Browse content similar to A Wrinkle in Time, Unsane, Pacific Rim: Uprising. Check below for episodes and series from the same categories and more!
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Hello there and welcome
to Film 2018. | 0:00:24 | 0:00:26 | |
I'm Al Murray. | 0:00:26 | 0:00:27 | |
Yes, it's late, but we're live
and would love to hear from you. | 0:00:27 | 0:00:31 | |
Tonight, we're talking
about going to the cinema | 0:00:31 | 0:00:33 | |
as a live experience. | 0:00:33 | 0:00:35 | |
So if you had to pick
a film to live and immerse | 0:00:35 | 0:00:37 | |
yourself into the world of,
what would it be? | 0:00:37 | 0:00:41 | |
I would want to be part of a Bridge
too far, all the great escape. Not | 0:00:41 | 0:00:48 | |
one of the guys who were shot at the
end. | 0:00:48 | 0:00:50 | |
end. | 0:00:50 | 0:00:51 | |
Tweet us. | 0:00:51 | 0:00:52 | |
Details are on the screen now. | 0:00:52 | 0:00:53 | |
Right, let's get started. | 0:00:53 | 0:00:54 | |
Coming up tonight... | 0:00:54 | 0:00:56 | |
Quantum physics and an enormous
floating Oprah. | 0:00:56 | 0:01:01 | |
We are worries of the light. Welcome
to the Ava DuVernay fantasy Wrinkle | 0:01:01 | 0:01:07 | |
in Time.
Mad or misunderstood? I am held here | 0:01:07 | 0:01:10 | |
against my will. In the tense
psychological thriller of Steven | 0:01:10 | 0:01:16 | |
Soderbergh Unsane.
And reporting for duty, we talk | 0:01:16 | 0:01:22 | |
robots and rebellion in Pacific Rim
Uprising. | 0:01:22 | 0:01:28 | |
Plus, we'll also be going behind
the scenes with an immersive cinema | 0:01:28 | 0:01:31 | |
experience, as they take on cult
classic Blade Runner. | 0:01:31 | 0:01:33 | |
So, physics, insanity and lots
and lots of robots - | 0:01:33 | 0:01:35 | |
sounds like a good mix
for a Wednesday evening, eh? | 0:01:35 | 0:01:38 | |
Helping me make sense of it
all are film critics - | 0:01:38 | 0:01:40 | |
and definitely non replicants,
I hope! | 0:01:40 | 0:01:42 | |
- Ellen E Jones and Empire
Magazine's Chris Hewitt. | 0:01:42 | 0:01:44 | |
Good evening, human! Definitely a
replicant. | 0:01:44 | 0:01:49 | |
What is your replicant story? Stare
deeply into my eyes. The Crown yes! | 0:01:49 | 0:01:58 | |
-- yes! | 0:01:58 | 0:01:58 | |
-- yes! | 0:01:58 | 0:01:59 | |
Right, kicking things off
is big-budget, time-travelling | 0:01:59 | 0:02:01 | |
fantasy 'A Wrinkle in Time'. | 0:02:01 | 0:02:02 | |
This much-loved children's classic -
well, in America, at least - | 0:02:02 | 0:02:05 | |
comes to the big screen
via Director Ava DuVernay. | 0:02:05 | 0:02:07 | |
Starring Oprah Winfrey -
yes, THE Oprah Winfrey - | 0:02:07 | 0:02:09 | |
Reese Witherspoon and Chris Pine,
it's the story of teenager Meg, | 0:02:09 | 0:02:12 | |
who has to brave multiple
dimensions, seemingly in the form | 0:02:12 | 0:02:14 | |
of Windows desktops,
in her quest to find her | 0:02:14 | 0:02:17 | |
missing scientist father. | 0:02:17 | 0:02:18 | |
Please be warned, this
VT contains algebra, | 0:02:18 | 0:02:20 | |
buckets of positivity
and a huge, floating Oprah! | 0:02:20 | 0:02:26 | |
You were a top student.
Look at you now. You can't keep | 0:02:26 | 0:02:30 | |
using your father's disappearance as
an excuse to act out. | 0:02:30 | 0:02:33 | |
Is that his work? What is it about?
