T2 Trainspotting, Hacksaw Ridge, Christine Film 2017


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T2 Trainspotting, Hacksaw Ridge, Christine

Charlie Brooker is joined by Danny Leigh and Ellen E Jones to review Danny Boyle's T2 Trainspotting, Mel Gibson's Hacksaw Ridge and biographical drama Christine.


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Transcript


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Hello, you're watching Film 2017, a programme all about things that

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I'm Charlie Brooker and I'm sorry about that.

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It may be late but assuming you're still conscious and capable

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of using at least one finger, you can tweet us and say hello.

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Details for that are on the screen now..

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is up to? For 20 years? Choose a midlife crisis, Sick Boy, Christophe

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Lourdelet, Renton and Spud return for 78 macro. Harrowing scenes as

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innocent creatures are forced to sing and dance for undeserving

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offspring in Sing. I am fine, thank you. Just keep things light, Rebecca

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Hall enters the downward spiral as the journalist in tragedy Christine.

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Or each... Also Rachel Weisz and Timothy

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Spall go head to head in the courtroom drama,

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Denial. So joining me to give the thumbs up,

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thumbs down or preferably actually form sounds and words

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with their mouths are critics are critics Ellen E Jones

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and Danny Leigh... At this point it said awkward hellos

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on the autocue. That is pretty awkward. I just did a weird one.

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We start with the long-awaited sequel to the heart pumping,

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drug-fuelled, era-defining 1996 classic, Trainspotting.

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Twenty one years down the line and director Danny Boyle,

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double-Ewans McGregor and Bremner, Johnny Lee Miller and Robert Carlyle

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are all back to reveal what happened next to this loveable bunch

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Well it begins with Renton returning to Edinburgh, which kind of

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reactivates the friendship of the four characters you saw on the

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poster and you remember from the first film. What have you been up

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to? For 20 years? They have always been there, these characters. They

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never went away. There hasn't been a single week in the last 20 years

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that someone has not said to me, hate, Begbie? It is that alchemy as

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they come back together again. I missed you, Spud. Their friendship

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imploded and this film finds them falling back together. And the

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trajectory of their struggles for the last 20 years binds them in a

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kind of dangerous, on a dangerous mission. That was brilliant. It was

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thought about ten years ago, the script was not right. It is the

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right time, but you're still fairly terrified. The prospect of coming

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back to you guys was too great. You think this is an opportunity that

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will never return. If anyone could pull it off, Danny could. I think

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the only person who could pull it off was Danny. Action! Danny is

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always pulling things out of the hat, all things that were not in the

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script, he is throwing into the film. It is his own vision. It is

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his own movie, really, it is not harking back to the original film.

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It is what Trainspotting was in the 1990s, we have never seen before. It

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is still a poppy style, it is quite a heightened world. There are

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similarities in the style, but I hope it is not a pastiche or copying

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of a style, it has tried to find a new one that suits this particular

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story. And some of the sadness that is in the story. It is not getting

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out of your body that is the problem, it is getting it out of

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your mind. You are an addict. It is about boyhood and now it is about

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manhood, when you realise, it is time that does not care about you.

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You have got to channel it, control it. People try all sorts. What did

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you channel into? Getting away. Obviously there is a lot riding on

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this film and I was nervous when I went into the cinema to watch it. I

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really enjoyed the first half of this film, would you say Danny Boyle

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was wise to revisit the past which is what the film is all about?

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Possibly very unwise. I have been dreading it and I think lots of

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people whether they were fans or not, it was dreading it, who needs a

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reminder of what the passing of 20 years will do to you. I think it is

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very funny and has all the cute and strap bombs as you would expect but

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it is also very blunt and bleak about the reality of not being young

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any more. Why do you expect strap-ons? The wreckage, the

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disappointment in yourself that settles over you into your 40s. All

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that stuff is there and it is very upfront about it. I felt like the

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movie was speaking to me in a way that not a lot of movies do. I would

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be interested in the opinion of someone who is not specifically a

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44-year-old man. I had a very strong coffee before watching this which I

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think is quite a T2 thing to do. Then took heroin! My heart was

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pounding and it did not stop. I was totally satisfied. With the coffee.

