:00:26. > :00:26.Hello, this is Film 2017 I'm Charlie Brooker,
:00:27. > :00:30.and the award for best picture goes to Moonla Land.
:00:31. > :00:34.Anyway it's the last show of the series so there's
:00:35. > :00:37.an end-of-term feel in the studio, a relaxed air, as though life itself
:00:38. > :00:40.simply doesn't matter, so why not chuck us your thoughts on Twitter?
:00:41. > :00:42.Details for that are on the screen now.
:00:43. > :01:00.No! He will have some ones are allowed but those. Hugh Jackman
:01:01. > :01:08.plays Wolverine for the final time in the Logan. I never want to spend
:01:09. > :01:12.more than two minutes dressed up. Hugh Bonneville plays the distinct
:01:13. > :01:22.non-Wolverine Louis Mountbatten in Viceroy's House. 30 minutes, we will
:01:23. > :01:26.do better next time. Superheroes, giant apes and singing candelabras.
:01:27. > :01:29.We look forward to the films scuttling this summer. Stop right
:01:30. > :01:32.there! I. Plus Isabelle Huppert stars
:01:33. > :01:34.in provocative French drama, Elle. But first, chaperoning me are my
:01:35. > :01:37.designated appropriate adults, Hello - I quickly have to ask,
:01:38. > :01:42.have either of you recovered from the Oscars best
:01:43. > :01:45.picture mix-up yet? Because I cringed so hard my I
:01:46. > :02:03.anally ingested my own underwear... It may take me a while to find a way
:02:04. > :02:05.from that image conversationally. Think happy thoughts.
:02:06. > :02:07.We start with Logan, Hugh Jackman's ninth and final
:02:08. > :02:09.outing playing Wolverine, a sort of furious cross
:02:10. > :02:11.between Noddy Holder from Slade and a cutlery drawer.
:02:12. > :02:14.This time round, he's not as ripped and fiery as in the past -
:02:15. > :02:16.instead he's old, bitter, decrepit, disenfranchised
:02:17. > :02:18.and other adjectives often used to describe me -
:02:19. > :02:40.Logan. What did you do? In Logan we find our hero, Wolverine in very
:02:41. > :02:44.different shape than we have seen him, he is ill, his body is
:02:45. > :02:51.decaying, he is not healing the way that he used to. And he is raising
:02:52. > :02:57.money, working for every dollar right now to buy medicine for
:02:58. > :03:03.Charles Xavier who is living across the board in an abandoned chemical
:03:04. > :03:07.tank. We have got ourselves in X-Men fan. Into their lives comes an
:03:08. > :03:20.11-year-old girl. You're going to pay for that, right? Not OK! In many
:03:21. > :03:26.respects, it is not a superhero movie. We feel that there has become
:03:27. > :03:30.a formula for it these films and we thought we would try and change
:03:31. > :03:35.things and see if it was possible to make a straight drama with these
:03:36. > :03:44.superhero characters. She needs our help. Someone has come along. Scene
:03:45. > :03:49.after scene could be taken from a small, independent movie about the
:03:50. > :03:54.difficulties of getting old or being unwell, but nevertheless, Logan and
:03:55. > :03:59.Charles are X-Men. They do have powers. On the count of three, and
:04:00. > :04:09.you're going to start walking away. I am a lawyer now. Two... Three...
:04:10. > :04:15.There is a lot of action and a lot of it, extremely violent. Quite
:04:16. > :04:25.shocking. There are moments when you recoil. We were like, let's not just
:04:26. > :04:30.make the movie about violence, but recriminations about violence. Make
:04:31. > :04:38.the movie about a man and the recriminations have been a
:04:39. > :04:44.superhero. No, no, no. I thought we had never fully cracked it. I felt
:04:45. > :04:51.we had never really given the fans the true Wolverine that I knew they
:04:52. > :04:57.wanted. It was my last shot. There are really is a sense of closure and
:04:58. > :05:05.in a very emotional sense as well. You still have time. Now, this
:05:06. > :05:11.struck me, this is what I like to think of as a gourmet Burger movie
:05:12. > :05:15.in that it has some heft to it, it is very well made and looks
:05:16. > :05:23.expensive but it is still basically a burger, junk food, I did enjoy it.
:05:24. > :05:28.It is basically a burger. How bloody do you like your burgers? It is the
:05:29. > :05:32.bloodiest film. Patrick Stewart seemed excited about the violence.