Their dad wanted to touch the stars. | 0:02:33 | 0:02:43 | |
We have a girl of colour at the
centre of this amazing universe and | 0:02:43 | 0:02:47 | |
this amazing journey. At the
beginning of the movie, Meg is | 0:02:47 | 0:02:55 | |
really hard on herself and she
doesn't feel like she is worthy | 0:02:55 | 0:02:58 | |
enough to be loved. Not coming back,
is he? Don't give up hope! She goes | 0:02:58 | 0:03:04 | |
on a hectic and tumultuous journey.
This is my favourite planet in the | 0:03:04 | 0:03:11 | |
entire Galaxy.
The guys really help her with that. | 0:03:11 | 0:03:18 | |
Who are you?
We are warriors of the light. The | 0:03:18 | 0:03:20 | |
darkness is spreading so fast. You
are stronger than I ever was! Be a | 0:03:20 | 0:03:27 | |
warrior! Do you trust me? I trust
you! During the movie, drew | 0:03:27 | 0:03:37 | |
encouragement from her friend, she
finds her flaws make her the most | 0:03:37 | 0:03:41 | |
powerful which is a great journey
for any teenage girl, for any woman | 0:03:41 | 0:03:43 | |
to watch to go through. What can I
do for you, Mrs Whatsit. She is | 0:03:43 | 0:03:52 | |
harmless.
You are six, what you know about | 0:03:52 | 0:03:57 | |
harmless? Have I ever been wrong?
One of these days, you might be | 0:03:57 | 0:04:02 | |
Charles Wallace. I doubt that, he is
one of the greatest minds in | 0:04:02 | 0:04:06 | |
history, he is prodigious. Of
course, we cannot take credit for | 0:04:06 | 0:04:09 | |
our talents, it is how we use them
that counts. | 0:04:09 | 0:04:13 | |
I think it is a wonderful theme of
self belief in this movie about | 0:04:13 | 0:04:17 | |
learning to accept your fault.
We are in such warriors. Warriors | 0:04:17 | 0:04:24 | |
who serve the good and the light in
the universe. You are kidding? | 0:04:24 | 0:04:30 | |
This film allows a breather and a
moment to get job parings and think | 0:04:30 | 0:04:34 | |
about who you want to be in the
world and really interrogate the | 0:04:34 | 0:04:37 | |
light within new -- to get your
bearings. | 0:04:37 | 0:04:45 | |
I am not really a person who has
read a lot of sci-fi and even this | 0:04:45 | 0:04:49 | |
book, it missed me growing up. So to
be a part of this literally | 0:04:49 | 0:04:54 | |
fantastical experience was something
I don't think any of us will ever | 0:04:54 | 0:05:00 | |
forget.
My Love is always there! Even if you | 0:05:00 | 0:05:05 | |
can't see it. | 0:05:05 | 0:05:08 | |
Do we have time for A Wrinkle in
Time? What did you think of it. | 0:05:08 | 0:05:16 | |
There is so much good feeling and
good intention kind this film that | 0:05:16 | 0:05:20 | |
it makes it all the more
disappointing that it is a | 0:05:20 | 0:05:23 | |
disappointment and I feel like I am
seeing the trailer for the first | 0:05:23 | 0:05:27 | |
time. You are not taken by a giant
flying cabbage Reese Witherspoon and | 0:05:27 | 0:05:32 | |
Oprah Winfrey that smiles down at
you? Oprah Winfrey is great, yes. | 0:05:32 | 0:05:36 | |
But no. I think Storm Reid is great,
but lead actress. And a couple of | 0:05:36 | 0:05:43 | |
moments, there is a real emotional
connection, that is her doing that. | 0:05:43 | 0:05:46 | |
She deserves credit for that. Chris.
That you put Oprah, who is not here | 0:05:46 | 0:05:54 | |
for a 30 foot tall Oprah? I was a
little disappointed when she became | 0:05:54 | 0:05:57 | |
normal sized and started interacting
with humans, I loved the idea of | 0:05:57 | 0:06:03 | |
being on a green screen on her own,
with her contract, nobody looks at | 0:06:03 | 0:06:08 | |
me, I will not interact with anyone.
It did give the impression they had | 0:06:08 | 0:06:12 | |
had her for a week and replaced into
the bids they shot. Or they cut | 0:06:12 | 0:06:18 | |
clips from the Oprah Winfrey show.