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Just completely satisfied. Very soon it washes over you, the sense of

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relief that Danny Boyle is back and making a film and you are in safe

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hands and that opening sequence where they get introduced was just

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as good as the first film. There is a doubt this time around. More

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characterisation, the relationships are moving. I have to give credit to

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Robert Carlyle for being genuinely scary. I felt all of these things

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for the first 45 minute. I was relieved and enjoying it and I felt

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I have not seen something like this in the cinema for ages and then, for

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me, the problem was that the story then devolves into kind of a caper

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and I was less convinced and I was not believing in it any more and

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there is a character Veronica who hardly seems to feature in a lot of

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the promo staff... She's a young glamorous woman who is hanging

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around but these guys. Unless she is a fan of the first film, there is no

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reason. It was always a bit of a caper. I think so. The first film

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people think of as filthy and dark but I think for all of that, there

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was a sense of summer holiday. It was part of this mood in 1996, of

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celebration and optimism and now I think this film at heart is much

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darker and bleaker. There are moments in this film, I have been a

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bit lonely about the storyline and I think it would have worked better as

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a miniseries. That is a good idea. There are moments that are

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hilarious, a scene in a pub which is one of the things that are the

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funniest things I have ever seen and moments of visual flair. The actors

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are all 20 years better. When you look at challenge macro, he has been

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in America and looks great and my theory about the physical

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dilapidation is, fall down a bit. They do not look like 45-year-old

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former heroin addict is -- 44 macro -- Jonny Lee Miller. There is a

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pathos there. The acting has got a lot better. Ewen Bremner. He is not

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given enough to do. I want to see more from these characters. The use

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of video game analogy left a little to be desired. I don't understand

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that. Slight change of tone now

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so adjust your mental filter because next we're looking at Sing -

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the ultra-realistic story of a theatre-owning koala

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who launches an X Factor-style A sort of Vermin's Got

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Talent if you will. Sing is set in a world like ours.

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All the characters have regular lives and at the centre of the story

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is a koala called Buster Moon played by Matthew McConaughey and his

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theatre is losing money and it will be taken away from him and he tries

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to stage something popular, a singing competition. A singing

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competition! You follow five characters who are competing, an

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elephant... There is a porcupine, played by Scarlett Johansson. A pig

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played by Reese Witherspoon. As by self -- says McFarland and a gorilla

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played by myself. # I would say the things I want to

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say... Most of our principal cast have to sing their own songs. There

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you go! You are a natural. That was both a challenge and a trait for a

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lot of them. I am not thinking this. Johnny, you were supposed to be

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keeping a lookout. Sorry, dad. But then animated film, the world is so

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much larger-than-life and you have to really be muscular in the way you

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deliver lines. This stage is about to explode with PB Power. I am so

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sorry, I have no control. Even though the film starts with the

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premise of a singing competition. It is never about recreating what we

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see on television, it is about getting to the heart of stuff that I

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love the most which is ordinary folks, having a shot at the big

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time. Having a shot to chase their dream and the drama that comes with

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trying to do that. You think you can sing like that? In front of a real

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audience? I don't know. But I want to try. Now, I am someone who is

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predisposed to despise that bet that happens at every CGI cartoon and at

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the end of the film, the animals saying low Bamber as the end credits

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roll and this is basically that bit of the movie and yet, I really

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rather enjoyed it. I am very surprised to hear that. This really

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fits in with my theory that some children's films are designed to

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amaze children and others are designed to torment their parents

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and this really felt like that to me. You hated it. It won me back a

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bit towards the end, but it is relentless pop music and often quite

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short snatches and you feel like you are being assaulted by pop songs and

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it is very colourful... All these things people like! Like toe-tapping

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music and colour is! What is wrong with you? They could have had a

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thought for the parents. It is nice that it is all structured around a

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singing competition because that is a very normal thing, we do not get

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enough of those. We want to have more of those but it feels like a

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singing competition because it feels like a lot of talented well-meaning

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people frantically trying to inject some idiosyncrasy into a very

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familiar old format. Koalas... Can we talk about the fact that I

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watched this film with my children and I was watching it with a

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two-year-old who frankly you could put in front of a poster and he

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would stare at it and a four-year-old and they enjoyed it,

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they laughed and all the right places... Where they morally

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improved by it? I don't care! I was just about to say... You're sitting

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online, doing the big shop... I think koalas are a terrible role

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model. Buffalo gets treated shabbily. Boo-hoo! It's not real.

