. What's your name? Lucy. Lovely to
:27:35. > :27:39.meet you. Hi. Hi. My sister had a terrible tragedy. Her husband and
:27:40. > :27:46.baby daughter were lost at sea. They would have been your girl's age by
:27:47. > :27:50.now. Stories and films kind of feed you who the protagonists and who the
:27:51. > :27:54.villain is and what really grabbed me with this story is the fact it's
:27:55. > :28:00.about good people who sometimes don't make the right decisions. The
:28:01. > :28:03.realness of flawed people because I think that's just nature of human
:28:04. > :28:14.beings. It's her mother. I'm her mother. Someone know that my girl is
:28:15. > :28:17.alive. When I made the film I'm not trying to elicit tears, I'm trying
:28:18. > :28:26.to tell the story as honestly as I possibly can. One day, it will feel
:28:27. > :28:30.like a dream. I promise. I love seeing a film that is torturous on
:28:31. > :28:35.the soul and makes you weep buckets. Sometimes it's really good when you
:28:36. > :28:40.need to emoat. I went in to see this laden with tissues.
:28:41. > :28:45.I didn't use one. Ellen, how was it for you I did cry. I felt those
:28:46. > :28:49.tears were taken from me underhandledly. Brute l ay. Yeah.
:28:50. > :28:54.Exactly. I mean, I think I might be in the minority saying this, I want
:28:55. > :29:02.to speak for that minority. I found this film offencively inoffensive.
:29:03. > :29:08.Lots of scene that look like a knitwear catalogue. I found it very
:29:09. > :29:11.emotionally manipulative and Oscar hungry. You can feel they are are
:29:12. > :29:15.trying too hard. It's not a good look. OK. This is the film where
:29:16. > :29:20.Michael Fassbender and Alicia Vikander met. You think that
:29:21. > :29:24.chemistry will be undeniable here? There is chemistry. The actors are
:29:25. > :29:29.good. I think it's the script. The film spent the first half an hour
:29:30. > :29:32.talking about nothing how isolate and remote and detached this island
:29:33. > :29:35.is and the lighthouse. 100 miles from anywhere in any direction. Men
:29:36. > :29:40.are being driven mad by the isolation. Have you a montage of
:29:41. > :29:46.Michael Fassbender to pass the time staring out of a window tending the
:29:47. > :29:50.goats. Bang, after that it's like Clapham Junction. Toeing and froing
:29:51. > :29:55.for 90 minutes afterwards. He doesn't get a moment to himself. It
:29:56. > :29:58.feels like a small point, a telling one, it feels like the film is
:29:59. > :30:03.cheating. Like the film in contrast to what he is saying about not want
:30:04. > :30:08.to elicit tears, the whole thing is set up to yank on the heart strings.
:30:09. > :30:11.The thing about not having the courage of its convictions how
:30:12. > :30:17.isolated this island is, it says a lot about the film being slightly
:30:18. > :30:21.bogus. OK. There are scenes where I welled up. A difficult scene where
:30:22. > :30:25.she suffers a miscarriage, he is helpless. , you would have to be
:30:26. > :30:31.made of stone to not react to something like that? I think the
:30:32. > :30:34.actors are good. Alicia Vikander is incredible in that stuff. It's cheap
:30:35. > :30:39.and manipulative to use something that intense and heartfelt for a lot
:30:40. > :30:45.of people in real-life and import it into this slightly cheap and nasty,
:30:46. > :30:50.it's not nasty, it's cheap. It's not nasty, it's very nice. It's just
:30:51. > :30:54.cheap. I found that a huge chunk of the film is there and then suddenly
:30:55. > :31:00.we bring in another character, Rachel Weisz, the plot twists again.
:31:01. > :31:04.Suddenly it's all told in flashback. It feels the next few bits are told
:31:05. > :31:09.hurriedly. You have a drawn out emotion. It's like, hang on, and
:31:10. > :31:13.then what, boom, boom. People behave in a way that doesn't feeling like
:31:14. > :31:16.in the way people naturally behave to bring out tears and have the
:31:17. > :31:21.maximum tragic situation that is possible. It doesn't feel right.
:31:22. > :31:29.I would stick up for the actors, they make it almost worth seeing. It
:31:30. > :31:37.is the decisions off the camera that can leave you looking... With the
:31:38. > :31:41.exception of Fassbender, there is a bit of shifting is which you don't
:31:42. > :31:45.get from his character, he is a kind of doormat who is trodden on by the
:31:46. > :31:50.tragic women. We want to see him with more correct. The women are
:31:51. > :31:54.great, Alicia Vikander and also Rachel Weisz, who comes in at a
:31:55. > :31:59.certain point in the story. Certain other four formers -- performers
:32:00. > :32:07.like Cate Blanchett would chew up the scenery. I have to ask you for a
:32:08. > :32:13.film of the week out of this bunch. Mine would beam Nocturnal Animals. I
:32:14. > :32:18.liked bits of Nocturnal Animals, so I will say bits of that. Every
:32:19. > :32:19.single second of Nocturnal Animals. I'm with you on that one.
:32:20. > :32:27.Next week, fresh from hosting the Bafta Brittania Awards in LA -
:32:28. > :32:29.actor, comic, musician and all-round clever-fella Ben Bailey-Smith
:32:30. > :32:33.But for now, we'll leave you with a look at all the films
:32:34. > :33:08.This is the captain. Braced for impact. What?
:33:09. > :33:22.That's a proper introduction. I love my people! I love this land. But I
:33:23. > :33:28.love my wife. What do we do now? Do you trust me?
:33:29. > :33:44.We suspect your wife is a German spy. This is insane. You've got
:33:45. > :33:54.purpose. Nobody can take it away. We can't all be nice girls. I love this
:33:55. > :34:03.company! I think he meant to swing there.
:34:04. > :34:10.This is a rebellion, isn't it? By rebel.
:34:11. > :34:13.Why do you want to go to Great Britain?
:34:14. > :34:15.Because it is Great Britain, you see? Great.
:34:16. > :34:24.Come home straight after computer club. I will!