The film is heavy on message and we | 0:06:18 | 0:06:21 | |
saw in the package they are keen on
is taking positivity from this. I | 0:06:21 | 0:06:26 | |
found it really sort of a soup of
platitudes. Never more than six foot | 0:06:26 | 0:06:33 | |
from a platitude in this movie. Did
it feel heavy-handed or did it work? | 0:06:33 | 0:06:38 | |
I think that is going to work for
the target audience. There is | 0:06:38 | 0:06:42 | |
definite total hippie nonsense in
there, but there is also quite nice | 0:06:42 | 0:06:47 | |
self-esteem stuff for that teenage
bracket. Really? One pitch of the | 0:06:47 | 0:06:54 | |
film is the father has gone missing,
a brilliant quantum physicist who | 0:06:54 | 0:06:58 | |
has picked universe and done his
homework so the messages, do your | 0:06:58 | 0:07:02 | |
homework and work hard and life
would you. The other messages, just | 0:07:02 | 0:07:06 | |
believe in yourself, man. They kind
of undermining each other. Much of | 0:07:06 | 0:07:11 | |
bolts go and let your freak flag
fly, if I can say that. What got to | 0:07:11 | 0:07:18 | |
me, despite the self-help nonsense,
by the end, it is about a young girl | 0:07:18 | 0:07:21 | |
trying to get back with her father
and I won't spoil it but let's say | 0:07:21 | 0:07:25 | |
at the end, I could feel a single
wrinkle rolling down my cheek and it | 0:07:25 | 0:07:31 | |
got me. I was manipulated but I was
buying what they were selling by the | 0:07:31 | 0:07:35 | |
end of it. What were they selling?
It was a mess. There is no | 0:07:35 | 0:07:41 | |
overriding vision of how this book
is translated to the screen so | 0:07:41 | 0:07:45 | |
bitterly, it looks crazy. And they
make up for that with CGI. They move | 0:07:45 | 0:07:52 | |
from windows desktop to another
windows desktop, they bear a | 0:07:52 | 0:07:57 | |
remarkable resemblance to the
options you have! Not even the good | 0:07:57 | 0:08:01 | |
ones. There is no one great
sequence, and will say that. There | 0:08:01 | 0:08:05 | |
is an interesting sequence where
they land on a planet and a 1950s | 0:08:05 | 0:08:09 | |
Stepford wives, out of the
housewives -- come out of the houses | 0:08:09 | 0:08:12 | |
and try to tempt them in for evil
means and it goes nowhere, it was | 0:08:12 | 0:08:19 | |
episodic. Good performances
commentary macro and Chris Pine is | 0:08:19 | 0:08:22 | |
very good. And it dirty but Oprah,
you cannot argue with that. And if I | 0:08:22 | 0:08:28 | |
was 12-13 years old, which I kind of
am! -- and a 30 foot Oprah. If you | 0:08:28 | 0:08:37 | |
are viewing... | 0:08:37 | 0:08:39 | |
If you're feeling in need
of a little darkness | 0:08:39 | 0:08:41 | |
after all that positivity,
fear not, we've got it covered. | 0:08:41 | 0:08:43 | |
'Unsane' is a tense
psychological thriller, | 0:08:43 | 0:08:45 | |
directed by Steven Soderbergh
and shot entirely on an iPhone. | 0:08:45 | 0:08:50 | |
Claire Foy - in her first
role post 'The Crown' - | 0:08:50 | 0:08:53 | |
stars as a woman detained
in a mental hospital | 0:08:53 | 0:08:55 | |
against her will. | 0:08:55 | 0:08:58 | |
So not unlike The Crown! See what I
did? | 0:08:58 | 0:09:00 | |
So should she be in there,
or is something much | 0:09:00 | 0:09:03 | |
more sinister going on? | 0:09:03 | 0:09:04 | |
Is this a glorified
FaceTime session? | 0:09:04 | 0:09:05 | |
Let's see. | 0:09:05 | 0:09:06 | |
Sawyer Valentini? | 0:09:06 | 0:09:07 | |
Please follow me. I don't have a lot
of time, they should be back at | 0:09:07 | 0:09:12 | |
work. What am I doing here? Take
away your clothes down to your | 0:09:12 | 0:09:16 | |
underwear. Not sure what is
happening here. The door is locked. | 0:09:16 | 0:09:20 | |
It would be better for everyone,
especially yourself, if you do as I | 0:09:20 | 0:09:24 | |
ask. I have always been a fan of
psychological thrillers. One thing I | 0:09:24 | 0:09:28 | |
really liked about the premise was
the plausibility of it. The fact | 0:09:28 | 0:09:33 | |
that somebody who has been in a
circumstance in which she would like | 0:09:33 | 0:09:40 | |
to get help, finds herself signing a
document that she probably didn't | 0:09:40 | 0:09:44 | |
read very closely. And before she
knows it, she is spending time in a | 0:09:44 | 0:09:49 | |
facility against her will.