:05:33. > :05:37.It is astonishingly visceral, there are body parts piling up, and in
:05:38. > :05:41.that sense I do not think it is like a superhero movie. It is a raw and
:05:42. > :05:47.dripping burger. There are interesting things going on. There
:05:48. > :05:51.is a scene quite early on where you cut to Hugh Jackman and the whole
:05:52. > :05:55.thing is paced so you would have a brilliant one-liner and there are
:05:56. > :06:06.screen writers who can make a living out of doing just that. Hugh Jackman
:06:07. > :06:08.does not make it, the moment passes and he looks sad. Superhero movies
:06:09. > :06:13.do not do that. Wiping away the blood would take about half an hour!
:06:14. > :06:18.I could not believe this was a 15 certificate. I don't know what
:06:19. > :06:24.Wolverine would have to do to get an 18 certificate. He would have to
:06:25. > :06:37.start doing! Then shaking it out of his trouser leg -- pooing. There is
:06:38. > :06:43.a theme running through it and the references to Neal Westerns. Any
:06:44. > :06:48.film in which a solemn young girl gets one over on those types of
:06:49. > :06:55.Nazis is OK by me. Patrick Stewart was trying to make out... It is a
:06:56. > :07:02.meditation on ageing and mortality. Hugh Jackman works in this movie.
:07:03. > :07:09.One of my problems has been, he is a big musical theatre buff, but here,
:07:10. > :07:12.he does not seem like that. He looks knackered and disgusted with
:07:13. > :07:19.himself. The only problem is, the films that he is up against are not
:07:20. > :07:25.quite his equals. You have Richard E Grant and a job lot of him blows.
:07:26. > :07:31.You cannot have a powerful meditation on ageing and have
:07:32. > :07:37.Richard E Grant as a villain. He has a robot hand and keeps on taking off
:07:38. > :07:42.his sunglasses. If we have to live in this world were each film is
:07:43. > :07:56.always at franchise, at least let them get better and this film has
:07:57. > :08:03.learned from Deadpool. I admire, I took my son and he had seen all the
:08:04. > :08:08.X-Men movies, and he was quite traumatised. It was not my finest
:08:09. > :08:16.hour as a parent. People should be aware, there is a lot of blood. It
:08:17. > :08:21.is like someone taking a lawn mower through a butchers shop. It is sort
:08:22. > :08:26.of disgusting. The sound of it is disgusting. It is 17 years since the
:08:27. > :08:38.first one, so we have grown up a bit. In a couple of years, we will
:08:39. > :08:40.reach the point where there are only superhero movies. Superhero movies
:08:41. > :08:43.that you have to watch by watching another superhero movie.
:08:44. > :08:45.Next up is colonial drama 'Viceroy's House'
:08:46. > :08:47.Hugh Bonneville stars as Louis Mountbatten,
:08:48. > :08:49.the final Viceroy of India, sent to Delhi in 1947
:08:50. > :08:52.when the good eggs running the British Empire decided to grant
:08:53. > :08:54.India its independence, and gave it an extra helping
:08:55. > :08:56.hand by carving it up on religious grounds.
:08:57. > :09:14.I am to be the last Viceroy of India and I will carry out the role with
:09:15. > :09:19.great pride. You're giving a nation back to its people, how bad can it
:09:20. > :09:26.be? We are the future. Let's not make a mess of it. Viceroy's House
:09:27. > :09:29.is about a period in 1947 when Lord Mountbatten who was the
:09:30. > :09:35.great-grandson of Queen Victoria and his wife were sent to India to
:09:36. > :09:43.essentially hand India back to its people. Without peace, all other
:09:44. > :09:54.dreams vanished and are reduced to ashes. India is a ship on fire.
:09:55. > :10:00.Viceroy's House employs the upstairs downstairs storyline. It enabled me
:10:01. > :10:01.to tell this sweeping epic story of ordinary Indians, so whilst upstairs
:10:02. > :10:50.we follow Mountbatten so many of the topics in
:10:51. > :10:53.the film are playing out on the political stage. It is very
:10:54. > :11:00.interesting to have these conversations about whether we can
:11:01. > :11:04.learn from our mistakes. It is time, people are ready to go back and look
:11:05. > :11:08.at alternative narratives to the Empire compared to the ones that I
:11:09. > :11:16.grew up with and was taught in school. We will do better next time.