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What I want from a kids film... To get me wrong, I would not watch this

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as an adult, but as a kids film, my kids loved it. Yes, it was extremely

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predictable, it was a very simple story, but my eldest is four years

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old, he wants predictable. Sue troublous set the bar high. He has

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not seen that. Did you not find it weird with Matthew McConaughey?

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Sometimes with these cars, you have no idea who the people are. They

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have got nice voices. Matthew McConaughey is very much heaven, he

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is the terrible koala from the word go and I found it very difficult not

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to see Matthew McConaughey from the wolf of Wall Street. My

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four-year-old has not seen the wolf of Wall Street. I was jealous about

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the music. There was an amazing number of what must have been

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incredibly expensive songs, starting with the Beatles, that is showing

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off. They paid for it. If you can get Katy Perry and toss it away on

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the scene of a pig doom washing-up... I want something that

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will distract kids and not absolutely appalled me and this did

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the job. The last time I went to the cinema to see a kids film it was the

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secret life of pets and lots of people were sitting there on

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Facebook looking at fake news and I think that this it is entertaining

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enough that you would get up and watch it.

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Right another tonal gear shift now because next up,

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Rebecca Hall stars as local US TV reporter, Christine Chubbuck,

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who shot herself live on air in 1974.

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Her final days is the subject of the dark drama Christine.

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I am a reporter and I'm always on the lookout for a positive human

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interest story. This is my first of the season. The film takes place

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over about ten days prior to this act that Christine Chubbuck did,

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which is that she took her life on live television. I had a huge

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responsibility to her, to her memory, to make her a human being

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that you empathised with. Are you OK? Yes, just... Summer allergies.

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I had 15 minutes of footage, which I watched religiously, it took me

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about three months to prepare for this role, and what started as an

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impression had to turn into something different if I was to have

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a chance of doing it well. Don't lose sight of what you have here. So

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as much as I was finding a voice and physicality, was trying to work out

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what it is like to be in that level of pain, what happens to my body, my

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voice, when I am that uncomfortable in my own skin, so in that case, it

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came from me. These flowers are fake, it sums up

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the whole operation! Esteem, go home! These people are ruining me.

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These people... Why will no one listen to me?

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She is a woman who symbolises a transformative moment in cultural

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history. It is a simple concept, if it bleeds, it bleeds. This movement

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from ethical journalism to if it bleeds, it leads reporting. This

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idea that you don't exist unless it is seen by a camera. TV 30 presents

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what is believed to be a television first.

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Now, I have to say, I wasn't entirely sure what to make of this

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film. I found Rebecca Hall mesmerising and fascinating from

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beginning to end. And I wasn't sure if the film itself knew what it was,

:17:36.:17:39.

because there are elements of dark comedy, moments where it is a really

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depressing character study of a very lost soul, and also elements of

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satire to do with the newsroom and politics in the 1970s, so I didn't

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know what to make of it at all. I think it is all of the above. The

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thing about Christine is it is the film you expected to be, because you

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reduce it down to this one idea of what happened to her, and that is

:18:05.:18:08.

the film, you will catch up with it at some point, but it isn't quite

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the day, but this isn't that film. It is human and hypnotic and

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reminded me of almost like a Paul Thomas Anderson movie, it has that

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American 70s back drop, it has Michael C Hall who is 70% Philip

:18:22.:18:27.

Seymour Hoffman. And in the middle this sad character who ends up in TV

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trying to do good important work and clearly TV is no place for a human

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being anyway, so you know how the movie is going to end, but what is a

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tribute to it is that by the time you get to that scene, you don't

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want it to happen. Christine, I feel invested in it, it is my cat maxing.

:18:48.:19:01.

The central performance. -- it is my Saying. I think there is so much

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focus on Christine, everything else is sketched hazily, the bosses just

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literally shouting the subtext at them. What did you make of it? I did

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think that her performance was so good it overshadowed the rest, but I

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also left it confused about what I was supposed to take from it,

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because it focuses on the last months of her life, it can't help

:19:31.:19:34.

but be about her death, so it gives us something that is leading in

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extra towards the end even though it gives us hope human side. There is

:19:40.:19:44.

also stuff about how news became entertainment, although maybe you

:19:45.:19:48.

should be watching Network or Spotlight if that is your take, and

:19:49.:19:53.

it is good on the way Patriarca takes its toll on within in the

:19:54.:19:56.