There has been some kind of mistake. | 0:09:49 | 0:09:53 | |
Your name is Sawyer Valentini. You
know that already. By saying this, | 0:09:53 | 0:10:00 | |
you have consented a voluntary
commitment for 24 hours. No, they | 0:10:00 | 0:10:04 | |
said the forms were routine. You
signed it. One aspect of Clare as an | 0:10:04 | 0:10:10 | |
actress that I really thought was
appealing is this ability of hers to | 0:10:10 | 0:10:15 | |
really sell this idea of someone who
is under a lot of self-imposed | 0:10:15 | 0:10:23 | |
pressure and whether she is acting
out or whether this is something | 0:10:23 | 0:10:27 | |
that is being acted upon her.
Yes, hello, my name is Sawyer | 0:10:27 | 0:10:32 | |
Valentini. I am at Highland Creek
Behavioral Center and I am being | 0:10:32 | 0:10:38 | |
held here against my will. Please
send help! Thank you. I will be out | 0:10:38 | 0:10:44 | |
of here in, like, 20 minutes. Do you
know how many calls the cuts get | 0:10:44 | 0:10:48 | |
like that every week? Those are from
crazy people! The willingness of | 0:10:48 | 0:10:55 | |
Claire to dive in and play a
somewhat unhinged American character | 0:10:55 | 0:10:58 | |
was part of what attracted me to her
as an actor. | 0:10:58 | 0:11:04 | |
My stalker is here! We did a
thorough background check. You | 0:11:04 | 0:11:10 | |
should be protecting the!
We were shooting in sequence and she | 0:11:10 | 0:11:12 | |
understood the trajectory of what
Sawyer needed to go through. I must | 0:11:12 | 0:11:20 | |
be insane. I must be insane.
I am not crazy! Maybe it is all in | 0:11:20 | 0:11:26 | |
my head.
I loved this film. I enjoyed every | 0:11:26 | 0:11:30 | |
second. I am a big fan of Steven
Soderbergh, it is good to see him | 0:11:30 | 0:11:37 | |
back after his self enforced
retirement. Did you enjoy this film? | 0:11:37 | 0:11:41 | |
A fizzing with this movie. I did, I
am very glad he got back and he got | 0:11:41 | 0:11:46 | |
bored watching Countdown in front of
the TV in the afternoon. This is a | 0:11:46 | 0:11:51 | |
good follow-up to Logan Lucky. He's
trying different things by shooting | 0:11:51 | 0:11:55 | |
on the iPhone with this. I am a huge
fan of Soderbergh but he is a | 0:11:55 | 0:12:02 | |
slightly dispassionate and
emotionally detached film-maker at | 0:12:02 | 0:12:05 | |
times and I wonder if this means the
movie did not quite thrill me the | 0:12:05 | 0:12:08 | |
way it did you and maybe Ellen. But
a lesser Soderbergh is still better | 0:12:08 | 0:12:16 | |
than 95% of the lawmakers at the top
of their game. Did you love this | 0:12:16 | 0:12:20 | |
film? I absolutely loved it and
despite how over the top it goes, | 0:12:20 | 0:12:24 | |
nothing wrong with over the top! It
still feels totally plausible. Some | 0:12:24 | 0:12:28 | |
people don't feel the same way. All
the stuff about having your autonomy | 0:12:28 | 0:12:33 | |
taken away by this basis institution
and that frustration goes really | 0:12:33 | 0:12:39 | |
well, there is sexual harassment
stuff you could if you are trying a | 0:12:39 | 0:12:42 | |
bit harder linked to #Me Too but I
am reluctant to do that because it | 0:12:42 | 0:12:50 | |
is such good fun. Apart from mobile
phones, it does not feel | 0:12:50 | 0:12:54 | |
contemporary, it felt like a 1970s
film. Like play Misty for me, like | 0:12:54 | 0:12:59 | |
what Clint is stored made when he
was playing thrillers -- Clint | 0:12:59 | 0:13:05 | |
Eastwood. You could imagine him as
the antagonist and it is threadbare, | 0:13:05 | 0:13:10 | |
crumbling America that the hospital
seems to represent. | 0:13:10 | 0:13:16 | |
That took me out of the film a
little bit, because I'd get sound | 0:13:26 | 0:13:30 | |
quality like that on my iPhone, but
he got it right in to replace a film | 0:13:30 | 0:13:35 | |
camera can't go, it went right into