:11:17. > :11:22.This seemed to me like it was trying to be three films at once, it was
:11:23. > :11:28.like upstairs downstairs, it was like a political play in some ways
:11:29. > :11:32.and it was also as sweeping romance or trying to be and I don't know
:11:33. > :11:40.that it managed to do all three of those things. I think it did well at
:11:41. > :11:44.contextualising the romance. It gave it an emotional immediacy. My
:11:45. > :11:49.problem is simple, and this will sound like I have got it in for Hugh
:11:50. > :11:55.Bonneville, but if you're going to make a film about a serious period
:11:56. > :12:03.of history, you don't want to cast the bloke from Downton Abbey. What
:12:04. > :12:11.have you got against him? Apologies to Hugh Bonneville. It is because he
:12:12. > :12:14.is so nice. The British Empire is responsible for terrible massacres
:12:15. > :12:23.but you cannot lay it at the feet of the nice dad from Downton Abbey. Ie
:12:24. > :12:29.Wouldn't say I felt for his plight, I thought, that is a bit of a first
:12:30. > :12:33.world problem. The film goes soft on the British Empire. I think you have
:12:34. > :12:38.to cast the way she cannot make the film, because I think the film that
:12:39. > :12:43.Gurinder Chadha wanted to make was a film about the millions of Indians
:12:44. > :12:53.who had their lives torn apart but you cannot make that film. You have
:12:54. > :13:00.to make it like Downton Abbey. You need the handy little people in it
:13:01. > :13:06.or it does not happen. Are you saying that is why... The romance
:13:07. > :13:10.Senate, I did not care for them. I think it was a couple, when we first
:13:11. > :13:18.meet them, they had already fallen in love and we are told they are in
:13:19. > :13:24.love and we are supposed to accept it. Well, I don't! You are being
:13:25. > :13:35.selfish! The couple give the best performances. It is a real shame
:13:36. > :13:39.they are not on the poster more. I am really ignorant and I did not
:13:40. > :13:42.know a lot of this stuff about partition and I found it
:13:43. > :13:47.interesting. In the first 20 minutes, it has to do so much heavy
:13:48. > :13:55.lifting. Are you learning the real history? It says something terrible
:13:56. > :14:06.about Churchill, you do not get that in British films. There is a film
:14:07. > :14:10.called United Kingdom. That film was all about Churchill's skulduggery.
:14:11. > :14:17.It had to be dressed up like Downton Abbey. This has to do the same
:14:18. > :14:24.thing, lay out the sconce in order to bring in the audience. I think it
:14:25. > :14:29.is smarter than that. Do you think it would have worked better as a
:14:30. > :14:34.miniseries? For me, it could not make up its mind whether it was a
:14:35. > :14:39.political peace or a romantic drama and I would have preferred to see
:14:40. > :14:45.two separate things or see this play out over eight hours.
:14:46. > :14:52.There were trying to pull in different audiences. They had to
:14:53. > :14:57.maximise the audience and the trick of getting people into the cinema.
:14:58. > :15:01.If people don't go to see it quickly, it disappears and the
:15:02. > :15:05.history is lost. It is an nice and metaphor for the partition of India,
:15:06. > :15:10.this couple who cannot be together. They captured the pain of the
:15:11. > :15:13.subcontinent, so there is an artistic reason. Thought you were
:15:14. > :15:15.going to say it was an nice and metaphor for Brexit.
:15:16. > :15:18.Right, now, following a winter of critically acclaimed dramas
:15:19. > :15:20.heaving with worthy themes and harrowing performances -
:15:21. > :15:22.you probably feel the need to unwind with some pointless
:15:23. > :15:25.Fortunately for you, blockbuster season's almost here.
:15:26. > :15:33.We asked some critics what's worth looking forward to...
:15:34. > :15:43.Let's go. Three, two, one. Talking raccoon is, romantic aliens and
:15:44. > :15:52.shamefully out of shape, hideous old men. 2017 is only a couple of months
:15:53. > :15:59.old, but already it is time for the return of the blockbuster. I love
:16:00. > :16:07.blockbuster, they remind me of growing up. Your popcorn and just
:16:08. > :16:14.enjoyed the movie. Summer season used to begin in June, now it begins
:16:15. > :16:20.in March. Apart from the films where people suck the rest of their lives,
:16:21. > :16:29.people get stomped on by giant critters. Apart from angry monkeys,
:16:30. > :16:34.what else can we expect? Well, this sort of thing. Sometimes they can
:16:35. > :16:41.feel a bit template heavy, just setting up for the next one in the
:16:42. > :16:51.series. Sequels and remakes, reboots, remakes of the sequels...
