Browse content similar to 07/06/2014. Check below for episodes and series from the same categories and more!
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Welcome to the Film Review. With me today is Mark Kermode. What do we | :00:19. | :00:26. | |
have? As I am sure you know, we have Grace of Monaco, which has opened to | :00:27. | :00:29. | |
universally, shall we call them mixed reviews? Universally negative | :00:30. | :00:33. | |
reviews. We have 22 Jump Street, the sequel | :00:34. | :00:36. | |
to 21 Jump Street, which was the spin`off of the TV show. | :00:37. | :00:42. | |
And we have Fruitvale Station, a harrowing retelling of a true life | :00:43. | :00:48. | |
story. We have Princess Grace and Nicole | :00:49. | :00:51. | |
Kidman saving the little state of Monaco for billionaires as a tax | :00:52. | :01:00. | |
haven. That is pretty much it. When Grace of Monaco opened at Cannes, | :01:01. | :01:03. | |
the phrase that everyone used was that it was worse than Diana. The | :01:04. | :01:08. | |
story is that it begins with the Grace Kelly filming her last scene | :01:09. | :01:14. | |
in Hollywood. There is a crisis going on, because there is the war | :01:15. | :01:18. | |
in Algiers, Monaco is acting as a tax haven. There is a blockade. | :01:19. | :01:27. | |
Alfred Hitchcock wants Grace Kelly to go back to Hollywood and film. | :01:28. | :01:31. | |
The prince is not happy. Here is a clip. My head. Who told you to cut | :01:32. | :01:46. | |
it? We are still in 1962. I think her head looks elegant. It is | :01:47. | :01:53. | |
dreadful. She is a modern woman. She is the Princess of Monaco. Call | :01:54. | :02:00. | |
Hitchcock. Turn him down publicly. We need you to show him how happy | :02:01. | :02:08. | |
you are here. Because I say so. It is not your decision to make. I am | :02:09. | :02:14. | |
your husband. I will not do it. I did not make you marry me. I did not | :02:15. | :02:21. | |
make you come here. What is it that Hollywood can give you that I | :02:22. | :02:30. | |
cannot? You were just an actress. Here is what happens. All the time | :02:31. | :02:36. | |
you're watching the movie, you think, is this deliberately stilted | :02:37. | :02:39. | |
or is it some kind of call back to the movies of the time? Nobody could | :02:40. | :02:43. | |
have made a movie this bad by mistake. It is like they went out of | :02:44. | :02:46. | |
their way. We are getting the talk about the idea of my life as a fairy | :02:47. | :02:52. | |
tale, is the fairy tale? We got the worst possible fairytale. They were | :02:53. | :02:58. | |
not interested in facts. What happens is that Grace Kelly bats her | :02:59. | :03:01. | |
eyelids at Charles de Gaulle, who appears to be blockading Monaco to | :03:02. | :03:05. | |
stop her taking part in a Hitchcock film and says she believes in | :03:06. | :03:08. | |
fairies and he says, that is fabulous. It is preposterous beyond | :03:09. | :03:16. | |
belief. You think, there must be some underlying, it must tie itself | :03:17. | :03:24. | |
back to reality. No, it is just... It is not entirely her fault. Her | :03:25. | :03:37. | |
performance is not terrible. Every minute of the film, the camera is | :03:38. | :03:40. | |
right in her face. For heavens sake, just back off a bit. But you get | :03:41. | :03:45. | |
this terrible caricatures. You get the most caricatured version of | :03:46. | :03:51. | |
Alfred Hitchcock. It is like a pantomime. I can see why people who | :03:52. | :03:57. | |
are interested in the history will be outraged by it. It is one of | :03:58. | :04:02. | |
those things that is such a spectacularly ill`conceived film. | :04:03. | :04:09. | |
All you can do is sit there slack`jawed. Often when critics at | :04:10. | :04:13. | |
Cannes react badly, the critics are over the top. In this case they are | :04:14. | :04:22. | |
not. Seeing this on the big screen for the first time and going, | :04:23. | :04:25. | |
really, you have really made that movie, it is genuinely worse than | :04:26. | :04:33. | |
Diana. 21 Jump Street, 22 Jump Street, what will they think of | :04:34. | :04:38. | |
next? One of the funniest parts of the film is the end credits | :04:39. | :04:42. | |
sequence. It does a whole thing about, where would you go next with | :04:43. | :04:48. | |
the other sequels? What it did was it was a parody, a pastiche of the | :04:49. | :04:57. | |
TV show. Channing Tatum and Jonah Hill were the centre relationship. | :04:58. | :05:06. | |
The just said, the first movie did better than anyone expected, let us | :05:07. | :05:15. | |