Claire Foy's face. | 0:13:35 | 0:13:40 | |
It is a double exposure. It is good
stuff, and it has a little | 0:13:40 | 0:13:50 | |
professional sheen, but it did take
me out of the film a couple of | 0:13:50 | 0:13:54 | |
times. I went in not knowing about
the iPhone, and I did think it | 0:13:54 | 0:13:58 | |
looked interesting in a way I
couldn't put my finger on. I really | 0:13:58 | 0:14:02 | |
liked it. I thought it was medium
and message working together. And | 0:14:02 | 0:14:07 | |
you get swept up in the excitement
of Steven Soderbergh bestie doing | 0:14:07 | 0:14:11 | |
something he is finding new and
exciting. He didn't get any text | 0:14:11 | 0:14:16 | |
messages during it! And Claire Foy's
performance, I have watched The | 0:14:16 | 0:14:25 | |
Crown all the way through, I have
watched be very under control, very | 0:14:25 | 0:14:29 | |
close to performance she is the
Queen, and in this, the question in | 0:14:29 | 0:14:34 | |
the movie is, is she in a mental
institution for the right reason | 0:14:34 | 0:14:39 | |
not? She gives that performance. It
is great for her, you couldn't have | 0:14:39 | 0:14:44 | |
a better film to do off the back of
something like The Crown. You almost | 0:14:44 | 0:14:52 | |
feel she also look at the camera and
go, see what I can do? Am not just | 0:14:52 | 0:14:58 | |
the Queen! She won't be being paid
less than anybody else after this. | 0:14:58 | 0:15:03 | |
She is fantastic, she does just
enough to make you think that she | 0:15:03 | 0:15:06 | |
might be unhinged, that she might be
experiencing some psychosis, so that | 0:15:06 | 0:15:13 | |
when there is a twist, it has you on
her side. Brilliant performance, | 0:15:13 | 0:15:21 | |
delivered up with Steven Soderbergh
in a new form, everything to | 0:15:21 | 0:15:23 | |
recommend it? Absolutely.
Absolutely. | 0:15:23 | 0:15:28 | |
For most of us, going to the cinema
lets us kick back, eat popcorn | 0:15:28 | 0:15:31 | |
and think about something
other than ourselves. | 0:15:31 | 0:15:33 | |
Who writes this stuff! | 0:15:33 | 0:15:35 | |
But with more and more
demands on our time when it | 0:15:35 | 0:15:38 | |
comes to entertainment,
increasingly, audiences | 0:15:38 | 0:15:39 | |
are wanting more -
like being able to actually step | 0:15:39 | 0:15:42 | |
into the world of the film. | 0:15:42 | 0:15:43 | |
This year, 'Secret Cinema' -
one of the first live, | 0:15:43 | 0:15:45 | |
immersive film experiences -
is ten years old, and it | 0:15:45 | 0:15:48 | |
seems their formula of cult films,
dressing up and interacting | 0:15:48 | 0:15:50 | |
with the film is still going strong. | 0:15:50 | 0:15:52 | |
It was back in 1982... | 0:15:52 | 0:15:57 | |
Ridley Scott gave us his dark
dystopian vision of downtown Los | 0:15:57 | 0:16:01 | |
Angeles, with sci-fi epic Blade
Runner. But now, in old warehouse in | 0:16:01 | 0:16:10 | |
east London, that vision has been
brought to life as excited film fans | 0:16:10 | 0:16:15 | |
roll up for the latest immersive
movie experience. Secret Cinema is | 0:16:15 | 0:16:21 | |
really about creating a spectacle
around cinema, so infusing film and | 0:16:21 | 0:16:29 | |
art, allowing the audience to live
inside with it and become part of | 0:16:29 | 0:16:34 | |
the story. When I was a kid, I went
to see a film, Once Upon A Time In | 0:16:34 | 0:16:45 | |
America,, and I fell in love with
cinema, and I thought, why can't | 0:16:45 | 0:16:49 | |
Cinema be more like a club night,
like a music festival, and are used | 0:16:49 | 0:16:52 | |
to go to these clubs and I was
thought that the secrecy and getting | 0:16:52 | 0:16:56 | |
a call where you have to go and meet
people down the petrol station and | 0:16:56 | 0:17:01 | |
find these big parties, why couldn't
you make cinema more rock and roll? | 0:17:01 | 0:17:06 | |
What if you could tell a secret?