:16:52. > :16:55.These films cost $150 million to make and no one is willing to bet
:16:56. > :17:02.that on something completely original and unproven. It is a myth
:17:03. > :17:16.we are inundated with superhero movies. It's not the case at all. We
:17:17. > :17:22.have Logan, two DC movies. I am looking for Warriors. The summer
:17:23. > :17:30.blockbuster I am looking forward to has to be Wonder Woman. I love
:17:31. > :17:38.seeing women being kick cars in movies. She has a new outfit.
:17:39. > :17:45.Traditionally in superhero movies, they think women don't sell, so
:17:46. > :17:54.traditionally, they have been terrible. Wonder Woman, ready. Maybe
:17:55. > :18:02.this reboot will do it for you. One is a beauty, the other is a beast.
:18:03. > :18:09.Emma Watson is the quintessential English rose. I think the casting of
:18:10. > :18:18.her as Belle was perfect. This is the role Ewan McGregor was born to
:18:19. > :18:23.play. If singing crockery and clapping candelabra aren't
:18:24. > :18:28.terrifying enough... This looks very much like the horror of 2017.
:18:29. > :18:34.Politically speaking and socially speaking, it will probably be the
:18:35. > :18:43.most relative horror movie of the year. It is an incredibly ingenious
:18:44. > :18:50.racial satire which takes horror and comedy, puts them together to create
:18:51. > :18:57.something very intense. Sticking with scary, try this... It looks
:18:58. > :19:03.like a return to an nasty creature aboard a spaceship, picking off the
:19:04. > :19:08.crew, one by one. The hope is, this will be a little bit more like
:19:09. > :19:14.alien, in that it will be terrifying and scary. It needs to be.
:19:15. > :19:18.Meanwhile, on Earth, Amy Schumer and Goldie Hawn teamed up and much
:19:19. > :19:33.hilarity ensues before our very eyes. Amy Schumer and Goldie Hawn
:19:34. > :19:40.get kidnapped. You have messed with the wrong pitches. Welcome to
:19:41. > :19:53.Baywatch. Baywatch, where do you begin? There is a whole lot of
:19:54. > :19:54.explosions this year. I am looking forward to Get Out.
:19:55. > :20:02.Ellen, anything in particular you really want to see?
:20:03. > :20:07.Baywatch. I watched it as a kid and it is probably going to be terrible,
:20:08. > :20:11.but it might not be. Hideous. Danny, I imagine the summer
:20:12. > :20:27.isn't your season film-wise? I work on my tan in the summer. Lots
:20:28. > :20:33.of things coming out. I am looking forward to Alien Covenant. Bill
:20:34. > :20:38.Paxton, died at the weekend, which is a sad loss. Alien will always be
:20:39. > :20:47.the greatest of them, but it is a sad moment. I thought 2016 was over,
:20:48. > :20:53.we didn't have to do this any more. You have been treating us mentioning
:20:54. > :21:05.your favourite Bill Paxton movies and characters. And it was Chet in
:21:06. > :21:18.weird science. Hurricane Dixon in One False Move. He was in a lot of
:21:19. > :21:21.brilliant films. Simple plan. Frailty, he directed.
:21:22. > :21:23.Our last film is Elle, a provocative thriller
:21:24. > :21:25.from veteran Dutch director, Paul Verhoeven.
:21:26. > :21:28.In an Oscar-nominated performance Isabelle Huppert stars as a woman
:21:29. > :21:30.who is violently raped by a masked intruder and who at first appears
:21:31. > :21:33.to react with an almost surreal level of detachment.
:21:34. > :21:58.It is a story about a woman to whom is something violent and unusual
:21:59. > :22:12.happens and she reacts in such a way that it is quite unpredictable.
:22:13. > :22:22.She is a fearless woman and she is a sort of solitary character, also.
:22:23. > :22:28.The way she reacts is interesting because she is not a victim, and
:22:29. > :22:36.also she is not the caricature of the classical revenge girl. She is
:22:37. > :22:44.more like a postfeminist heroine, not being a victim, but in between.