do the same thing over again. The sequel is not as good as the | :05:16. | :05:18. | |
original. But it is funny enough that it can get away with it. The | :05:19. | :05:27. | |
final end credits sequence is funny. My rule with comedy, you have to | :05:28. | :05:30. | |
laugh six times for it to count. I counted six times. It is not | :05:31. | :05:34. | |
brilliant, but it does the job. You do not need the action sequences, | :05:35. | :05:37. | |
but I did laugh. I laughed a lot. It is a summer movie. If you are bored | :05:38. | :05:42. | |
with the World Cup. Sequels take two thirds what the originals take. This | :05:43. | :05:49. | |
is two thirds as funny. That is not too bad. Fruitvale Station. This is | :05:50. | :05:53. | |
the true life shooting of Oscar Grant in 2009. It is something that | :05:54. | :05:59. | |
made all the headlines, a terrible story. The actual event was captured | :06:00. | :06:12. | |
on cellphone footage. We went back and look at the events leading up to | :06:13. | :06:16. | |
that terrible shooting. I am scared. Scared of what? I hear guns outside. | :06:17. | :06:33. | |
Those were just firecrackers. You are safe inside with your cousins. | :06:34. | :06:40. | |
What about you, daddy? Me? Everything will be fine. I tell you | :06:41. | :06:45. | |
what, though. Wake up in the morning, we are going to play | :06:46. | :06:51. | |
Candyland. And guess what else? Go to the park? Better. Way better than | :06:52. | :07:05. | |
that. What? Chuck E Cheese. Really? I promise. We are going to play all | :07:06. | :07:10. | |
the games, OK. Then we are going to get your favourite pizza and eat it | :07:11. | :07:17. | |
all up. Even your mother. The story is a shocking and alarming one. The | :07:18. | :07:20. | |
film itself is somewhat unremarkable. It does have a | :07:21. | :07:25. | |
terrific central performance and that somewhat carries it. There is | :07:26. | :07:30. | |
an overwhelming sense that you are moving towards this tragic event. | :07:31. | :07:36. | |
The film is not an extraordinary piece of work. It is a solid piece | :07:37. | :07:44. | |
of work. The central performance is a genuine rising star performance. | :07:45. | :07:50. | |
It makes the whole thing engaging. The thrust of the film is to engage | :07:51. | :07:56. | |
with the central character. He is played as flawed, but you see him as | :07:57. | :07:58. | |
a 3`dimensional character. He does a very good job of fleshing | :07:59. | :08:10. | |
that out. Your best of the week is Ken Loach's latest, Jimmy's Hall. | :08:11. | :08:16. | |
Some critics have complained that it is didactic and they are wrong. It | :08:17. | :08:20. | |
is a story of a hall in Ireland in the 1930s, set up for ideas and | :08:21. | :08:31. | |
singing and dancing. He is runout of town by the clergy. What I like is | :08:32. | :08:35. | |
that it is an important story and it has a historic backdrop. I liked it | :08:36. | :08:41. | |
as a movie. The way it uses music. The characters are engaging and | :08:42. | :08:45. | |
likeable. They are not 2`dimensional. There are some | :08:46. | :08:47. | |
interesting conversations between the main characters at loggerheads. | :08:48. | :08:53. | |
And yet they both give a little. The Christmas was terrific. There was | :08:54. | :08:59. | |
one scene where Jimmy dances with his old sweetheart who has gone off | :09:00. | :09:02. | |
to marry someone else and nothing happens. That was the kind of | :09:03. | :09:16. | |
atmosphere of innocence. Ken Loach does get accused of making didactic | :09:17. | :09:19. | |
movies. If you look at what is on screen, they are not. They engage | :09:20. | :09:24. | |
real things. He is interested in history and politics, but most of | :09:25. | :09:31. | |
all he is interested in people. That is probably why your DVD choice is | :09:32. | :09:39. | |
The Past. Strange characters and flawed relationships. Working in | :09:40. | :09:42. | |
France here, it is basically a story about people in crisis. A fantastic | :09:43. | :09:55. | |
performance. Beautifully absurd, very truthful, very moving, very | :09:56. | :10:02. | |
gentle, very low key. I thought it was a wonderful piece of work. It is | :10:03. | :10:11. | |
impressive. Great stuff, thanks. A reminder before we go. You will find | :10:12. | :10:17. | |
more reviews on Mark's blog. That is it for this week. Thank you for | :10:18. | :10:22. | |
watching. Good evening. We have seen a bit of | :10:23. | :10:47. | |
rain around early on the day. | :10:48. | :10:48. |