What if the audience could be part | 0:17:06 | 0:17:09 | |
of that secret and live inside of a
film for the night? But it is not | 0:17:09 | 0:17:15 | |
just secret Cinema, immersive film
experiences are big news across the | 0:17:15 | 0:17:20 | |
country, from | 0:17:20 | 0:17:27 | |
country, from Die-hard screenings to
classic singalong classics. But this | 0:17:27 | 0:17:30 | |
year, Secret Cinema takes on its
biggest project yet. What ridley | 0:17:30 | 0:17:39 | |
Scott did at that time was
unheard-of, it was epic and | 0:17:39 | 0:17:44 | |
colourful and an entire universe,
and what we have done is taken | 0:17:44 | 0:17:47 | |
inspiration from the film and built
a whole new interactive world. | 0:17:47 | 0:17:51 | |
We transformed a series of
warehouses into the city of LA, and | 0:17:51 | 0:17:55 | |
the audience is thrown into this
dystopian world of LA in 2019. They | 0:17:55 | 0:18:00 | |
have been told to meet at a
checkpoint in a district on the edge | 0:18:00 | 0:18:06 | |
of Chinatown, and told to bring
umbrellas and wear goggles because | 0:18:06 | 0:18:09 | |
of the fears of acid rain. We
literally write a script for a | 0:18:09 | 0:18:14 | |
thousand different audience members
and combine with the actors we have | 0:18:14 | 0:18:17 | |
on-site. There is a complete blur
between performers and audience. All | 0:18:17 | 0:18:23 | |
of our security guards, bar staff,
everybody was at rehearsals, the Riz | 0:18:23 | 0:18:26 | |
and a single person out of
character, and essentially we want | 0:18:26 | 0:18:30 | |
to make it feel like wherever you
look, wherever you go, there is some | 0:18:30 | 0:18:35 | |
part of the world that is coming to
life around you. I just think that | 0:18:35 | 0:18:40 | |
the world has got predictable. Film
is not the same as it used to be, | 0:18:40 | 0:18:44 | |
and this is cinema shakes you, and
that is why it is a testament to why | 0:18:44 | 0:18:49 | |
secret Cinema has grown into
something much bigger, is that | 0:18:49 | 0:18:54 | |
people are looking for this. Let's
take away the seats and reimagine | 0:18:54 | 0:18:58 | |
the space, let's think about the
audience being on the stitch. It is | 0:18:58 | 0:19:05 | |
a protest against the predictable
side of culture, the idea that we | 0:19:05 | 0:19:09 | |
can do anything we want. | 0:19:09 | 0:19:14 | |
OK, so we asked you on Twitter
what film you'd like to be immersed | 0:19:14 | 0:19:18 | |
into and live within. | 0:19:18 | 0:19:19 | |
Ross says, I will choose Working At
The Water Park. | 0:19:19 | 0:19:30 | |
The Water Park. Owen chose Fargo,
and Luke chose La La Land. You have | 0:19:30 | 0:19:39 | |
only got one life! Which film would
you like to live in, and why? I am | 0:19:39 | 0:19:44 | |
thinking Call Me By Your Name
because you have the endless | 0:19:44 | 0:19:48 | |
Mediterranean summer, you just have
to be careful not to eat peaches. | 0:19:48 | 0:19:54 | |
Chris? I couldn't possibly answer
Star Wars. The original one, and I | 0:19:54 | 0:20:02 | |
would probably live on Tatooine and
have a lightsabre. Right! | 0:20:02 | 0:20:08 | |
Last up is 'Pacific Rim Uprising' -
the sequel to Guillermo del Toro's | 0:20:08 | 0:20:11 | |
2013 massive monster movie. | 0:20:11 | 0:20:12 | |
This time round, John Boyega is in
charge as both Producer and star. | 0:20:12 | 0:20:15 | |
It's all very simple -
ten years after the Battle | 0:20:15 | 0:20:18 | |
of the Breach, the Kaiju emerge
from their interdimensional portal, | 0:20:18 | 0:20:20 | |
forcing the Pan Pacific
Defense Corps, or PPDC, | 0:20:20 | 0:20:22 | |
to mount their huge
Jaeger robots once again. | 0:20:22 | 0:20:24 | |
OK? | 0:20:24 | 0:20:25 | |
Good, let's take a look. | 0:20:25 | 0:20:32 | |
Jake. Your father always said he
wanted you to be a pilot. | 0:20:36 | 0:20:44 | |
He said a lot of things. I'm not a
hero like he was. Pacific rim takes | 0:20:46 | 0:20:55 | |
off tenures after the first movie,
and we're introduced to Jake, who is | 0:20:55 | 0:20:59 | |
son of Idris Elba. Did that haircut
just call you Pentecost? | 0:20:59 | 0:21:11 | |
just call you Pentecost? It is just
a name. A really cool name. He is a | 0:21:11 | 0:21:15 | |
bit of a rogue, a bit rebellious.