:22:45. > :22:49.There is a quest in the film and I was always touched by the story like
:22:50. > :22:51.she was seeking something and trying to put the pieces of her life
:22:52. > :23:47.together. I was flabbergasted by this film. It
:23:48. > :23:51.works almost like a magic trick. Lots of extremely offensive and
:23:52. > :23:55.outrageous things going on, yet somehow you are calm about it while
:23:56. > :24:00.you are watching it. It operates on a strange dreamlike level. Whatever
:24:01. > :24:08.the French for flabbergasted is, that is what I was. I think if
:24:09. > :24:11.people expect it to be a rape revenge thriller, reduce it down to
:24:12. > :24:17.three words, those would be done, but it is not that movie. It gets to
:24:18. > :24:23.the revenge without giving away what happens. It leaves you off balance.
:24:24. > :24:27.I have a lot of time for this film. But if you sat there now and said
:24:28. > :24:32.you were outraged or freaked out, I couldn't tell you that you were
:24:33. > :24:36.wrong. What happens, the way it swerves, keeps you off-balance, it
:24:37. > :24:43.is electric. It is not lost something you would necessarily
:24:44. > :24:46.recommend to anyone else. It was never, it was consistently
:24:47. > :24:50.entertaining. You never know what is going to happen next. We have to say
:24:51. > :24:56.it works on lots of different levels. Moments of extreme comedy.
:24:57. > :25:04.It works as a soap, in some ways. It is easy to say what it is not. It is
:25:05. > :25:09.not a feminist masterpiece, it is not on rape culture, it is a good
:25:10. > :25:15.film. One of them oppressive things is how it is ambiguous and slippery
:25:16. > :25:22.both in tone and in the story and also fundamentally the character.
:25:23. > :25:25.The high wire gamble is to take a film about a rape victim and tell
:25:26. > :25:30.the story about what happens after the rape, but also her messy life,
:25:31. > :25:35.her business intrigues and this shambolic family. That is where the
:25:36. > :25:39.latter comes. On another planet, this is a sitcom because of what is
:25:40. > :25:46.happening with the family. We have to talk about Isabel Hubert, people
:25:47. > :25:58.watch this, and the man who made Basic Instinct and Showgirls. She is
:25:59. > :26:03.hypnotic in this. She is in every scene. Almost like she is very
:26:04. > :26:09.brittle, a very brittle character who, in any other film, might seem
:26:10. > :26:12.unlikeable. But I warmed to her because some of the other people
:26:13. > :26:20.were grotesque in this. She does it in such great style as well. In
:26:21. > :26:27.English, it wouldn't make sense. Paul Verhoeven wanted to make this
:26:28. > :26:33.in America, he wanted Sharon Stone, Nicole Kidman. Imagining this film,
:26:34. > :26:39.the big cliche, I cannot imagine this film with any other actress.
:26:40. > :26:44.Elle, how could you make this film without Isabelle Huppert. People
:26:45. > :26:50.might be taken aback by this film, it would be 1000 times worse without
:26:51. > :26:55.Isabelle Huppert. It doesn't make sense, that is part of the weird
:26:56. > :27:01.beauty, it doesn't make sense. Things happen in it, at one point
:27:02. > :27:06.she reverses her car into her ex-husband's car. The front bumper
:27:07. > :27:12.falls off and he scarcely registers this. It almost feels like she
:27:13. > :27:19.works, she works at a video film company, and it is like it is in the
:27:20. > :27:26.grand theft auto universe. He does well in having his Cake and eating
:27:27. > :27:34.it, it is like a French fantasy arthouse film. It is the predictable
:27:35. > :27:44.pleasures as well. Is it your film of the week? Yes. I panicked them. I
:27:45. > :27:49.think it is my film of the week. A movie that can take your breath away
:27:50. > :27:54.like this and leave all three of us and everyone who watches this, what
:27:55. > :27:58.have I just seen? How rare is that. You might be more of a Logan person
:27:59. > :28:02.and that is OK too. Imagine them as a double bill?
:28:03. > :28:04.Right that's almost it for this week and the series.
:28:05. > :28:06.No one's going to be here for you next week.
:28:07. > :28:09.You'll have to adopt some kind of coping strategy.
:28:10. > :28:11.Finally, because it's 40 years old this year,
:28:12. > :28:13.we'll leave you with a iconic moment from the 1977 classic,
:28:14. > :28:15.'Saturday Night Fever', the inspiring tale of a Travoltian
:28:16. > :28:18.man struggling with the tragic leg condition known as Disco Fever.
:28:19. > :28:21.Personally, I love to see someone tearing up the dance floor.
:28:22. > :29:35.A 24-year-old man has been charged with murder.
:29:36. > :29:38.I've got no doubt about Michael Farmer's guilt.
:29:39. > :29:42.You made sure an innocent man is charged.