myriad ways that it does, but a lot of that still hasn't changed enough

:19:57.:19:59.

for this to be an interesting period piece for me. There is a whole

:20:00.:20:04.

industry of films and TV shows about tormented male antiheroes, and it is

:20:05.:20:08.

refreshing to see Rebecca Hall playing a part. Christine is often

:20:09.:20:15.

not even likeable or good at her job, she does human interest stories

:20:16.:20:18.

and doesn't seem to be able to connect with people, so that is

:20:19.:20:22.

fascinating. And it is a hard not to play, because it isn't an issue

:20:23.:20:27.

movie, you can't explain why what the problem is, so she is playing a

:20:28.:20:30.

character who was dissolving, but for reasons we don't quite know and

:20:31.:20:34.

in ways that we don't often quite notice. And you can't tell where her

:20:35.:20:41.

personal mental illness ends on the social situation she is in begins.

:20:42.:20:44.

But having said all of that, I don't know if I would recommend it to

:20:45.:20:50.

someone as an entertaining film. I would recommend it to anyone who

:20:51.:20:53.

works in journalism to say, this is what the future holds. I like the

:20:54.:20:58.

way it treats journalism, because we speak of that time, the 70s,

:20:59.:21:03.

Watergate, the watershed investigative journalism, you can

:21:04.:21:10.

see this line from there to click bait, and you can see that mapped

:21:11.:21:12.

out. We have to move on. Our last film is Denial,

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released on Friday, which just happens to be Holocaust Memorial

:21:16.:21:17.

Day. Rachel Weisz stars as US professor

:21:18.:21:19.

Deborah Lipstadt who was sued for libel by disgraced historian

:21:20.:21:27.

David Irving and found herself in the momentous

:21:28.:21:29.

position of having to prove, in court, that the holocaust did

:21:30.:21:32.

indeed actually happen. The Holocaust happened. That isn't

:21:33.:21:44.

opinion, that is fact, and I were debate fact. Denial is about Deborah

:21:45.:21:53.

Lipp stat who has written many books, one of them is called denying

:21:54.:21:58.

the Holocaust, and she did a few paragraphs about David Irving who is

:21:59.:22:04.

a Holocaust denier. According to the evidence I have seen, there were no

:22:05.:22:11.

gas chambers anywhere. Lipstadt accused David Irving of being a

:22:12.:22:19.

Holocaust and I, so he takes to court. So she has to prove in court

:22:20.:22:22.

that it did happen, almost impossible to do. Here is one of the

:22:23.:22:29.

largest killing machines in human history. It is how we prove what it

:22:30.:22:34.

is. The Holocaust happened, every body knows it, but once you have to

:22:35.:22:38.

prove it, it is harder than you think. There are no holes in the

:22:39.:22:45.

roof, there were no gas chambers. When we were making it, it was

:22:46.:22:49.

before Brexit and the election of Donald Trump, so it couldn't be more

:22:50.:22:54.

timely. In an age that has never been so riddled with information and

:22:55.:22:59.

so difficult to find the truth in that information, information,

:23:00.:23:07.

opinion and fact I different things. He's not a racist. He is a liar and

:23:08.:23:12.

a falsify of history. This is about the fight for truth

:23:13.:23:17.

and justice around this trial. The Earth is round, the ice caps are

:23:18.:23:21.

melting and Elvis is not alive! At the end of the court case, there

:23:22.:23:27.

might be a piece of paper, if she loses, that says the Holocaust did

:23:28.:23:30.

not happen. It suddenly becomes respectable to set the Holocaust

:23:31.:23:33.

didn't happen? ! Timothy Spall was alluding to that,

:23:34.:23:43.

we live in an increasingly worrisome post-truth alternative fact era with

:23:44.:23:49.

a resurgence of the far right. So in many ways, this feels like a very

:23:50.:23:53.

timely film, even though it is about a trial that ended in the year 2000.

:23:54.:23:59.