Are you having a laugh? One thing | 0:21:15 | 0:21:22 | |
leads to another, and he is back the
PPDC, and now he needs to lead a new | 0:21:22 | 0:21:34 | |
generation of pilots. | 0:21:34 | 0:21:41 | |
With sci-fi, you want to balance the
CG world with the physical, you | 0:21:45 | 0:21:50 | |
don't want to do everything CG, so
we managed to build the heads of the | 0:21:50 | 0:21:55 | |
robots and place it on a hydraulic,
so it had the full movement of a | 0:21:55 | 0:21:59 | |
real head, and every time it got
knocked back, we would feel the G | 0:21:59 | 0:22:02 | |
Force. I also co-produced this one
with my company. I could have done a | 0:22:02 | 0:22:13 | |
13 hour day on which averages, come
back home, have to watch scenes of | 0:22:13 | 0:22:18 | |
myself and give opinions as to which
one works for what. | 0:22:18 | 0:22:23 | |
I love the action, I really do, but
story is what I also do, the story | 0:22:28 | 0:22:34 | |
we are trying to tell. | 0:22:34 | 0:22:41 | |
So, if I were ten-year-old boy, that
film would blow my mind. However, | 0:22:47 | 0:22:53 | |
I'm 49! What did we make of Pacific
Rim uprising? John Boyega, isn't he | 0:22:53 | 0:23:07 | |
lovely? He is so good, his charisma
does so much of the heavy lifting of | 0:23:07 | 0:23:12 | |
this film, which is lucky, because
Scott Eastwood, maybe, not so | 0:23:12 | 0:23:17 | |
charismatic. Steady now! John
Boyega, he is probably in seven | 0:23:17 | 0:23:23 | |
eighths of the movie, virtually
every frame. He is so charming and | 0:23:23 | 0:23:30 | |
charismatic, he is the special
effect that makes this film work | 0:23:30 | 0:23:34 | |
more than the giant robot. And I
love the older brother little sister | 0:23:34 | 0:23:37 | |
thing they have got going as well,
it has real heart. It makes you | 0:23:37 | 0:23:44 | |
wonder why he wasn't used more in
the last Star Wars movie, because he | 0:23:44 | 0:23:47 | |
has charisma to burn. But I went
into this movie with expectations | 0:23:47 | 0:23:51 | |
that warm floor, I liked the first
movie, it did OK, and this did, I | 0:23:51 | 0:24:00 | |
wasn't expecting that much, and I
came out with a big smile on my | 0:24:00 | 0:24:04 | |
face. The prequel better than the
original film? Now you are talking. | 0:24:04 | 0:24:12 | |
I hesitate to say it is better than
the first one, because the first one | 0:24:12 | 0:24:17 | |
was DMO | 0:24:17 | 0:24:27 | |
dot -- Guillermo del Toro. He is the
big director, and the aesthetic and | 0:24:31 | 0:24:38 | |
the grungy... But that is what makes
this not Transformers. It is not | 0:24:38 | 0:24:48 | |
really that he is an action
director. There was a point in this | 0:24:48 | 0:24:51 | |
movie where I was going, get on with
it, where are the aliens? Loads of | 0:24:51 | 0:24:57 | |
heart, but more of that the stuff
that you go to this movie for. But I | 0:24:57 | 0:25:03 | |
like that stuff. You don't see an
alien for ages, the first big action | 0:25:03 | 0:25:07 | |
sequence you get is a giant robot.
Robot on robot action. They are not | 0:25:07 | 0:25:16 | |
robots! They are men inside Suits. I
just kind of love that stuff, there | 0:25:16 | 0:25:20 | |
is a sequence later on where a city
is being trashed, and it has an | 0:25:20 | 0:25:27 | |
unabashed joy. No one seems to live
in the cities, nobody cares what | 0:25:27 | 0:25:31 | |
happens. Sunday afternoon, no one is
around, don't worry! This is part of | 0:25:31 | 0:25:39 | |
a long line of movies where huge
cities are destroyed. There is a | 0:25:39 | 0:25:44 | |
line, which is, don't worry,
everyone is underground, you can go | 0:25:44 | 0:25:48 | |
to town on this. It is gloriously
daft in a way that I don't think the | 0:25:48 | 0:25:54 | |
first movie quite got there. They
tried, but this is beautifully | 0:25:54 | 0:25:58 | |
silly, Saturday morning cartoon fun,
but just on the big screen. In a | 0:25:58 | 0:26:04 | |
way, we could talk about this in
contrast with the other big sci-fi | 0:26:04 | 0:26:10 | |
blockbuster of the season, and
Pacific Rim Uprising delivers an | 0:26:10 | 0:26:18 | |
story, delivers on its stick
together message that A Really Good | 0:26:18 | 0:26:25 | |
Time didn't. And it is quite china
matey, they have whole sequences in | 0:26:25 | 0:26:33 | |
Mandarin, that adds to that market.
And it doesn't have an ultimate | 0:26:33 | 0:26:40 | |
message of empowerment, it just
says, if you see a giant monster, | 0:26:40 | 0:26:43 | |
punch it in the face, and that is a
message I can get behind. That is a | 0:26:43 | 0:26:49 | |
life lesson for everyone watching. | 0:26:49 | 0:26:51 | |
OK, so you know what's coming,
what's our Film of the Week? | 0:26:51 | 0:26:59 | |
Unsane. That or uprising. I think I
will choose Unsane. | 0:27:00 | 0:27:07 | |
Well, I think our work
is almost done here. | 0:27:07 | 0:27:09 | |
Next week, Zoe Ball -
who has just cycled over 350 miles | 0:27:09 | 0:27:12 | |
in five days for Sports Relief -
will be here on this | 0:27:12 | 0:27:15 | |
not particularly
comfortable film show sofa. | 0:27:15 | 0:27:16 | |
I'd definitely bring a cushion. | 0:27:16 | 0:27:23 | |
Zoe, never agree to do that again! | 0:27:23 | 0:27:26 | |
Playing us out is a look at
the new mega offering from Marvel. | 0:27:26 | 0:27:29 | |
It's 'Avengers: Infinity War'. | 0:27:29 | 0:27:31 | |
Giving new meaning to the term
'all-star cast', the film | 0:27:31 | 0:27:33 | |
stars Robert Downey Jr,
Chris Hemsworth, Mark Ruffalo, | 0:27:33 | 0:27:35 | |
Chris Evans, Scarlett Johansson,
Benedict Cumberbatch, | 0:27:35 | 0:27:36 | |
Don Cheadle, Tom Holland,
Chadwick Boseman, Paul Bettany, | 0:27:36 | 0:27:38 | |
Elizabeth Olsen, Anthony Mackie,
Sebastian Stan, Chris Pratt, | 0:27:38 | 0:27:40 | |
Josh Brolin, Zoe Saldana
and Paul Rudd, amongst others. | 0:27:40 | 0:27:42 | |
That is one big trailer, eh? | 0:27:42 | 0:27:45 | |
We got one advantage. He is coming
to us. We have what he wants, so | 0:27:53 | 0:28:02 | |
that's what we use. | 0:28:02 | 0:28:06 | |
Let's talk about this plan of yours.
I think it's good, except it sucks, | 0:28:09 | 0:28:14 | |
so let me do the plan, and that way,
it might be really good. Wow. | 0:28:14 | 0:28:25 | |
The end is near. | 0:28:26 | 0:28:28 | |
When I'm done, half of humanity will
still exist. | 0:28:36 | 0:28:45 | |
Perfectly balanced. As all things
should be. | 0:28:47 | 0:28:56 | |
should be. I hope they remember you. | 0:28:56 | 0:28:59 | |
I'm Peter, by the way. Doctor
strange. | 0:29:04 | 0:29:07 |