It asks a Topical Questions, which is how do you debate with madmen and

:24:00.:24:03.

liars and people who believe the alternative fact of a thing, but it

:24:04.:24:07.

is also weirdly out of step, because there is a lot to admire. Howdy

:24:08.:24:18.

mean? A lot of people want escapism, the musical is doing very well, Lala

:24:19.:24:24.

land, but it is also how do you go to a civilised court room, and it

:24:25.:24:30.

was justified, and it got to the end, and it feels very 1990s. It is

:24:31.:24:35.

a very good performance by Timothy Spall. He manages to do something

:24:36.:24:40.

that communicates a real deadness of his soul in his eyes. You see him

:24:41.:24:46.

come to life in front of the camera, David Irving, and then you see the

:24:47.:24:55.

shark eyes. His costume is this jovial English chap in Tweed who is

:24:56.:24:58.

ready with a funny sound bite for the cameras but obviously has this

:24:59.:25:01.

deeply sinister agenda, I don't know if that would remind anyone of

:25:02.:25:09.

anyone, but somebody does! I think there is a problem structurally with

:25:10.:25:13.

the film which is that because it is about truth and a very sensitive

:25:14.:25:18.

subject, and David Hare, all the dialogue you see in the courtroom

:25:19.:25:22.

scenes is lifted verbatim from the court transcript, the problem with

:25:23.:25:25.

that in a way is that what happened in the trial was that Deborah

:25:26.:25:28.

Lipstadt was sidelined, she was denied the right to speak, the

:25:29.:25:33.

opportunity to speak in court, and the problem, I don't think that

:25:34.:25:40.

leads to good drama, because... It does make an interesting point,

:25:41.:25:43.

there is a great line in it about how England is a club and David

:25:44.:25:47.

Irving just wants to belong to it, and it makes a nice point about how

:25:48.:25:50.

there might be other people who are excluded, and maybe Geber Lipstadt

:25:51.:25:56.

is one of them. But it doesn't lead to drama. There is brilliant

:25:57.:26:02.

writing, but maybe because Deborah Lipstadt is over from America has to

:26:03.:26:05.

have the English legal system explain to her a lot, there are also

:26:06.:26:10.

a lot of moments where the film is explaining itself, and David Hare is

:26:11.:26:13.

a great writer, but it can feel a little bit like your slightly deaf

:26:14.:26:20.

relative, and it is tapping you money, and saying, have you

:26:21.:26:24.

understood this bit? He feels like every legal person you have ever

:26:25.:26:29.

met, which is quite fascinating. It isn't the film's fault, but

:26:30.:26:34.

because it takes at the end of the 1990s, I couldn't help thinking

:26:35.:26:42.

about This Life. There was a secret in Auschwitz -- a sequence in

:26:43.:26:47.

Auschwitz, and a sequence where Rachel Weisz, and we saw an

:26:48.:26:58.

impressionist scene of people herding down the steps, but to me it

:26:59.:27:02.

was more powerful to feel what she was imagining and experiencing. I

:27:03.:27:07.

think that is right. I think if you film in Auschwitz, you just film.

:27:08.:27:13.

Now I have to do a total shift and ask you what your film of the week

:27:14.:27:20.

was. It has to be T2. I am going to say Christine. Not Sing? Mine would

:27:21.:27:32.

be Trainspotting again, because although there were moments in it

:27:33.:27:35.

that I felt were incredible, the final shot... It is not a spoiler.

:27:36.:27:44.

Right, that's almost it, your ordeal's virtually over.

:27:45.:27:49.

Lauren Laverne will be here next week, and she's

:27:50.:27:51.

But we'll leave you with a whiff of Hacksaw Ridge

:27:52.:27:54.

directed by Mel Gibson - there's a man who should

:27:55.:27:57.

His film Hacksaw Ridge stars Andrew Garfield as an American GI

:27:58.:28:00.

who distinguished himself in World War II despite

:28:01.:28:02.

This is a personal gift from the United States government designed to

:28:03.:28:15.

bring doubt to the enemy. I can't touch a gun, Sergeant. You don't

:28:16.:28:27.

kill? No, sir. Do not look to him to help you on the battlefield. It

:28:28.:28:30.

doesn't seem like a bad thing to me to want to put part of the world

:28:31.:28:35.

back together. You are free to run into the hellfire of battle without

:28:36.:28:36.

a single weapon to protect yourself. Help me. You will have to trust me.

:28:37.:28:46.

You had better come home to me. It's something that drags you in

:28:47.:29:07.

and crushes you to nothing.

:29:08.:29:18.

Charlie Brooker is joined by Danny Leigh and Ellen E Jones to take a look at Danny Boyle's long-awaited sequel T2 Trainspotting, Mel Gibson's new war movie Hacksaw Ridge and biographical drama Christine, starring Rebecca Hall.